Box and Fiddle
Year 09 No 07
April 1986
Price 30p
12 pages
8 month subscription £3.75
Editor – Ian Smith, 50 Mount Vernon Road, Stranraer Tele 4098
B&F Treasurer – Mrs Cathy Andrew, 22 Lochinver Crescent, Foxbar, Paisley Tele 2824
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
All good things come to an end, but the good news is that come September it all starts up again. Happily, you will have new blood at the helm of your newspaper. Come the AGM I shall be resigning as Editor. After nine eventful years it is time for a new broom to brush the cobwebs away and with new vigour press ahead.
The AGM Weekend is on the 28-29th June at the Station Hotel, Perth. Note the new venue. It all starts with lunch on Saturday, followed by accordion and fiddle workshops with a dance in the evening.
The Sunday’s AGM starts at 11am to be followed by a celebrity concert at 2.30pm. Listen to ‘TTF’ for further details.
May I thank all those people in and out of the Association who kept me on the straight and narrow line between, on the one hand, the Accordion, and on the other, the Fiddle. To the many friends I have made I say Thank You.
NAO Festival in Glasgow
By Ian Smith
The Govan Town Hall in Glasgow saw the second of the big three Festivals when the cream of the youngsters vied with each other to see who could become champion on the day.
From a host of challengers several names came to the fore. Some well known, but others who will become famous. Like young Mhairi Coutts, two firsts in her Scottish groups ; Iain Carmichael and James Coutts. Once again the Senior Scottish Champion is Roy Hendrie. The Open Solo was won by Nicola Reid and the Bell Trophy by David Preston. David teamed up with brother Alan to take the Open Duet. Here is the full list from a busy day.
Under 10 Scottish
1) Mhairi Coutts
2) Craig Skinner
3) Ross Irvine
Under 12 Scottish
1) Mhairi Coutts
2) Craig skinner
3) Campbell Loch
Under 14 Scottish
1) Iain Carmichael
2) Scott Sneddon
3) Alistair McInnes
Under 16 Scottish
1) James Coutts
2) Ian Lowthian
3) Keith Robertson
Senior Scottish
1) Roy Hendrie
2) Sandy Watson
3) Liam Howitt
Open Scottish
1) Nicola Reid
2) Alan Preston
3) Russell Forbes
7 and Under Solo
1) Mhairi Smith
2) Ian Anderson
3) Ross Irvine
9 and Under Solo
1) Craig Skinner
2) Mhairi Coutts
3) Alan Small
11 and Under Solo
1) Stuart Campbell
2) Allan Banford
3) Heather McKenzie
12 and Under Solo
1)
2)
3)
13 and Under Solo
1) Mark Bausie
2) Russel Torrie
3=) Angeline Jane McCloy & Irma Runciman
Preparatory Solo
1) Bernadette Meechem
2=) John McColm & Colin McNeil
3) Barry McMillan
Elementary Solo
1) Andrew Warren
2) Pamela Mutch
3) Fiona Linton
Higher Elementary Solo
1) Kenneth Farley
2) Andrew Thomson
3) John McInnes
Intermediate Solo
1) Stewart Law
2) Barbara McLeod
3) Fraser McLellan
Higher Intermediate Solo
1) Alistair Mathieson
2) Iain Cathcart
3=) Malcolm Rae and Keith Robertson
Preparatory Duet
1) Colin McNeil & Lesley Morrison
2) Alison & Susan McPare
3) Robert Ormand & James Coutts
Elementary Duet
1) Allan Laurie and Gordon Shand
2) Dawn & Geoff Banford
3) Andrew Thomson & Fiona Linton
Intermediate Duet
1) Fiona Cousin & Gordon Shand
2) Kenneth Turley & Ian Stewart
3) Stewart Law & Angeline McCloy
Higher Intermediate Duet
1) Fiona Gray & Elaine Christie
2) Craig Drysdale & Gordon Haddow
3) Tom Dickie & David Barr
Open Duet
1) Alan and David Preston
2) Kirsteen Grossile & Stuart Duff
3) Norma & Linda Frater
Junior Championship
1)
2)
3)
Advance Championship
1) James Grant
2) Alan Preston
3) Norma Frater
Invitation Open
1)
2)
3)
Bell Trophy
1) David Preston
2) Lorna Halliday
3) Alan Preston
Preparatory Band
1) J.R. Brown Prep Band
2) Gary Blair Prep Band
Elementary Band
1) Lola Blair Elementary Band
2) J.R. Brown Elementary Band
3) Bill Sharp Elementary Band
Intermediate Band
1) J.R. Brown Intermediate Band
2) Dundee Accordion Band
3) Fife Accordion Band
Open Band
1) J.R. Brown Advanced Orchestra
2) J. Blair Advanced Orchestra
Groups
1)
2)
Entertainer
1) Clyde Valley Keyboards
2) Scott Sneddon
3) David Martin
Free Bass Elementary
1) Alan Small
Free Bass Intermediate
1) Angeline McCloy
2) Liam Smith
3) Barbara Rae
Free Bass Higher Intermediate
1)
Musselburgh ‘86
‘The Best Laid Schemes..’
by Norrie Williams
I don’t really like doing things by half and when I make a gaffe, I make a gaffe! As happened at the Musselburgh Winners’ concert this year. Yours truly grabbed the wrong sheet to read out the placing of the finalists and made a proper Charlie of himself in front of a full house. Fortunately, as things turned out, no one got hurt, but the mix-up was my fault entirely and may I apologise once again to all those who must have had cardiac arrests, to the competitors involved, to their parents and friends, and to the adjudicator Bill Black who was done out of his summing up. Steps will be taken to ensure that N.Y.W. does not get loose again.
Despite the best of intentions, including an attempt to clarify matters in an earlier edition of the ‘B&F’, one other hiccup occurred. The ‘Slow Hornpipe’ controversy reared its head once again in the Under 12 Traditional Section as the adjudicated winner had rendered this particular tune in his set more as a Reel than in the desired rhythm. But because of his age (9) and the fact that he had been acting on advice from his elders, it was decided that, despite the technical default, he should retain the trophy and that Glenda Taylor of Beith (who had 4th highest marks) should be included in the prize list.
It is becoming increasingly obvious that there are many differing views regarding Slow Hornpipe rhythms and tempos as there are days of the week, so once, once again, it’s back to the drawing board – a wee bit sadder and wiser – but that’s life.
Burns got it right, “The best laid schemes…..”
But now to the plus side. Saturday, 1st March, dawned bright, dry and frosty, with just a bit of snow at the roadsides, but clear carriageways, and as we cruised Eastwards along the M8 towards the Capital City, we knew we were in good company and that at that very moment (5.30am – one has got to be joking) vehicles from all corners of Scotland and even from the North of England were converging on the Brunton Halls, all the occupants single-mindedly determined to have a great day with the best of music and ‘happy to meet’ to quote an old Jimmy Shand Beltona 78.
On arrival at the halls at a few minutes to seven we found the place bustling with cleaners removing the ‘after the night before’ blemishes – we always marvel at how well the Brunton is kept considering its usage – there are no less than 24 stalls in the ‘gents’!
Just at the back of 8 o’clock the atmosphere began to build up as one or two accordion and music dealers began to set up their stalls in the foyer. Once again this year we must thank these intrepid souls for their support.
Newcomers ‘D.S.M. Music’, all the way from Inverness, had a mouthwatering selection of music and records, and ‘Robert Rolston Accordions’ of Motherwell and ‘Gordon Simpson Accordions’ of Edinburgh had an equally tempting range of instruments on display – most pleasing to the eye and ear – oh, if only the coupons!
By 8.30 a goodly proportion of the Festival ‘staff’ were on site and beavering away doing everything that was asked of them, and more – setting out chairs, screens, tables, sorting out trophies, registering the first competitors, acting as escorts, and pack horses up to the instrument park and practice room, which this year was on the second floor and resembled the United Nations assembly hall. This change of venue was to enable more classes to run concurrently and so avoid overrun at the end of the competitions, and it seemed to work surprisingly well, with no complaints about the high altitude practice howff. And the comfortable time intervals between the various events made life a wee bit easier for those intimately involved – competitors, adjudicators, marshals, announcers, etc.
The aforementioned ‘staff’ were all volunteers from the following clubs – Beith, Dundee, Dunfermline, East Kilbride, Fintry, Galston, Lesmahagow, Lockerbie, Milngavie, Monklands, Newtongrange, Newton St. Boswells, Perth and Renfrew. ‘Unattached’ help was also forthcoming from Strathaven and the Glasgow Caledonian Strathspey and Reel Society.
Despite the fact that we had an augmented panel this year, the load on the adjudicators (the least enviable of all jobs) was still formidable, especially in the traditional classes which, for the most part, were slightly up on last year. Entries in the fiddle and senior accordion classes were particularly gratifying.
Chatting to a number of judges after their stints it was obvious that, although having thoroughly enjoyed the experience, the intense concentration over lengthy periods had left them temporarily somewhat ‘drained’.
We can certainly assure them that all their efforts are much appreciated and that their assessments, both verbal and written, are greatly valued by the competitors and their supporters, as witness the wrapt attention during the summing up and the intyense clamour for adjudication sheets at reception after each class.
They run the gauntlet of public opinion and are brave men indeed. Our sincere thanks to them, one and all.
Our adjudication panel may have been all male but in other departments it was certainly ladies’ day. Our accompanists in the fiddle classes were Joan Blue and Morag MacAskill, and the distaff side had a field day in the senior traditional competitions taking no less than five of the principal awards, viz. both senior fiddle classes, overall fiddle championship, senior traditional accordion and ‘The Bobby MacLeod’ for the best overall accordion. Well done girls.
As before, the following local radio stations gave us tremendous pre-festival publicity, devoting sizeable chunks of their valuable air time to the event :- Radio Forth (Robin Brock), Radio Tay (Billy Anderson), Radio West Sound (John Carmichael), Radio Moray (Andy Ross) and Radio Highland. We even got a mention on the Art Sutter programme.
Devotees of ‘TTF’ will be well aware of the excellent coverage given by B.B.C. Radio Scotland. In addition to all the advance announcements, two well produced half-hour spots went out on the programme giving a fine blend of instrumental turns and interviews featuring competitors, adjudicators, ‘et al’. The format of these recordings has gone from strength to strength over the years with ingenious use of ‘fade out’ and ‘voice over’ techniques.
Once again it was a great pleasure to have the company of Ken Mutch, Robbie Shepherd and Joyce Reid and their recording staff. How they ever manage to get anything at all beats me because they NEVER pressurise or get in anyone’s way – they certainly are perfect examples of that ‘in’ phrase ‘low profile’ and they bring to mind an old wartime adage concerning careless talk costs lives, etc
“There was an old owl who lived in an oak,
The more he saw the less he spoke
The less he spoke the more he heard
Why can’t we be like that wise old bird.”
This sums up the B.B.C. Team to a ‘tee’. Haste ye back.
Other pre and post Festival coverage appeared in the ‘B&F’ and the ‘East Lothian Courier’, the contribution to the latter being by a retired journalist and Scottish music enthusiast who is resident in Musselburgh. Both papers gave us lots of footage.
To harp back briefly to ‘TTF’, one reflects with satisfaction that a very creditable proportion of the groups who first came to light in the competition scene at Festivals such as Musselburgh, graduate to the broadcasting field. Hopefully, not missing out too many, how about this little lot :-
Neil Barron, The Craigowl, Colin Dewar, Alan Doig, Graham Geddes, Simon Howie, Craig McCallum, Graeme Mitchell, The Oakbank Sound, Graham Ross.
Several of these, and others not mentioned, have also had success in the recording world. A very healthy scene and long may it continure.
But back to the Festival – at the risk of being dubbed repetitive Musselburgh undoubtedly has an atmosphere all of its own thanks in no small part to the layout of the Brunton complex, which lends itself to socialising in complete comfort. The fact that stalwart mootie playing senior citizen Willie Atkinson, all the way from Northumberland, was still there at ‘Auld Lang Syne’ is ample testimony to this.
Thanks to all the competitions running to time the full-house Winners’ Concert kicked off on schedule at 6.30pm. Ex-Festival Committee chairman Alex Little from Dumfries, who was taking an enforced rest under doctor’s orders last year, was happily back in harness and compered the event unto the manner born. With no less than 6 senior accordion finalists to be dovetailed into a packed two hour show, Alex certainly had his work cut out.
Immediately prior to the final spot, which featured the winning band, a special award was made to an enthusiastic 3-row button key player who had journeyed all the way from Ballynahinch in Northern Ireland for the second year running to compete. This once only award, presented by John McQueen of Dumfries to mark the octo-centenary of that town, reflected the Committee’s appreciation of Neil support.
As the audience were still filing out after the concert the ‘staff’ were again at peak revs., rearranging furniture for the dance. This year we had our youngest ever band, the Craigowl from Dundee, led by Kevin Clark. No need to enlarge on their prowess, or progress – suffice to say they more than lived up to their reputation and provided first class dance music for the 450 partons. One well-known fiddle player, who shall be nameless (I refuse to give any clues such as the fact that he is a vintage tractor enthusiast) was completely sent by the band’s performance and said, “Just listen to that. My goodness, you won’t get better.” A compliment indeed.
A fitting end to a great day.
And I have NOT forgotten all the Clubs who donated raffle prizes, nor have I forgotten the caterers from Edinburgh who put in something like a 17 hour day to sustain the ‘inner man’ ; nor have I forgotten the staff of the Brunton Halls of the caretaker of the local Congregational church Hall, who did everything they could to ensure our comfort. We gratefully acknowledge their valuable contributions.
Finally, on behalf of the Festival committee, our warmest thanks to the competitors – no competitors, no Festival – to all who came to listen, and to all who danced the night away. See you all next year.
Footnote :- That hardworking band, the Festival Organising Committee, who somehow or other managed to put up with yours truly, were Mrs Joan Blue, Tom Clark, Eddie MacDonald, Bob Scott, Willie Wilson and Secretary Sheila Williams.
Letters to the Editor
With regard to John McIntee’s letter supporting the views expressed by some of the bandleaders on the 21st December, advocating a return to live broadcasts, I am at a loss to see what would be gained by such a move and, in fact, I think it is fair to say that all the advantages come down on the side of the recorded sessions.
In the latter the Producer retains control throughout, this he cannot do if the session is live, if anything goes wrong he is stymied and cannot rectify the situation. In the so-called good old days of live broadcasts ‘things’ did go wrong – will David Cunningham every forget the nightmare when his accordion strap snapped and he was unable to continue?
During the 1960s there was no-one to surpass Mickie Ainsworth as a super accordionist, he was brilliant and yet I can recall the occasion when a lovely chord progression in the last eight bars of ‘Hamilton House’ went badly awry, due to Mickie using the correct fingering except that he started the progression in the wrong place, i.e. one note down.
Another instance I recall was when Ian Porwie mistakenly turned over two sheets of music during a broadcast and played ‘Donald Bane’ while the rest of the band tried to play ‘Bob Sanders’.
Jimmy Shand once played the ‘Circassian circle’ instead of ‘Kate Dalrymple’ – there must be hundreds of examples when ‘something went wrong’.
Everyone makes mistakes, the perfect broadcast has yet to be played. My point is, however, that the aforementioned examples would not have been heard had the producer been recording the session. As regards the point that future broadcasts would be determined by the performance of the last, this still applies in that if a producer has problems recording a sessions he will have second thoughts about offering another broadcast .
I have never had the ‘privilege’ (call it what you like) of doing a live broadcast as all my broadcasts have been pre-recorded, however’ I cannot see that I could go into a live broadcast any better prepared than I go into a recording. I always present the band at the studio with the intention in mind of doing the session in a ‘oner’ – accepting, of course, that there is little chance of this happening and a retake of a selection may be called for which in all probability would have been acceptable if ‘live’ – the fact that I have never been longer than two hours and more normally 1½ hours in undertaking a recording session is, I think, a fair indication that not-too-many-retakes are called for.
To my way of thinking, I doubt of the advocated for live have never had to do a retake and to be happy to put out a selection which could be improved by a retake is unprofessional.
If on the other hand they are saying that because a session is being recorded (allowing the facility for a retake) they appear at the studio less prepared than they would if it were live, then that too is unprofessional I agree with John McIntee, Hebbie’s broadcast was very good but I venture to suggest that had the session been recorded one or two sets would have been subject to a retake.
I agree too that the use of session musicians is regrettable, but it is nevertheless necessary as there is just no work available for a six-piece band and while with the aid of modern-day equipment a three or four-piece can produce an acceptable sound at a price which most dance committees can afford, there is no doubt in my mind that that sound will never compare with the Rolls Royce sound of button box, piano box, fiddle, bass, drums and piano and why should the listeners be denied listening to a good sound simply because of economics.
I would refute the suggestion that session musicians take comfort from the recorded situation as in practice it is rarely as a result of a mistake by a sessionist that makes a retake advisable. Any ‘comfort’ which can be derived usually falls to the bandleader as he may be tempted to play a ‘bogey’ tune in the knowledge that if the band falls off the perch a retake is available whereas if the session is live he will play safe at all times and leave out the ‘bogey’ – we all have our bogey tunes!
The comments on the ‘Reel Blend’ are hardly valid. I don’t think it was ever intended that the ‘Reel Blend’ be compared with ‘TTF’ – they are two entirely different programmes and a lot of elderly listeners like to hear the oldies as presented by Robbie. I thought he took a lot of unnecessary stick during the programme on 21st December. He puts in a tremendous amount of work and research into his programmes and does an excellent job.
The late David Findlay started to break the mould of the BBC ‘stiff upper lip’, while Robbie shattered it good and proper. Our writer suggests a change in format but makes no concrete suggestion as to what that change should be. Do we want to return to the days of the ‘stiff upper lip’, do we want to reduce the show to the level of a disc jockey – Lord forbid either.
The panel on the 21st December and John McIntee suggest more exposure to the youngsters. With respect, there are more youngsters on the air than ever before. I can think of at least eight bands where the bandleader and the majority of the band (in not all) fall into the teenager bracket. It should also be noted that some of the bandsof long-standing have replaced older players who have retired or left, with youngstera – Jim Johnstone has Marie Fielding and Neil Barron; Bill Black has so Duncan and also Judi Davidson; I myself have Gary Mair and Mo Rutherford and there must be other examples. It is interesting to note, however, that two of the panel advocating the youngsters policy do not themselves have youngsters in their bands and in fact replace old with old! No, I think the youngsters do very well out of the air time allotted to Scottish dance music.
The passing of the ‘bandleaders choice’ is regrettable. It did give us the opportunity of ‘doing something different’ and hopefully this may be reinstated in the future.
Allan Kindness
Glendaruel SDB, Perth
Sir – Could I appeal through your letter page for help from readers for a project that I am involved in!? I am trying to put together a collection of the compositions of James Hill, the most famous of which are probably ‘High Level Bridge’, ‘Beeswing’ and ‘The Hawk’, together with some information about the man himself.
Little is known about him other than he was born in Scotland and made his living as a public house fiddler on Tyneside during the mid-nineteenth century. I would be more than grateful if any readers who know anything (however seemingly insignificant) about James Hill, his family or his music could get in touch with me.
Graham Dixon
169 Main Street
Pathhead
Midlothian
EH37 5SQ
Sir – Jimmy Clinkscale’s otherwise excellent and sensitive appreciation of Andrew Rankine states that Andrew was ‘absent from the Scottish scene’ between the time he moved to Whitley Bay and then Leicester during the 1960s and the mounting of Accordion Bonanza No 1 in 1980.
This will come as a surprise to his many friends, admirers and professional colleagues in England, especially perhaps the countless Scottish dancing societies throughout the country who enjoyed his playing during those years.
In fact, Andrew’s band was in full swing during that period, with Ken Park on fiddle, George Darling on drums and myself of piano. Among the albums released at that time were ‘Scottish Country Dance Favourites Vol 1’ (Emerald Gem GES 1055) in 1971 ; ‘Come Scottish Country Dancing’ (NRSCDS 102) issued by the Newcastle Branch of the RSCDS in 1976 ; ‘Scotsmen Every One’ (Emerald Gem GES 1176) in 1977 and ‘Great Scotch’ (ART 302) on Andrew’s own Artisan label in 1980.
Our last album, sadly, was ‘The London highland club Diamond Jubilee’ (LHC LP7) issued by the London Highland club in 1984.
Like many other players, notably those who spoke during Robbie Shephard’s ‘TTF’ tribute last December, I feel both privileged and proud to have been able to play with Andrew.
In his playing, arranging and musicianship generally, he was one of a small handful of individuals who have made unique, creative contributions to the development of Scottish Country Dance Music. His influence in all of these ways will live on.
In recalling Andrew’s great gifts, however, it would be a pity if a whole slice of his colourful career was overlooked.
One final point. In penning these words, mildly criticizing Jimmy Clinkscale, I’m reminded of one of Andrew’s qualities that has not been remarked upon in the course of recent appreciations and obituaries. In all the years I knew him, and despite his own abundant talents, I never heard Andrew criticize another band or another player (members of his own band being rare exceptions!)
Only when asked did he volunteer an opinion and he invariably looked for points to praise.
Dr Bernard Dixon
81 Falmouth Road
Chelmsford
Essex
Sir – I am writing in reply to the report in the March edition of the B&F’ from the Aberdeen Club and would like to take this opportunity to apologise to those members of the Aberdeen Club who turned out to the February meeting hoping to hear the Craigowl Dance Band.
The report, by Tom Wymmes, was unfairly critical of the Craigowl for failing to turn up and thus ‘dooming’ their 10th Anniversary celebrations. It was stated in the report that the Craigowl were booked to play at the meeting. This, however’ was not the case.
An approach was made by a Committee Member of the Aberdeen Club to the band in September, 1985, with regard to appearing at the Club. No firm date was decided upon, and the Aberdeen Club was to write confirming the date. This, however’ was not done.
The next contact between the Craigowl and the Aberdeen club was not until the night of the meeting at 8.30pm to ask why we had not arrived? If we had received a phone call even the night before, we would have been able to make arrangements to appear at the Club, but at that late stage there was nothing we could do.
Once again, my apologies for any inconvenience to Club members.
Kevin Clark
55 Sutherland Crescent
Dundee
Sir – I would like to draw your attention to one of the accordion sections in the competition at the Brunton Halls, Musselburgh on 1st March.
It is the Under 12 Traditional Accordion solo – a medley of three tunes from the following – slow air, waltz, polka, slow hornpipe, jig or two step.
The boy who got first place played a quick hornpipe, I am sure a lot of other players could have done the same if they had broken the rules.
The same thing happened two years ago – a reel was not included in the choice but the winner played a reel.
I suggest a little more consultation with the adjudicators so that they understand what type of tunes they are judging, and if players do not stick to them, they ought to be disqualified.
Chrissie Leatham
6 Dalgety Road
Edinburgh
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Nag’s Head) – members only – 6th April 86 Bill Black
Armadale (Masonic Arms Hotel) – 3rd April 86 Graeme Mitchell
Ayr (Aftongrange Hotel) – 6th April 86 Robert Whitehead and the Danelaw SDB
Balloch (Denny Social Club) – 16th March Alan Roy
Banchory (Burnett Arms Hotel) –
Banff (Royal Oak Hotel) –
Beith (Anderson Hotel) –
Belford (Community Club) – 27th Mar 86 Robert Black SDB
Biggar (Clydesdale Hotel) –
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Thistle Inn) –
Coupar Angus (Royal Hotel) –
Crieff & District (Arduthie Hotel) –
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) – 27th Mar 86
Dingwall (venue? ) –
Dunblane (Hydro) – 1st April 86
Dundee (Queen’s Hotel, Nethergate) –
Dunfermline (Northern Roadhouse) –
East Kilbride (King’s Park Hotel, Rutherglen) – 27th Mar 86 Lesmahagow Club
Edinburgh (Abbey Suite, Abbey Lane) – 2nd April 86 Graeme Mitchell
Ellon (Ladbroke Hotel) –
Falkirk (Park Hotel) –
Fintry (Clachan Hotel) –
Forres (Brig Motel) – 12th Mar 86 Iain MacPhail SDB 9th April 86 Willie Simpson
Fort William (Cruchan Hotel) – 14th Apr 86 Ian Powrie
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) – members only -
Gorebridge (Rangers FC Social Club) –
Highland (Drumossie Hotel) – 17th Mar 86 Ian Powrie & Jimmy Blue
Islesteps (Cargenholm Hotel) –
Kelso (Ednam House Hotel) –
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 13th Mar 86 Addie Harper Trio 10th Apr 86 Sandy Nixon SDB
Livingston (Golden Hind, Blackburn) – 20th Mar 86 Charlie Cowie
Lockerbie (Bluebell Hotel) –
M.A.F.I.A. (Black Bull, Milngavie) –
Montrose (Park Hotel) –
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) – 31st Mar 86 Fraser McGlynn Trio
Newton St Boswells (Railway Hotel) –
North Cumbria (Howard Arms) (prev called Gretna Club) –
North East (Royal Hotel, Keith) –
Oban (Park Hotel) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Ex-Servicemen’s Club) –
Perth (Salutation Hotel) –
Premier NI (Wilson’s of Crumlin) -
Renfrew (Masonic Hall) – 11th Mar 86 Alistair McDonald (of the Wick Band) 8th Apr 86 Graeme Mitchell & Neil McMillan
Rothbury (Queen’s Head Hotel)
Shetland (venue?) -
Stranraer (Railway Club) – 31st Mar 86 Addie Harper Trio
Thornhill (?)
Thurso (McKay’s Hotel) –
Turriff (Royal Oak Hotel) – 3rd April 86 Buchan Club and Huntly Loons
Tynedale (The Royal Hotel, Hexham) –
Walmer (Bridge of Allan) –
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Alnwick
3. Balloch
4. Callander
5. Dingwall & District
6. Dunblane & District
7. Dundee
8. East Kilbride
9. Forres
10. Fort William
11. Highland
12. Kelso
13. Livingston
14. M.A.F.I.A.
15. Newtongrange
16. North East
17. Perth & District
18. Renfrew
19. Shetland
20. Thurso
21. Tynedale
22. Wick
CLUB DIRECTORY AS AT SEPT 1985 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Alnwick A&F Club (Sept 1976)
3. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
4. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Buchan A&F Club
12. Callander A&F Club (
13. Campbeltown & District A&F Club (c Dec 1980)
14. Castle Douglas A&F Club (c Sept 1980)
15. Crieff A&F Club (cSept 1981)
16. Dalriada A&F Club (Feb 1981)
17. Derwentside A&F Club
18. Dingwall & District (May 1979 – per first report)
19. Dunblane & District A&F Club (1971)
20. Dundee & District A&F Club
21. Dunfermline & District A&F Club (1974 – per first edition)
22. East Kilbride A&F Club (Sept 1980)
23. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
24. Ellon A&F Club (
25. Falkirk A&F Club (Sept 1978 - )
26. Fintry A&F Club
27. Forres A&F Club (Jan 1978)
28. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
29. Galashiels A&F Club (joined Sept 1982)
30. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
31. Glendale Accordion Club (Jan 1973)
32. Highland A&F Club (Inverness)
33. Islesteps A&F Club (Jan 1981)
34. Isle of Skye A&F Club (
35. Kelso A&F Club (May 1976)
36. Kintore A&F Club
37. Langholm A&F Club (Oct 1967)
38. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
39. Livingston A&F Club (Sept 1973 – per first edition)
40. Lockerbie A&F Club (Nov 1973)
41. M.A.F.I.A. (early)
42. Montrose A&F Club (joined Sept 1982)
43. Newtongrange A&F Club (joined Sept 1979)
44. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
45. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
46. North East A&F Club aka Keith A&FC (Sept 1971)
47. Oban A&F Club (Nov 1975)
48. Orkney A&F Club (Mar 1978)
49. Ormiston Miners’ Welfare Society A&F Club
50. Peebles A&F Club (26 Nov 1981)
51. Perth & District A&F Club (Aug 1970)
52. Premier A&F Club NI (cNov 1980)
53. Rothbury Accordion Club (1987??)
54. Shetland A&F Club (Sept 1978)
55. Stranraer & District Accordion Club (1974 – per first edition)
56. Sutherland A&F Club (
57. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
58. Thurso A&F Club (cSept 1981)
59. Turriff A&F Club (March 1982)
60. Tynedale A&F Club (Nov 1980)
61. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
62. Bonchester Accordion Club (Closed?)
63. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
64. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
65. Club Accord
66. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
67. Coupar Angus A&F Club (cSept 1978 - ?)
68. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
69. Denny & Dunipace A&F Club (Feb 1981)
70. Dornoch
71. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
72. Dunbar Cement Works A&F Club (Closed?)
73. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
74. Gretna A&F Club (June 1966)
75. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
76. Kinlochsheil A&F Club (
77. Kirriemuir A&F Club (cSept 1981)
78. Monklands A&F Club (Nov 1978 – closed cApril 1983)
79. Morecambe A&F Club (joined Sept 1982)
80. Newcastleton Accordion Club
81. New Cumnock A&F Club (cMarch 1979)
82. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
83. Straiton Accordion Club (c1968 – closed March 1979)
84. Torthorwald A&F Club (near Dumfries)
85. Wellbank A&F Club
Advertising rates
Full Page - £92
Half Page - £46
Quarter Page - £23
B&F Treasurer – Mrs Cathy Andrew, 22 Lochinver Crescent, Foxbar, Paisley Tele 2824
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
All good things come to an end, but the good news is that come September it all starts up again. Happily, you will have new blood at the helm of your newspaper. Come the AGM I shall be resigning as Editor. After nine eventful years it is time for a new broom to brush the cobwebs away and with new vigour press ahead.
The AGM Weekend is on the 28-29th June at the Station Hotel, Perth. Note the new venue. It all starts with lunch on Saturday, followed by accordion and fiddle workshops with a dance in the evening.
The Sunday’s AGM starts at 11am to be followed by a celebrity concert at 2.30pm. Listen to ‘TTF’ for further details.
May I thank all those people in and out of the Association who kept me on the straight and narrow line between, on the one hand, the Accordion, and on the other, the Fiddle. To the many friends I have made I say Thank You.
NAO Festival in Glasgow
By Ian Smith
The Govan Town Hall in Glasgow saw the second of the big three Festivals when the cream of the youngsters vied with each other to see who could become champion on the day.
From a host of challengers several names came to the fore. Some well known, but others who will become famous. Like young Mhairi Coutts, two firsts in her Scottish groups ; Iain Carmichael and James Coutts. Once again the Senior Scottish Champion is Roy Hendrie. The Open Solo was won by Nicola Reid and the Bell Trophy by David Preston. David teamed up with brother Alan to take the Open Duet. Here is the full list from a busy day.
Under 10 Scottish
1) Mhairi Coutts
2) Craig Skinner
3) Ross Irvine
Under 12 Scottish
1) Mhairi Coutts
2) Craig skinner
3) Campbell Loch
Under 14 Scottish
1) Iain Carmichael
2) Scott Sneddon
3) Alistair McInnes
Under 16 Scottish
1) James Coutts
2) Ian Lowthian
3) Keith Robertson
Senior Scottish
1) Roy Hendrie
2) Sandy Watson
3) Liam Howitt
Open Scottish
1) Nicola Reid
2) Alan Preston
3) Russell Forbes
7 and Under Solo
1) Mhairi Smith
2) Ian Anderson
3) Ross Irvine
9 and Under Solo
1) Craig Skinner
2) Mhairi Coutts
3) Alan Small
11 and Under Solo
1) Stuart Campbell
2) Allan Banford
3) Heather McKenzie
12 and Under Solo
1)
2)
3)
13 and Under Solo
1) Mark Bausie
2) Russel Torrie
3=) Angeline Jane McCloy & Irma Runciman
Preparatory Solo
1) Bernadette Meechem
2=) John McColm & Colin McNeil
3) Barry McMillan
Elementary Solo
1) Andrew Warren
2) Pamela Mutch
3) Fiona Linton
Higher Elementary Solo
1) Kenneth Farley
2) Andrew Thomson
3) John McInnes
Intermediate Solo
1) Stewart Law
2) Barbara McLeod
3) Fraser McLellan
Higher Intermediate Solo
1) Alistair Mathieson
2) Iain Cathcart
3=) Malcolm Rae and Keith Robertson
Preparatory Duet
1) Colin McNeil & Lesley Morrison
2) Alison & Susan McPare
3) Robert Ormand & James Coutts
Elementary Duet
1) Allan Laurie and Gordon Shand
2) Dawn & Geoff Banford
3) Andrew Thomson & Fiona Linton
Intermediate Duet
1) Fiona Cousin & Gordon Shand
2) Kenneth Turley & Ian Stewart
3) Stewart Law & Angeline McCloy
Higher Intermediate Duet
1) Fiona Gray & Elaine Christie
2) Craig Drysdale & Gordon Haddow
3) Tom Dickie & David Barr
Open Duet
1) Alan and David Preston
2) Kirsteen Grossile & Stuart Duff
3) Norma & Linda Frater
Junior Championship
1)
2)
3)
Advance Championship
1) James Grant
2) Alan Preston
3) Norma Frater
Invitation Open
1)
2)
3)
Bell Trophy
1) David Preston
2) Lorna Halliday
3) Alan Preston
Preparatory Band
1) J.R. Brown Prep Band
2) Gary Blair Prep Band
Elementary Band
1) Lola Blair Elementary Band
2) J.R. Brown Elementary Band
3) Bill Sharp Elementary Band
Intermediate Band
1) J.R. Brown Intermediate Band
2) Dundee Accordion Band
3) Fife Accordion Band
Open Band
1) J.R. Brown Advanced Orchestra
2) J. Blair Advanced Orchestra
Groups
1)
2)
Entertainer
1) Clyde Valley Keyboards
2) Scott Sneddon
3) David Martin
Free Bass Elementary
1) Alan Small
Free Bass Intermediate
1) Angeline McCloy
2) Liam Smith
3) Barbara Rae
Free Bass Higher Intermediate
1)
Musselburgh ‘86
‘The Best Laid Schemes..’
by Norrie Williams
I don’t really like doing things by half and when I make a gaffe, I make a gaffe! As happened at the Musselburgh Winners’ concert this year. Yours truly grabbed the wrong sheet to read out the placing of the finalists and made a proper Charlie of himself in front of a full house. Fortunately, as things turned out, no one got hurt, but the mix-up was my fault entirely and may I apologise once again to all those who must have had cardiac arrests, to the competitors involved, to their parents and friends, and to the adjudicator Bill Black who was done out of his summing up. Steps will be taken to ensure that N.Y.W. does not get loose again.
Despite the best of intentions, including an attempt to clarify matters in an earlier edition of the ‘B&F’, one other hiccup occurred. The ‘Slow Hornpipe’ controversy reared its head once again in the Under 12 Traditional Section as the adjudicated winner had rendered this particular tune in his set more as a Reel than in the desired rhythm. But because of his age (9) and the fact that he had been acting on advice from his elders, it was decided that, despite the technical default, he should retain the trophy and that Glenda Taylor of Beith (who had 4th highest marks) should be included in the prize list.
It is becoming increasingly obvious that there are many differing views regarding Slow Hornpipe rhythms and tempos as there are days of the week, so once, once again, it’s back to the drawing board – a wee bit sadder and wiser – but that’s life.
Burns got it right, “The best laid schemes…..”
But now to the plus side. Saturday, 1st March, dawned bright, dry and frosty, with just a bit of snow at the roadsides, but clear carriageways, and as we cruised Eastwards along the M8 towards the Capital City, we knew we were in good company and that at that very moment (5.30am – one has got to be joking) vehicles from all corners of Scotland and even from the North of England were converging on the Brunton Halls, all the occupants single-mindedly determined to have a great day with the best of music and ‘happy to meet’ to quote an old Jimmy Shand Beltona 78.
On arrival at the halls at a few minutes to seven we found the place bustling with cleaners removing the ‘after the night before’ blemishes – we always marvel at how well the Brunton is kept considering its usage – there are no less than 24 stalls in the ‘gents’!
Just at the back of 8 o’clock the atmosphere began to build up as one or two accordion and music dealers began to set up their stalls in the foyer. Once again this year we must thank these intrepid souls for their support.
Newcomers ‘D.S.M. Music’, all the way from Inverness, had a mouthwatering selection of music and records, and ‘Robert Rolston Accordions’ of Motherwell and ‘Gordon Simpson Accordions’ of Edinburgh had an equally tempting range of instruments on display – most pleasing to the eye and ear – oh, if only the coupons!
By 8.30 a goodly proportion of the Festival ‘staff’ were on site and beavering away doing everything that was asked of them, and more – setting out chairs, screens, tables, sorting out trophies, registering the first competitors, acting as escorts, and pack horses up to the instrument park and practice room, which this year was on the second floor and resembled the United Nations assembly hall. This change of venue was to enable more classes to run concurrently and so avoid overrun at the end of the competitions, and it seemed to work surprisingly well, with no complaints about the high altitude practice howff. And the comfortable time intervals between the various events made life a wee bit easier for those intimately involved – competitors, adjudicators, marshals, announcers, etc.
The aforementioned ‘staff’ were all volunteers from the following clubs – Beith, Dundee, Dunfermline, East Kilbride, Fintry, Galston, Lesmahagow, Lockerbie, Milngavie, Monklands, Newtongrange, Newton St. Boswells, Perth and Renfrew. ‘Unattached’ help was also forthcoming from Strathaven and the Glasgow Caledonian Strathspey and Reel Society.
Despite the fact that we had an augmented panel this year, the load on the adjudicators (the least enviable of all jobs) was still formidable, especially in the traditional classes which, for the most part, were slightly up on last year. Entries in the fiddle and senior accordion classes were particularly gratifying.
Chatting to a number of judges after their stints it was obvious that, although having thoroughly enjoyed the experience, the intense concentration over lengthy periods had left them temporarily somewhat ‘drained’.
We can certainly assure them that all their efforts are much appreciated and that their assessments, both verbal and written, are greatly valued by the competitors and their supporters, as witness the wrapt attention during the summing up and the intyense clamour for adjudication sheets at reception after each class.
They run the gauntlet of public opinion and are brave men indeed. Our sincere thanks to them, one and all.
Our adjudication panel may have been all male but in other departments it was certainly ladies’ day. Our accompanists in the fiddle classes were Joan Blue and Morag MacAskill, and the distaff side had a field day in the senior traditional competitions taking no less than five of the principal awards, viz. both senior fiddle classes, overall fiddle championship, senior traditional accordion and ‘The Bobby MacLeod’ for the best overall accordion. Well done girls.
As before, the following local radio stations gave us tremendous pre-festival publicity, devoting sizeable chunks of their valuable air time to the event :- Radio Forth (Robin Brock), Radio Tay (Billy Anderson), Radio West Sound (John Carmichael), Radio Moray (Andy Ross) and Radio Highland. We even got a mention on the Art Sutter programme.
Devotees of ‘TTF’ will be well aware of the excellent coverage given by B.B.C. Radio Scotland. In addition to all the advance announcements, two well produced half-hour spots went out on the programme giving a fine blend of instrumental turns and interviews featuring competitors, adjudicators, ‘et al’. The format of these recordings has gone from strength to strength over the years with ingenious use of ‘fade out’ and ‘voice over’ techniques.
Once again it was a great pleasure to have the company of Ken Mutch, Robbie Shepherd and Joyce Reid and their recording staff. How they ever manage to get anything at all beats me because they NEVER pressurise or get in anyone’s way – they certainly are perfect examples of that ‘in’ phrase ‘low profile’ and they bring to mind an old wartime adage concerning careless talk costs lives, etc
“There was an old owl who lived in an oak,
The more he saw the less he spoke
The less he spoke the more he heard
Why can’t we be like that wise old bird.”
This sums up the B.B.C. Team to a ‘tee’. Haste ye back.
Other pre and post Festival coverage appeared in the ‘B&F’ and the ‘East Lothian Courier’, the contribution to the latter being by a retired journalist and Scottish music enthusiast who is resident in Musselburgh. Both papers gave us lots of footage.
To harp back briefly to ‘TTF’, one reflects with satisfaction that a very creditable proportion of the groups who first came to light in the competition scene at Festivals such as Musselburgh, graduate to the broadcasting field. Hopefully, not missing out too many, how about this little lot :-
Neil Barron, The Craigowl, Colin Dewar, Alan Doig, Graham Geddes, Simon Howie, Craig McCallum, Graeme Mitchell, The Oakbank Sound, Graham Ross.
Several of these, and others not mentioned, have also had success in the recording world. A very healthy scene and long may it continure.
But back to the Festival – at the risk of being dubbed repetitive Musselburgh undoubtedly has an atmosphere all of its own thanks in no small part to the layout of the Brunton complex, which lends itself to socialising in complete comfort. The fact that stalwart mootie playing senior citizen Willie Atkinson, all the way from Northumberland, was still there at ‘Auld Lang Syne’ is ample testimony to this.
Thanks to all the competitions running to time the full-house Winners’ Concert kicked off on schedule at 6.30pm. Ex-Festival Committee chairman Alex Little from Dumfries, who was taking an enforced rest under doctor’s orders last year, was happily back in harness and compered the event unto the manner born. With no less than 6 senior accordion finalists to be dovetailed into a packed two hour show, Alex certainly had his work cut out.
Immediately prior to the final spot, which featured the winning band, a special award was made to an enthusiastic 3-row button key player who had journeyed all the way from Ballynahinch in Northern Ireland for the second year running to compete. This once only award, presented by John McQueen of Dumfries to mark the octo-centenary of that town, reflected the Committee’s appreciation of Neil support.
As the audience were still filing out after the concert the ‘staff’ were again at peak revs., rearranging furniture for the dance. This year we had our youngest ever band, the Craigowl from Dundee, led by Kevin Clark. No need to enlarge on their prowess, or progress – suffice to say they more than lived up to their reputation and provided first class dance music for the 450 partons. One well-known fiddle player, who shall be nameless (I refuse to give any clues such as the fact that he is a vintage tractor enthusiast) was completely sent by the band’s performance and said, “Just listen to that. My goodness, you won’t get better.” A compliment indeed.
A fitting end to a great day.
And I have NOT forgotten all the Clubs who donated raffle prizes, nor have I forgotten the caterers from Edinburgh who put in something like a 17 hour day to sustain the ‘inner man’ ; nor have I forgotten the staff of the Brunton Halls of the caretaker of the local Congregational church Hall, who did everything they could to ensure our comfort. We gratefully acknowledge their valuable contributions.
Finally, on behalf of the Festival committee, our warmest thanks to the competitors – no competitors, no Festival – to all who came to listen, and to all who danced the night away. See you all next year.
Footnote :- That hardworking band, the Festival Organising Committee, who somehow or other managed to put up with yours truly, were Mrs Joan Blue, Tom Clark, Eddie MacDonald, Bob Scott, Willie Wilson and Secretary Sheila Williams.
Letters to the Editor
With regard to John McIntee’s letter supporting the views expressed by some of the bandleaders on the 21st December, advocating a return to live broadcasts, I am at a loss to see what would be gained by such a move and, in fact, I think it is fair to say that all the advantages come down on the side of the recorded sessions.
In the latter the Producer retains control throughout, this he cannot do if the session is live, if anything goes wrong he is stymied and cannot rectify the situation. In the so-called good old days of live broadcasts ‘things’ did go wrong – will David Cunningham every forget the nightmare when his accordion strap snapped and he was unable to continue?
During the 1960s there was no-one to surpass Mickie Ainsworth as a super accordionist, he was brilliant and yet I can recall the occasion when a lovely chord progression in the last eight bars of ‘Hamilton House’ went badly awry, due to Mickie using the correct fingering except that he started the progression in the wrong place, i.e. one note down.
Another instance I recall was when Ian Porwie mistakenly turned over two sheets of music during a broadcast and played ‘Donald Bane’ while the rest of the band tried to play ‘Bob Sanders’.
Jimmy Shand once played the ‘Circassian circle’ instead of ‘Kate Dalrymple’ – there must be hundreds of examples when ‘something went wrong’.
Everyone makes mistakes, the perfect broadcast has yet to be played. My point is, however, that the aforementioned examples would not have been heard had the producer been recording the session. As regards the point that future broadcasts would be determined by the performance of the last, this still applies in that if a producer has problems recording a sessions he will have second thoughts about offering another broadcast .
I have never had the ‘privilege’ (call it what you like) of doing a live broadcast as all my broadcasts have been pre-recorded, however’ I cannot see that I could go into a live broadcast any better prepared than I go into a recording. I always present the band at the studio with the intention in mind of doing the session in a ‘oner’ – accepting, of course, that there is little chance of this happening and a retake of a selection may be called for which in all probability would have been acceptable if ‘live’ – the fact that I have never been longer than two hours and more normally 1½ hours in undertaking a recording session is, I think, a fair indication that not-too-many-retakes are called for.
To my way of thinking, I doubt of the advocated for live have never had to do a retake and to be happy to put out a selection which could be improved by a retake is unprofessional.
If on the other hand they are saying that because a session is being recorded (allowing the facility for a retake) they appear at the studio less prepared than they would if it were live, then that too is unprofessional I agree with John McIntee, Hebbie’s broadcast was very good but I venture to suggest that had the session been recorded one or two sets would have been subject to a retake.
I agree too that the use of session musicians is regrettable, but it is nevertheless necessary as there is just no work available for a six-piece band and while with the aid of modern-day equipment a three or four-piece can produce an acceptable sound at a price which most dance committees can afford, there is no doubt in my mind that that sound will never compare with the Rolls Royce sound of button box, piano box, fiddle, bass, drums and piano and why should the listeners be denied listening to a good sound simply because of economics.
I would refute the suggestion that session musicians take comfort from the recorded situation as in practice it is rarely as a result of a mistake by a sessionist that makes a retake advisable. Any ‘comfort’ which can be derived usually falls to the bandleader as he may be tempted to play a ‘bogey’ tune in the knowledge that if the band falls off the perch a retake is available whereas if the session is live he will play safe at all times and leave out the ‘bogey’ – we all have our bogey tunes!
The comments on the ‘Reel Blend’ are hardly valid. I don’t think it was ever intended that the ‘Reel Blend’ be compared with ‘TTF’ – they are two entirely different programmes and a lot of elderly listeners like to hear the oldies as presented by Robbie. I thought he took a lot of unnecessary stick during the programme on 21st December. He puts in a tremendous amount of work and research into his programmes and does an excellent job.
The late David Findlay started to break the mould of the BBC ‘stiff upper lip’, while Robbie shattered it good and proper. Our writer suggests a change in format but makes no concrete suggestion as to what that change should be. Do we want to return to the days of the ‘stiff upper lip’, do we want to reduce the show to the level of a disc jockey – Lord forbid either.
The panel on the 21st December and John McIntee suggest more exposure to the youngsters. With respect, there are more youngsters on the air than ever before. I can think of at least eight bands where the bandleader and the majority of the band (in not all) fall into the teenager bracket. It should also be noted that some of the bandsof long-standing have replaced older players who have retired or left, with youngstera – Jim Johnstone has Marie Fielding and Neil Barron; Bill Black has so Duncan and also Judi Davidson; I myself have Gary Mair and Mo Rutherford and there must be other examples. It is interesting to note, however, that two of the panel advocating the youngsters policy do not themselves have youngsters in their bands and in fact replace old with old! No, I think the youngsters do very well out of the air time allotted to Scottish dance music.
The passing of the ‘bandleaders choice’ is regrettable. It did give us the opportunity of ‘doing something different’ and hopefully this may be reinstated in the future.
Allan Kindness
Glendaruel SDB, Perth
Sir – Could I appeal through your letter page for help from readers for a project that I am involved in!? I am trying to put together a collection of the compositions of James Hill, the most famous of which are probably ‘High Level Bridge’, ‘Beeswing’ and ‘The Hawk’, together with some information about the man himself.
Little is known about him other than he was born in Scotland and made his living as a public house fiddler on Tyneside during the mid-nineteenth century. I would be more than grateful if any readers who know anything (however seemingly insignificant) about James Hill, his family or his music could get in touch with me.
Graham Dixon
169 Main Street
Pathhead
Midlothian
EH37 5SQ
Sir – Jimmy Clinkscale’s otherwise excellent and sensitive appreciation of Andrew Rankine states that Andrew was ‘absent from the Scottish scene’ between the time he moved to Whitley Bay and then Leicester during the 1960s and the mounting of Accordion Bonanza No 1 in 1980.
This will come as a surprise to his many friends, admirers and professional colleagues in England, especially perhaps the countless Scottish dancing societies throughout the country who enjoyed his playing during those years.
In fact, Andrew’s band was in full swing during that period, with Ken Park on fiddle, George Darling on drums and myself of piano. Among the albums released at that time were ‘Scottish Country Dance Favourites Vol 1’ (Emerald Gem GES 1055) in 1971 ; ‘Come Scottish Country Dancing’ (NRSCDS 102) issued by the Newcastle Branch of the RSCDS in 1976 ; ‘Scotsmen Every One’ (Emerald Gem GES 1176) in 1977 and ‘Great Scotch’ (ART 302) on Andrew’s own Artisan label in 1980.
Our last album, sadly, was ‘The London highland club Diamond Jubilee’ (LHC LP7) issued by the London Highland club in 1984.
Like many other players, notably those who spoke during Robbie Shephard’s ‘TTF’ tribute last December, I feel both privileged and proud to have been able to play with Andrew.
In his playing, arranging and musicianship generally, he was one of a small handful of individuals who have made unique, creative contributions to the development of Scottish Country Dance Music. His influence in all of these ways will live on.
In recalling Andrew’s great gifts, however, it would be a pity if a whole slice of his colourful career was overlooked.
One final point. In penning these words, mildly criticizing Jimmy Clinkscale, I’m reminded of one of Andrew’s qualities that has not been remarked upon in the course of recent appreciations and obituaries. In all the years I knew him, and despite his own abundant talents, I never heard Andrew criticize another band or another player (members of his own band being rare exceptions!)
Only when asked did he volunteer an opinion and he invariably looked for points to praise.
Dr Bernard Dixon
81 Falmouth Road
Chelmsford
Essex
Sir – I am writing in reply to the report in the March edition of the B&F’ from the Aberdeen Club and would like to take this opportunity to apologise to those members of the Aberdeen Club who turned out to the February meeting hoping to hear the Craigowl Dance Band.
The report, by Tom Wymmes, was unfairly critical of the Craigowl for failing to turn up and thus ‘dooming’ their 10th Anniversary celebrations. It was stated in the report that the Craigowl were booked to play at the meeting. This, however’ was not the case.
An approach was made by a Committee Member of the Aberdeen Club to the band in September, 1985, with regard to appearing at the Club. No firm date was decided upon, and the Aberdeen Club was to write confirming the date. This, however’ was not done.
The next contact between the Craigowl and the Aberdeen club was not until the night of the meeting at 8.30pm to ask why we had not arrived? If we had received a phone call even the night before, we would have been able to make arrangements to appear at the Club, but at that late stage there was nothing we could do.
Once again, my apologies for any inconvenience to Club members.
Kevin Clark
55 Sutherland Crescent
Dundee
Sir – I would like to draw your attention to one of the accordion sections in the competition at the Brunton Halls, Musselburgh on 1st March.
It is the Under 12 Traditional Accordion solo – a medley of three tunes from the following – slow air, waltz, polka, slow hornpipe, jig or two step.
The boy who got first place played a quick hornpipe, I am sure a lot of other players could have done the same if they had broken the rules.
The same thing happened two years ago – a reel was not included in the choice but the winner played a reel.
I suggest a little more consultation with the adjudicators so that they understand what type of tunes they are judging, and if players do not stick to them, they ought to be disqualified.
Chrissie Leatham
6 Dalgety Road
Edinburgh
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Nag’s Head) – members only – 6th April 86 Bill Black
Armadale (Masonic Arms Hotel) – 3rd April 86 Graeme Mitchell
Ayr (Aftongrange Hotel) – 6th April 86 Robert Whitehead and the Danelaw SDB
Balloch (Denny Social Club) – 16th March Alan Roy
Banchory (Burnett Arms Hotel) –
Banff (Royal Oak Hotel) –
Beith (Anderson Hotel) –
Belford (Community Club) – 27th Mar 86 Robert Black SDB
Biggar (Clydesdale Hotel) –
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Thistle Inn) –
Coupar Angus (Royal Hotel) –
Crieff & District (Arduthie Hotel) –
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) – 27th Mar 86
Dingwall (venue? ) –
Dunblane (Hydro) – 1st April 86
Dundee (Queen’s Hotel, Nethergate) –
Dunfermline (Northern Roadhouse) –
East Kilbride (King’s Park Hotel, Rutherglen) – 27th Mar 86 Lesmahagow Club
Edinburgh (Abbey Suite, Abbey Lane) – 2nd April 86 Graeme Mitchell
Ellon (Ladbroke Hotel) –
Falkirk (Park Hotel) –
Fintry (Clachan Hotel) –
Forres (Brig Motel) – 12th Mar 86 Iain MacPhail SDB 9th April 86 Willie Simpson
Fort William (Cruchan Hotel) – 14th Apr 86 Ian Powrie
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) – members only -
Gorebridge (Rangers FC Social Club) –
Highland (Drumossie Hotel) – 17th Mar 86 Ian Powrie & Jimmy Blue
Islesteps (Cargenholm Hotel) –
Kelso (Ednam House Hotel) –
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 13th Mar 86 Addie Harper Trio 10th Apr 86 Sandy Nixon SDB
Livingston (Golden Hind, Blackburn) – 20th Mar 86 Charlie Cowie
Lockerbie (Bluebell Hotel) –
M.A.F.I.A. (Black Bull, Milngavie) –
Montrose (Park Hotel) –
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) – 31st Mar 86 Fraser McGlynn Trio
Newton St Boswells (Railway Hotel) –
North Cumbria (Howard Arms) (prev called Gretna Club) –
North East (Royal Hotel, Keith) –
Oban (Park Hotel) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Ex-Servicemen’s Club) –
Perth (Salutation Hotel) –
Premier NI (Wilson’s of Crumlin) -
Renfrew (Masonic Hall) – 11th Mar 86 Alistair McDonald (of the Wick Band) 8th Apr 86 Graeme Mitchell & Neil McMillan
Rothbury (Queen’s Head Hotel)
Shetland (venue?) -
Stranraer (Railway Club) – 31st Mar 86 Addie Harper Trio
Thornhill (?)
Thurso (McKay’s Hotel) –
Turriff (Royal Oak Hotel) – 3rd April 86 Buchan Club and Huntly Loons
Tynedale (The Royal Hotel, Hexham) –
Walmer (Bridge of Allan) –
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Alnwick
3. Balloch
4. Callander
5. Dingwall & District
6. Dunblane & District
7. Dundee
8. East Kilbride
9. Forres
10. Fort William
11. Highland
12. Kelso
13. Livingston
14. M.A.F.I.A.
15. Newtongrange
16. North East
17. Perth & District
18. Renfrew
19. Shetland
20. Thurso
21. Tynedale
22. Wick
CLUB DIRECTORY AS AT SEPT 1985 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Alnwick A&F Club (Sept 1976)
3. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
4. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Buchan A&F Club
12. Callander A&F Club (
13. Campbeltown & District A&F Club (c Dec 1980)
14. Castle Douglas A&F Club (c Sept 1980)
15. Crieff A&F Club (cSept 1981)
16. Dalriada A&F Club (Feb 1981)
17. Derwentside A&F Club
18. Dingwall & District (May 1979 – per first report)
19. Dunblane & District A&F Club (1971)
20. Dundee & District A&F Club
21. Dunfermline & District A&F Club (1974 – per first edition)
22. East Kilbride A&F Club (Sept 1980)
23. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
24. Ellon A&F Club (
25. Falkirk A&F Club (Sept 1978 - )
26. Fintry A&F Club
27. Forres A&F Club (Jan 1978)
28. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
29. Galashiels A&F Club (joined Sept 1982)
30. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
31. Glendale Accordion Club (Jan 1973)
32. Highland A&F Club (Inverness)
33. Islesteps A&F Club (Jan 1981)
34. Isle of Skye A&F Club (
35. Kelso A&F Club (May 1976)
36. Kintore A&F Club
37. Langholm A&F Club (Oct 1967)
38. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
39. Livingston A&F Club (Sept 1973 – per first edition)
40. Lockerbie A&F Club (Nov 1973)
41. M.A.F.I.A. (early)
42. Montrose A&F Club (joined Sept 1982)
43. Newtongrange A&F Club (joined Sept 1979)
44. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
45. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
46. North East A&F Club aka Keith A&FC (Sept 1971)
47. Oban A&F Club (Nov 1975)
48. Orkney A&F Club (Mar 1978)
49. Ormiston Miners’ Welfare Society A&F Club
50. Peebles A&F Club (26 Nov 1981)
51. Perth & District A&F Club (Aug 1970)
52. Premier A&F Club NI (cNov 1980)
53. Rothbury Accordion Club (1987??)
54. Shetland A&F Club (Sept 1978)
55. Stranraer & District Accordion Club (1974 – per first edition)
56. Sutherland A&F Club (
57. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
58. Thurso A&F Club (cSept 1981)
59. Turriff A&F Club (March 1982)
60. Tynedale A&F Club (Nov 1980)
61. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
62. Bonchester Accordion Club (Closed?)
63. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
64. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
65. Club Accord
66. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
67. Coupar Angus A&F Club (cSept 1978 - ?)
68. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
69. Denny & Dunipace A&F Club (Feb 1981)
70. Dornoch
71. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
72. Dunbar Cement Works A&F Club (Closed?)
73. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
74. Gretna A&F Club (June 1966)
75. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
76. Kinlochsheil A&F Club (
77. Kirriemuir A&F Club (cSept 1981)
78. Monklands A&F Club (Nov 1978 – closed cApril 1983)
79. Morecambe A&F Club (joined Sept 1982)
80. Newcastleton Accordion Club
81. New Cumnock A&F Club (cMarch 1979)
82. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
83. Straiton Accordion Club (c1968 – closed March 1979)
84. Torthorwald A&F Club (near Dumfries)
85. Wellbank A&F Club
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