Box and Fiddle
Year 09 No 05
January / February 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
January is a bad month newswise, so I decided to skip an month and put two editions together. This enabled us to get to the beginning of the month for publishing. Do try to give me your future date with this in mind.
First there was Andrew Rankine and now Mrs Blair has gone from our scene. Let’s hope we don’t have anyone to record for a long time. We need everyone of that calibre.
Life must go on and on a brighter note we can look forward to the Govan Festival on 22nd February, followed by Musselburgh on 1st March.
Andrew Rankine – An Appreciation
by Jimmy Clinkscale
It was with a profound sense of loss that the Scottish entertainment community heard of the death – just before Christmas – of that superb instrumentalist and immensely warm personality.
Aberdeen-born Andrew died of a heart attack at the age of 55 in California, to where he had emigrated in 1984 to establish the Scottish Heritage Centre near the Queen Mary at Long Beach.
Andrew was brought up in Menstrie, and began playing the accordion at 16 when his mother bought him a £90 Pancotti. His inspiration was Jimmy Shand and I remember Andrew telling me, “I just loved that accordion sound, and will never forget that night I eventually mastered the Scottish style.
“After two years’ practice it just clicked. I was knocked out at the time. It gave the thing a whole new dimension.”
The young Rankine was so determined to play well, he practised four hours a night through the week and eight hours a day at weekends.
He soon formed his own band – two accordions, piano, bass, drums and fiddle – and became a firm favourite all over Scotland.
Jack Delaney played with him for five years from 1955 and recalls the period with great affection, “Andrew didn’t copy anyone – he had his own particular style. He had a swing, he had a lift, he had a bounce.
“The five years I was with him was one of the highlights of my musical career. He was a natural – a great player.”
In 1960, Andrew went full time, but the arrival of rock ‘n’ roll meant Scottish bands found gigs hard to get, so he moved to Whitley Bay where he took up a post as a rep for Selmers, covering the whole of Scotland, North East England and Ireland.
I remember him calling at my Melrose shop at this period and becoming entranced with a Selmers’ imported Cordovox electronic accordion, which was the first one in a showroom in the UK. He had it converted to Scottish tuning and left Selmers to go back on the road with a one-man big band sound.
In 1963 he moved to Leicester to be more central. He had a prolonged residency at the Leicester Bierkeller, where he pounded out an incessant flow of Latin American, Continental, up-beat, down-beat and chart successes, mixed with standards and classics from all over the globe and Memory Lane.
He was absent from the Scottish scene until 1980 when I was putting on a big show – “Accordion Bonanza No. 1” – at Kelso and I thought Andrew would be a great choice for a special guest.
He was reluctant at first, and said he would have to rehearse for a month, but his wife Marj finally persuaded him to do it. Andrew enjoyed it immensely and said he was anxious to get into the Scottish scene again.
He featured in a live album of that concert and also in the follow-up album. With his newfound enthusiasm, he got his original band together and appeared in a BBC Radio Broadcast and two programmes in Robin Brock’s “Folks Around Robin” on Radio Forth. I edited and compiled two Best in Scottish Dance Music albums from the Radio Forth broadcasts and Andrew and his band featured prominently in both.
It was at this time he bought a new Crucianelli electronic accordion from me, which had hand made reeds and special tuning and he used it exclusively until he went to the USA.
We were all disappointed when he decided in 1984 to sell up and start out his new business on the Queen Mary. He was last back in Scotland in March 1985, when he dropped in to see the lads at my Melrose shop and buy albums and cassettes for his business.
He began his recording career on the Parlophone label and, of course, was handled by George Martin, who went on to great things as producer of The Beatles.
I well remember Andrew telling me, “We always thought George was a really big name at that time, earning lots of money, but discovered in his autobiography that he was getting only £8 a week.”
Up until 1980, Andrew had eight albums and fifteen singles to his credit, cutting his first long player in 1969 with John Carmichael on second accordion and Charlie Cowie on fiddle.
He cited Meg Merrilees as his best recording and always recalled with nostalgia what a good band he had at that time.
Of course, Andrew was a very gifted composer – he had a superb ability to write a simple, lilting tune and his 6/8 jig Donald Ian Rankine is a masterpiece. He also had a superb talent for selecting sets in which the tunes all flowed into a distinctive, essentially sympathetic format – a form of intricate editing in which the set jelled together marvelously.
Andrew was a great character with a tremendous personality. I know he had a reputation for turning up late for engagements, but once he was there, his tremendous drive and verve made sure that the audience got their money’s worth!
He had astonishing energy. This was typified in a conversation I had recently with accordionist/enthusiast John Munro from Keith.
John told me, “I remember Andrew staying with me one night in the summer of 1965 after a concert in Portree. Andrew had boundless energy. He picked up the Cordovox at around midnight and played more or less non-stop until around 4.30 a.m.
“He then suggested we all go out for a walk, which we did, arriving home around 5 a.m. with fresh rolls. Instead of calling it a day, Andrew promptly picked up the Cordovox and played with renewed brilliance until 7 a.m.”
Sadly, Andrew never played abroad – a heart attack after a tour of Shetland in 1970 making him decide to stick to these shores.
In a musical career spanning more than thirty years, Andrew made an indelible mark on the Scottish music scene. He was a marvellous instrumentalist, inspiring bandleader, talented composer, a loyal friend and warm-hearted, exuberant and always cheery personality. Our deepest sympathy goes to Marj in her tragic loss.
Andrew began his working career in Glenochil Yeast Factory as a laboratory assistant. I once asked him if he had any regrets about leaving that laboratory in Clackmannanshire.
“No, none at all. Music is a way of life I would never have missed. But you can take yourself too seriously. After you overcome the impression that music can’t live without you, you have a lot of laughs.
It’s just a question of getting it all into perspective.”
Andrew Rankine did get things into perspective. And these remarks couldn’t provide a more fitting epitaph for a man who gave pleasure to millions.
Mrs Loretta Blair – Obituary
It is with deep regret that we have to record the death of Mrs Loretta Blair after a long and uncomplaining suffering from cancer. She is now at rest. We also extend our sympathy to her family.
Loretta was the wife of the late Jimmy Blair, musician, accordionist, Scottish dance band leader, teacher, composer and conductor of the world-famous Accordion Orchestra.
Under his leadership, this orchestra won every award that was on offer. When he died (in November 1981) Loretta took over the baton and everything carried on as before. The reaching and the orchestras – there were three – kept up the standard set by Jimmy.
Last year Loretta underwent a serious operation and was in and out of hospital, yet such was her love of music and her determination to live life to the full she insisted on doing as much as possible, especially with the orchestra.
It’s not so long ago that she had her orchestra at the Stranraer Club and left behind her a lasting memory of beautiful music.
This is how we will remember her, the purveyor of beautiful music.
It is also our hope that Gary, her eldest son, will take up the baton too.
Judith Davidson
by Jimmy Clinkscale
Continuing a great tradition of gifted Scottish female fiddlers is Judith Davidson, who hails from that rich source of fine fiddlers – Banchory. In this profile, Jimmy Clinkscale, of the Clinkscale Music Centre, Aberdeen, has a look at this talented lass who is still a teenager.
Although she is still only 19, Judith Davidson has considerable experience under her bow since she first took up the fiddle as a 9-year-old.
One of a family of three, she was brought up in a musical environment as her father Gordon, who is a partner in a painting and decorating business in the picturesque Deeside town, is a piper with Banchory and District Pipe Band.
At Banchory Academy she was taught classical fiddle music under the careful tutelage of Mrs Nan Reid, and joined the Banchory Junior S&R Society at the age of ten, where she came under the wing of Mary Milne who has carried on the vital traditions from her father, the late Sandy Milne.
At this juncture she began to develop the Scottish style under another famous Royal Deeside fiddling figure – Angus Shaw, and embarked on a spectacularly successful five-year period in the competitive scene in Scotland – winning at Aberdeen, Inverness and Banchory in her first year.
In her second year she lifted the coveted ‘Golden Fiddle’ junior title, and there followed a string of successes at Inverness, Elgin, Aberdeen, Aberdeen, Kirriemuir, Keith and Banchory as she made a significant impression on the Scottish solo fiddle scene.
It was a hectic period, involving extensive traveling and Judith is deeply grateful to her mother, Celia, who was her tireless chauffeur in their constant forays all over Scotland in collecting an impressive haul of silverware.
When she was 15, her competitive career culminated in splendid fashion when she won the senior ‘Golden Fiddle’ Championship to complete a superb double.
“That was it,” recalls Judith. “I decided that was an opportune moment to stop playing on the competitive circuit”.
She immediately got involved with bands and guested regularly for both Graeme Mitchell and Bill Black when their bands made appearances in the Grampian area.
She was also highly prized on the Accordion and Fiddle Club scene – guesting at Clubs from the Shetlands to the Borders, appearing at the Mull Festival, and making a big impression at the Keith, Kirriemuir and Shetland Folk Festivals.
And she flew to London to appear solo at a prestigious concert in the capital.
Although she had been tutored in the North-East style, she now began to embrace other strands, “I went my own way and began to use a bit of everything, including the Shetland style, and the pipe style. And I increasingly began to feature pipe tunes”.
Three years ago she joined the Graeme Mitchell Band on a permanent basis and thoroughly enjoys the band scene. “It is very satisfying and I am extremely happy being a member of the band where it is a team effort. I don’t really do many solo spots these days.”
Would she still contemplate the competitive circuit? “Not a chance,” laughs Judith with disarming frankness. “You have nothing to lose when you are younger, but I would be far too nervous now.”
Nor is she likely to start composing – “to be quite honest I can’t think of any original tunes.”
Although she has appeared on both BBC TV and Grampian TV, she has no hankering for the big time.
“The big-time just doesn’t appeal to me. I just enjoy playing with the band. I just like a tune.”
She already has one solo album to her credit – ‘Going Places’ recorded on the Lapwing Label, and produced by Freeland Barbour and Sandy Coghill. Although it is still selling well, she has no plans to cut another album.
She has also featured in a solo spot on the Graeme Mitchell Band’s ‘Fine Fettle’ album.
Now Judith, whose idol is Shetland fiddle virtuoso Willie Hunter, is passing on her rich talent to the younger set. She is currently teaching four soloists and a trio ‘Fiddlers Forte.’ Her pupils include junior Golden Fiddle champion Inga Scott, Kintore. ‘Fiddlers Forte’ are already beginning to feature prominently on festival prizelists.
And every third week she teaches Mark McDougall from Muir of Ord who makes the long trip south to Banchory.
Away from the music scene, Judith, a vivacious brunette, works as a clerical assistant with Seaforth Maritime in Aberdeen and is engaged to Michael Brown, a self-employed joiner from Echt, Aberdeenshire, who often accompanies her on engagements.
Although this lively young lady stresses her pleasure at being a band member, I am sure that many of her musical admirers hope that from time to time we will see her performing solo – resplendent in her Burnett of Leys tartan kilt.
And we shall also watch with interest the progress being made by the talented group of youngsters to whom she is passing on her very individual skills.
The World’s Greatest Violinist
By Arthur Scott Robertson
In response to Jimmy Blue’s query – “why did I name a tune” Peerless Fritz Kreisler?
FRITZ KREISLER – 1875 – 1962
Born in classical Vienna and cast in the mould of genus, Fritz Kreisler is to this day acclaimed the apotheosis of violinistic excellence. His progress from the age of four was spectacular and when he was ten his teacher, Massart, wrote of him to his father”I have been the teacher of Wieniawski and many others, but little Fritz will be the greatest of them all.”
And so it came to pass. He could have equally been a concert pianist. Without ever taking a piano lesson his keyboard brilliance evoked from Paderweski “Lucky for me that Fritz did not become a professional pianist……I’d be starved if he had taken up the piano. How beautifully he plays. “
In later years, Kreisler was inspired to compose some beautiful light classical pieces – e.g. ‘Caprice Viennois’, ‘Liebesfreud’, ‘Liebeslied’, ‘Schon Rosmarin’ etc….and it is interesting to note that all the distinctive harmonies were his own. Recalling his masterly double stopping I tentatively introduced just a little into the melody I composed in his honour – ‘Peerless Fritz Kreisler’.
Like Paganini he did no teaching, but accepted one pupil. The talent David McCallum studied with him whenever it was opportune to do so. It was generally believed that no violinist ever succeeded in sounding exactly like Kreisler, but McCallum is regarded by many as having achieved the nearest approach.
I shall never forget the wonderful series of solo violin broadcasts he did about the year 1946 – ‘The Magic of the Violin’. How sad the media of today seem to be incapable of conjuring up similar magic.
Louis P. Lochner wrote Fritz Kreisler’s biography. It is compulsive reading and worthy of a place in any collection. Highlighted is the fact that all his life most of his earnings were given to charity. There is the account of his visit in 1903 to Antonin Dvorak who was living in Prague, impoverished and in poor health.
In response to Kreisler’s query if he had composed anything new for him to play Dvorak pointed from his bed to a mass of assorted papers. “Maybe you can find something” – and he did. ‘Humoresque’ was thus discovered and Kreisler’s arrangement of it was to become world famous.
It may be regarded as incongruous for me, a Scottish fiddler, to be eulogising on the artistry of this virtuoso – so far elevated above my performance level – and the obvious question is whether this could have had a salutary influence on my playing? The answer is yes.
When about 1927 I first heard Kreisler’s compositions played by a visiting violinist I was captivated, and reacted by ordering music for the four pieces mentioned. When it arrived I found ‘Caprice Viennois’ outwith my capability.
But I struggled on with the other three pieces, deriving great benefit thereby. ‘Caprice Viennois’ remains my favourite. In philosophic terms man can be expected to make progress in adversity, and for fiddlers the corollary recommends acceptance of the challenge provided by increasingly difficult tunes.
Eventually I was able to listen to recordings of Kreisler playing and became aware I was hearing tonal quality and immaculate articulation of a standard ever likely to be equaled.
From that moment I, a dedicated soloist, applied myself to the study of tonal production ; not with an eminent teacher but by trial and error each time I handled a fiddle. Whether or not my conclusions are sound and original has not yet been reliably established, but I have not found them duplicated elsewhere.
With an incurable aversion to dogma, I refrain from trying to impose them on others.
In conclusion, I must recommend - - in the presence of perfection one should be humble, but struggle unceasingly to narrow the differential gap.
Letters to the Editor
Sir – After the debacle of the English Arena Programme ‘The Accordion Strikes Back’ it was refreshing to see Robbie Shepherd put himself and his programme in the hotseat by putting out ‘TTF’ live and the subsequent ‘phone in’ on Saturday, 21st December, 1985.
The LIVE music from Hebbie Gray and his band was masterly and I am sure delighted all the listeners – more of this please. This surely proves the point made by John Huband and the other bandleaders on the panel that to go on LIVE would necessitate rehearsals as a band and as Fraser McGlynn succinctly pointed out the band playing live would be judged on their last performance for future broadcasts.
As was rightly pointed out the same faces appear regularly with DIFFERENT bands and no doubt the session musicians take comfort in the fact that quite a few ‘takes’ can be made prior to the broadcast going out – prerecorded. We MUST keep the music live – particularly our brand.
The second point made was, of course, the poor material purveyed in the ‘Reel Blend’ – of late we have had very old, poor quality albums and singles – comic songs and poetry. The criticism that a lot of material was awful was agreed by the majority of the panel, with John Ellis dissenting in part, saying that although he didn’t mind listening to it on Robbie’s programme, he wouldn’t stock the music in his shop. A contradiction in terms indeed. In case I have got John Ellis’ dander up, let me hasten to assure him that I am one of his biggest fans…..
Graham Edwardson of The Oakbank sound – first-rate young people – made a very good point that at least once a month the ‘Reel Blend’ should in fact be re-named ‘Junior Take the Floor’ with only young bands and artistes performing – perhaps even a junior Robbie Shepherd as well. …..
With regard to bandleaders choice of music…..I would say let them play what they will…..It is after all THEIR choice and they should be allowed to show their virtuosity for the couple of numbers they do – be it jazz, Scottish, Continental or otherwise. After all, many of the young folk listening have to be versatile in their fields – indeed some of the Scottish Festivals have set piece in the classical idiom.
This takes me on nicely to the many very successful Festivals which abound in Scotland. Most of them have band sections and are producing some first-rate new, young bands. In the main the youngster stick together, practice together and the ones I have heard at A&F Clubs etc acquit themselves more creditably than some of their peers who seem to hog the circuit and indeed the airwaves.
As a tribute to Robbie Shepherd, may I say that he has and is still doing a first-rate job in the field of Scottish music and long may he continue…. but possibly a wee change in the format would not go amiss…….
I thoroughly enjoyed ‘TTF’ and the phone-in and hope Robbie makes this a regular feature. I suspect, however, that he is perhaps having a choice of material foisted upon him by some listeners and being the gentlemen he is, is always ready to oblige.
An easy way to change this is for all you music masochists out there (waiting for the bum note) to write into Robbie and his show producer with all your DIFFERENT suggestions and perhaps Robbie and his team would then be able to mix a ‘Reel Blend’ which would perhaps please the majority. Nostalgia is alright in small doses, but please NOT a whole programme at a time.
I think it should also be remembered that the majority of folk who take in the ‘Reel Blend’ and ‘TTF’ are LISTENERS and surely this is what the ratings are all about…….at least until some enlightened producer in the BBC Corridors of Power give us some TV time….now that would certainly put the cat amongst the pigeons.
John McIntee
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Nag’s Head) – members only
Armadale (Masonic Arms Hotel) – 28th Feb 86 Dance 6th May 86 Tommy Ford
Ayr (Aftongrange Hotel) – 2nd Mar 86 Iain MacPhail SDB
Balloch (Denny Social Club) – 16th Feb 86 Alan Roy
Banchory (Burnett Arms Hotel) –
Banff (Royal Oak Hotel) –
Beith (Anderson Hotel) –
Belford (Community Club) – 27th Feb 86 Pie and Pea supper with Robert Black SDB
Biggar (Clydesdale Hotel) –
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Thistle Inn) –
Cleland (Dalrymple House) –
Coupar Angus (Royal Hotel) –
Crieff & District (Arduthie Hotel) –
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (venue? ) –
Dunblane (Hydro) – 4th Mar 86 Brian Griffin Trio
Dundee (Queen’s Hotel, Nethergate) – March 86 Graeme Mitchell SDB
Dunfermline (Northern Roadhouse) –
East Kilbride (King’s Park Hotel, Rutherglen) – 27th Feb 86 Kenny Thomson SDB
Edinburgh (Abbey Suite, Abbey Lane) – 5th Mar 86 Oakbank Sound
Ellon (Ladbroke Hotel) –
Falkirk (Park Hotel) –
Fintry (Clachan Hotel) –
Forres (Brig Motel) – 12th Feb 86 Donaldson Brothers 12th Mar 86 Iain MacPhail SDB
Fort William (Cruchan Hotel) – 10th Feb 86 Paddy Neary 10th Mar 86 Inverness Club
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) – members only -
Gorebridge (Rangers FC Social Club) –
Highland (Drumossie Hotel) – 17th Feb 86 Armour Bros 17th Mar 86 Powrie & Blue
Islesteps (Cargenholm Hotel) –
Kelso (Ednam House Hotel) –
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 13th Feb 86 David Ross Trio 12th Mar 86 Addie Harper Trio
Livingston (Golden Hind, Blackburn) – 20th Mar 86 Charlie Cowie
Lockerbie (Bluebell Hotel) –
M.A.F.I.A. (Black Bull, Milngavie) –
Montrose (Park Hotel) –
Morecambe (Yorkshire Hotel, Lancaster) -
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) –
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) –
Rothbury (Queen’s Head Hotel)
Shetland (venue?) -
Stranraer (Railway Club) –
Thornhill (?)
Thurso (McKay’s Hotel) –
Turriff (Royal Oak Hotel) – 6th Mar 86 D. Raeburn and the Huntly Loons
Tynedale (The Royal Hotel, Hexham) –
Walmer (Bridge of Allan) –
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Armadale
2. Callander
3. Crieff & District
4. Dingwall & District
5. Dunblane & District
6. Dunfermline
7. Forres
8. Fort William
9. Galston
10. Glendale
11. Highland
12. Kelso
13. Kintore
14. Lesmahagow
15. M.A.F.I.A.
16. North East
17. Perth & District
18. Renfrew
19. Shetland
20. Stranraer
21. Turriff
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
January is a bad month newswise, so I decided to skip an month and put two editions together. This enabled us to get to the beginning of the month for publishing. Do try to give me your future date with this in mind.
First there was Andrew Rankine and now Mrs Blair has gone from our scene. Let’s hope we don’t have anyone to record for a long time. We need everyone of that calibre.
Life must go on and on a brighter note we can look forward to the Govan Festival on 22nd February, followed by Musselburgh on 1st March.
Andrew Rankine – An Appreciation
by Jimmy Clinkscale
It was with a profound sense of loss that the Scottish entertainment community heard of the death – just before Christmas – of that superb instrumentalist and immensely warm personality.
Aberdeen-born Andrew died of a heart attack at the age of 55 in California, to where he had emigrated in 1984 to establish the Scottish Heritage Centre near the Queen Mary at Long Beach.
Andrew was brought up in Menstrie, and began playing the accordion at 16 when his mother bought him a £90 Pancotti. His inspiration was Jimmy Shand and I remember Andrew telling me, “I just loved that accordion sound, and will never forget that night I eventually mastered the Scottish style.
“After two years’ practice it just clicked. I was knocked out at the time. It gave the thing a whole new dimension.”
The young Rankine was so determined to play well, he practised four hours a night through the week and eight hours a day at weekends.
He soon formed his own band – two accordions, piano, bass, drums and fiddle – and became a firm favourite all over Scotland.
Jack Delaney played with him for five years from 1955 and recalls the period with great affection, “Andrew didn’t copy anyone – he had his own particular style. He had a swing, he had a lift, he had a bounce.
“The five years I was with him was one of the highlights of my musical career. He was a natural – a great player.”
In 1960, Andrew went full time, but the arrival of rock ‘n’ roll meant Scottish bands found gigs hard to get, so he moved to Whitley Bay where he took up a post as a rep for Selmers, covering the whole of Scotland, North East England and Ireland.
I remember him calling at my Melrose shop at this period and becoming entranced with a Selmers’ imported Cordovox electronic accordion, which was the first one in a showroom in the UK. He had it converted to Scottish tuning and left Selmers to go back on the road with a one-man big band sound.
In 1963 he moved to Leicester to be more central. He had a prolonged residency at the Leicester Bierkeller, where he pounded out an incessant flow of Latin American, Continental, up-beat, down-beat and chart successes, mixed with standards and classics from all over the globe and Memory Lane.
He was absent from the Scottish scene until 1980 when I was putting on a big show – “Accordion Bonanza No. 1” – at Kelso and I thought Andrew would be a great choice for a special guest.
He was reluctant at first, and said he would have to rehearse for a month, but his wife Marj finally persuaded him to do it. Andrew enjoyed it immensely and said he was anxious to get into the Scottish scene again.
He featured in a live album of that concert and also in the follow-up album. With his newfound enthusiasm, he got his original band together and appeared in a BBC Radio Broadcast and two programmes in Robin Brock’s “Folks Around Robin” on Radio Forth. I edited and compiled two Best in Scottish Dance Music albums from the Radio Forth broadcasts and Andrew and his band featured prominently in both.
It was at this time he bought a new Crucianelli electronic accordion from me, which had hand made reeds and special tuning and he used it exclusively until he went to the USA.
We were all disappointed when he decided in 1984 to sell up and start out his new business on the Queen Mary. He was last back in Scotland in March 1985, when he dropped in to see the lads at my Melrose shop and buy albums and cassettes for his business.
He began his recording career on the Parlophone label and, of course, was handled by George Martin, who went on to great things as producer of The Beatles.
I well remember Andrew telling me, “We always thought George was a really big name at that time, earning lots of money, but discovered in his autobiography that he was getting only £8 a week.”
Up until 1980, Andrew had eight albums and fifteen singles to his credit, cutting his first long player in 1969 with John Carmichael on second accordion and Charlie Cowie on fiddle.
He cited Meg Merrilees as his best recording and always recalled with nostalgia what a good band he had at that time.
Of course, Andrew was a very gifted composer – he had a superb ability to write a simple, lilting tune and his 6/8 jig Donald Ian Rankine is a masterpiece. He also had a superb talent for selecting sets in which the tunes all flowed into a distinctive, essentially sympathetic format – a form of intricate editing in which the set jelled together marvelously.
Andrew was a great character with a tremendous personality. I know he had a reputation for turning up late for engagements, but once he was there, his tremendous drive and verve made sure that the audience got their money’s worth!
He had astonishing energy. This was typified in a conversation I had recently with accordionist/enthusiast John Munro from Keith.
John told me, “I remember Andrew staying with me one night in the summer of 1965 after a concert in Portree. Andrew had boundless energy. He picked up the Cordovox at around midnight and played more or less non-stop until around 4.30 a.m.
“He then suggested we all go out for a walk, which we did, arriving home around 5 a.m. with fresh rolls. Instead of calling it a day, Andrew promptly picked up the Cordovox and played with renewed brilliance until 7 a.m.”
Sadly, Andrew never played abroad – a heart attack after a tour of Shetland in 1970 making him decide to stick to these shores.
In a musical career spanning more than thirty years, Andrew made an indelible mark on the Scottish music scene. He was a marvellous instrumentalist, inspiring bandleader, talented composer, a loyal friend and warm-hearted, exuberant and always cheery personality. Our deepest sympathy goes to Marj in her tragic loss.
Andrew began his working career in Glenochil Yeast Factory as a laboratory assistant. I once asked him if he had any regrets about leaving that laboratory in Clackmannanshire.
“No, none at all. Music is a way of life I would never have missed. But you can take yourself too seriously. After you overcome the impression that music can’t live without you, you have a lot of laughs.
It’s just a question of getting it all into perspective.”
Andrew Rankine did get things into perspective. And these remarks couldn’t provide a more fitting epitaph for a man who gave pleasure to millions.
Mrs Loretta Blair – Obituary
It is with deep regret that we have to record the death of Mrs Loretta Blair after a long and uncomplaining suffering from cancer. She is now at rest. We also extend our sympathy to her family.
Loretta was the wife of the late Jimmy Blair, musician, accordionist, Scottish dance band leader, teacher, composer and conductor of the world-famous Accordion Orchestra.
Under his leadership, this orchestra won every award that was on offer. When he died (in November 1981) Loretta took over the baton and everything carried on as before. The reaching and the orchestras – there were three – kept up the standard set by Jimmy.
Last year Loretta underwent a serious operation and was in and out of hospital, yet such was her love of music and her determination to live life to the full she insisted on doing as much as possible, especially with the orchestra.
It’s not so long ago that she had her orchestra at the Stranraer Club and left behind her a lasting memory of beautiful music.
This is how we will remember her, the purveyor of beautiful music.
It is also our hope that Gary, her eldest son, will take up the baton too.
Judith Davidson
by Jimmy Clinkscale
Continuing a great tradition of gifted Scottish female fiddlers is Judith Davidson, who hails from that rich source of fine fiddlers – Banchory. In this profile, Jimmy Clinkscale, of the Clinkscale Music Centre, Aberdeen, has a look at this talented lass who is still a teenager.
Although she is still only 19, Judith Davidson has considerable experience under her bow since she first took up the fiddle as a 9-year-old.
One of a family of three, she was brought up in a musical environment as her father Gordon, who is a partner in a painting and decorating business in the picturesque Deeside town, is a piper with Banchory and District Pipe Band.
At Banchory Academy she was taught classical fiddle music under the careful tutelage of Mrs Nan Reid, and joined the Banchory Junior S&R Society at the age of ten, where she came under the wing of Mary Milne who has carried on the vital traditions from her father, the late Sandy Milne.
At this juncture she began to develop the Scottish style under another famous Royal Deeside fiddling figure – Angus Shaw, and embarked on a spectacularly successful five-year period in the competitive scene in Scotland – winning at Aberdeen, Inverness and Banchory in her first year.
In her second year she lifted the coveted ‘Golden Fiddle’ junior title, and there followed a string of successes at Inverness, Elgin, Aberdeen, Aberdeen, Kirriemuir, Keith and Banchory as she made a significant impression on the Scottish solo fiddle scene.
It was a hectic period, involving extensive traveling and Judith is deeply grateful to her mother, Celia, who was her tireless chauffeur in their constant forays all over Scotland in collecting an impressive haul of silverware.
When she was 15, her competitive career culminated in splendid fashion when she won the senior ‘Golden Fiddle’ Championship to complete a superb double.
“That was it,” recalls Judith. “I decided that was an opportune moment to stop playing on the competitive circuit”.
She immediately got involved with bands and guested regularly for both Graeme Mitchell and Bill Black when their bands made appearances in the Grampian area.
She was also highly prized on the Accordion and Fiddle Club scene – guesting at Clubs from the Shetlands to the Borders, appearing at the Mull Festival, and making a big impression at the Keith, Kirriemuir and Shetland Folk Festivals.
And she flew to London to appear solo at a prestigious concert in the capital.
Although she had been tutored in the North-East style, she now began to embrace other strands, “I went my own way and began to use a bit of everything, including the Shetland style, and the pipe style. And I increasingly began to feature pipe tunes”.
Three years ago she joined the Graeme Mitchell Band on a permanent basis and thoroughly enjoys the band scene. “It is very satisfying and I am extremely happy being a member of the band where it is a team effort. I don’t really do many solo spots these days.”
Would she still contemplate the competitive circuit? “Not a chance,” laughs Judith with disarming frankness. “You have nothing to lose when you are younger, but I would be far too nervous now.”
Nor is she likely to start composing – “to be quite honest I can’t think of any original tunes.”
Although she has appeared on both BBC TV and Grampian TV, she has no hankering for the big time.
“The big-time just doesn’t appeal to me. I just enjoy playing with the band. I just like a tune.”
She already has one solo album to her credit – ‘Going Places’ recorded on the Lapwing Label, and produced by Freeland Barbour and Sandy Coghill. Although it is still selling well, she has no plans to cut another album.
She has also featured in a solo spot on the Graeme Mitchell Band’s ‘Fine Fettle’ album.
Now Judith, whose idol is Shetland fiddle virtuoso Willie Hunter, is passing on her rich talent to the younger set. She is currently teaching four soloists and a trio ‘Fiddlers Forte.’ Her pupils include junior Golden Fiddle champion Inga Scott, Kintore. ‘Fiddlers Forte’ are already beginning to feature prominently on festival prizelists.
And every third week she teaches Mark McDougall from Muir of Ord who makes the long trip south to Banchory.
Away from the music scene, Judith, a vivacious brunette, works as a clerical assistant with Seaforth Maritime in Aberdeen and is engaged to Michael Brown, a self-employed joiner from Echt, Aberdeenshire, who often accompanies her on engagements.
Although this lively young lady stresses her pleasure at being a band member, I am sure that many of her musical admirers hope that from time to time we will see her performing solo – resplendent in her Burnett of Leys tartan kilt.
And we shall also watch with interest the progress being made by the talented group of youngsters to whom she is passing on her very individual skills.
The World’s Greatest Violinist
By Arthur Scott Robertson
In response to Jimmy Blue’s query – “why did I name a tune” Peerless Fritz Kreisler?
FRITZ KREISLER – 1875 – 1962
Born in classical Vienna and cast in the mould of genus, Fritz Kreisler is to this day acclaimed the apotheosis of violinistic excellence. His progress from the age of four was spectacular and when he was ten his teacher, Massart, wrote of him to his father”I have been the teacher of Wieniawski and many others, but little Fritz will be the greatest of them all.”
And so it came to pass. He could have equally been a concert pianist. Without ever taking a piano lesson his keyboard brilliance evoked from Paderweski “Lucky for me that Fritz did not become a professional pianist……I’d be starved if he had taken up the piano. How beautifully he plays. “
In later years, Kreisler was inspired to compose some beautiful light classical pieces – e.g. ‘Caprice Viennois’, ‘Liebesfreud’, ‘Liebeslied’, ‘Schon Rosmarin’ etc….and it is interesting to note that all the distinctive harmonies were his own. Recalling his masterly double stopping I tentatively introduced just a little into the melody I composed in his honour – ‘Peerless Fritz Kreisler’.
Like Paganini he did no teaching, but accepted one pupil. The talent David McCallum studied with him whenever it was opportune to do so. It was generally believed that no violinist ever succeeded in sounding exactly like Kreisler, but McCallum is regarded by many as having achieved the nearest approach.
I shall never forget the wonderful series of solo violin broadcasts he did about the year 1946 – ‘The Magic of the Violin’. How sad the media of today seem to be incapable of conjuring up similar magic.
Louis P. Lochner wrote Fritz Kreisler’s biography. It is compulsive reading and worthy of a place in any collection. Highlighted is the fact that all his life most of his earnings were given to charity. There is the account of his visit in 1903 to Antonin Dvorak who was living in Prague, impoverished and in poor health.
In response to Kreisler’s query if he had composed anything new for him to play Dvorak pointed from his bed to a mass of assorted papers. “Maybe you can find something” – and he did. ‘Humoresque’ was thus discovered and Kreisler’s arrangement of it was to become world famous.
It may be regarded as incongruous for me, a Scottish fiddler, to be eulogising on the artistry of this virtuoso – so far elevated above my performance level – and the obvious question is whether this could have had a salutary influence on my playing? The answer is yes.
When about 1927 I first heard Kreisler’s compositions played by a visiting violinist I was captivated, and reacted by ordering music for the four pieces mentioned. When it arrived I found ‘Caprice Viennois’ outwith my capability.
But I struggled on with the other three pieces, deriving great benefit thereby. ‘Caprice Viennois’ remains my favourite. In philosophic terms man can be expected to make progress in adversity, and for fiddlers the corollary recommends acceptance of the challenge provided by increasingly difficult tunes.
Eventually I was able to listen to recordings of Kreisler playing and became aware I was hearing tonal quality and immaculate articulation of a standard ever likely to be equaled.
From that moment I, a dedicated soloist, applied myself to the study of tonal production ; not with an eminent teacher but by trial and error each time I handled a fiddle. Whether or not my conclusions are sound and original has not yet been reliably established, but I have not found them duplicated elsewhere.
With an incurable aversion to dogma, I refrain from trying to impose them on others.
In conclusion, I must recommend - - in the presence of perfection one should be humble, but struggle unceasingly to narrow the differential gap.
Letters to the Editor
Sir – After the debacle of the English Arena Programme ‘The Accordion Strikes Back’ it was refreshing to see Robbie Shepherd put himself and his programme in the hotseat by putting out ‘TTF’ live and the subsequent ‘phone in’ on Saturday, 21st December, 1985.
The LIVE music from Hebbie Gray and his band was masterly and I am sure delighted all the listeners – more of this please. This surely proves the point made by John Huband and the other bandleaders on the panel that to go on LIVE would necessitate rehearsals as a band and as Fraser McGlynn succinctly pointed out the band playing live would be judged on their last performance for future broadcasts.
As was rightly pointed out the same faces appear regularly with DIFFERENT bands and no doubt the session musicians take comfort in the fact that quite a few ‘takes’ can be made prior to the broadcast going out – prerecorded. We MUST keep the music live – particularly our brand.
The second point made was, of course, the poor material purveyed in the ‘Reel Blend’ – of late we have had very old, poor quality albums and singles – comic songs and poetry. The criticism that a lot of material was awful was agreed by the majority of the panel, with John Ellis dissenting in part, saying that although he didn’t mind listening to it on Robbie’s programme, he wouldn’t stock the music in his shop. A contradiction in terms indeed. In case I have got John Ellis’ dander up, let me hasten to assure him that I am one of his biggest fans…..
Graham Edwardson of The Oakbank sound – first-rate young people – made a very good point that at least once a month the ‘Reel Blend’ should in fact be re-named ‘Junior Take the Floor’ with only young bands and artistes performing – perhaps even a junior Robbie Shepherd as well. …..
With regard to bandleaders choice of music…..I would say let them play what they will…..It is after all THEIR choice and they should be allowed to show their virtuosity for the couple of numbers they do – be it jazz, Scottish, Continental or otherwise. After all, many of the young folk listening have to be versatile in their fields – indeed some of the Scottish Festivals have set piece in the classical idiom.
This takes me on nicely to the many very successful Festivals which abound in Scotland. Most of them have band sections and are producing some first-rate new, young bands. In the main the youngster stick together, practice together and the ones I have heard at A&F Clubs etc acquit themselves more creditably than some of their peers who seem to hog the circuit and indeed the airwaves.
As a tribute to Robbie Shepherd, may I say that he has and is still doing a first-rate job in the field of Scottish music and long may he continue…. but possibly a wee change in the format would not go amiss…….
I thoroughly enjoyed ‘TTF’ and the phone-in and hope Robbie makes this a regular feature. I suspect, however, that he is perhaps having a choice of material foisted upon him by some listeners and being the gentlemen he is, is always ready to oblige.
An easy way to change this is for all you music masochists out there (waiting for the bum note) to write into Robbie and his show producer with all your DIFFERENT suggestions and perhaps Robbie and his team would then be able to mix a ‘Reel Blend’ which would perhaps please the majority. Nostalgia is alright in small doses, but please NOT a whole programme at a time.
I think it should also be remembered that the majority of folk who take in the ‘Reel Blend’ and ‘TTF’ are LISTENERS and surely this is what the ratings are all about…….at least until some enlightened producer in the BBC Corridors of Power give us some TV time….now that would certainly put the cat amongst the pigeons.
John McIntee
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Nag’s Head) – members only
Armadale (Masonic Arms Hotel) – 28th Feb 86 Dance 6th May 86 Tommy Ford
Ayr (Aftongrange Hotel) – 2nd Mar 86 Iain MacPhail SDB
Balloch (Denny Social Club) – 16th Feb 86 Alan Roy
Banchory (Burnett Arms Hotel) –
Banff (Royal Oak Hotel) –
Beith (Anderson Hotel) –
Belford (Community Club) – 27th Feb 86 Pie and Pea supper with Robert Black SDB
Biggar (Clydesdale Hotel) –
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Thistle Inn) –
Cleland (Dalrymple House) –
Coupar Angus (Royal Hotel) –
Crieff & District (Arduthie Hotel) –
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (venue? ) –
Dunblane (Hydro) – 4th Mar 86 Brian Griffin Trio
Dundee (Queen’s Hotel, Nethergate) – March 86 Graeme Mitchell SDB
Dunfermline (Northern Roadhouse) –
East Kilbride (King’s Park Hotel, Rutherglen) – 27th Feb 86 Kenny Thomson SDB
Edinburgh (Abbey Suite, Abbey Lane) – 5th Mar 86 Oakbank Sound
Ellon (Ladbroke Hotel) –
Falkirk (Park Hotel) –
Fintry (Clachan Hotel) –
Forres (Brig Motel) – 12th Feb 86 Donaldson Brothers 12th Mar 86 Iain MacPhail SDB
Fort William (Cruchan Hotel) – 10th Feb 86 Paddy Neary 10th Mar 86 Inverness Club
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) – members only -
Gorebridge (Rangers FC Social Club) –
Highland (Drumossie Hotel) – 17th Feb 86 Armour Bros 17th Mar 86 Powrie & Blue
Islesteps (Cargenholm Hotel) –
Kelso (Ednam House Hotel) –
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 13th Feb 86 David Ross Trio 12th Mar 86 Addie Harper Trio
Livingston (Golden Hind, Blackburn) – 20th Mar 86 Charlie Cowie
Lockerbie (Bluebell Hotel) –
M.A.F.I.A. (Black Bull, Milngavie) –
Montrose (Park Hotel) –
Morecambe (Yorkshire Hotel, Lancaster) -
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) –
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) –
Rothbury (Queen’s Head Hotel)
Shetland (venue?) -
Stranraer (Railway Club) –
Thornhill (?)
Thurso (McKay’s Hotel) –
Turriff (Royal Oak Hotel) – 6th Mar 86 D. Raeburn and the Huntly Loons
Tynedale (The Royal Hotel, Hexham) –
Walmer (Bridge of Allan) –
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Armadale
2. Callander
3. Crieff & District
4. Dingwall & District
5. Dunblane & District
6. Dunfermline
7. Forres
8. Fort William
9. Galston
10. Glendale
11. Highland
12. Kelso
13. Kintore
14. Lesmahagow
15. M.A.F.I.A.
16. North East
17. Perth & District
18. Renfrew
19. Shetland
20. Stranraer
21. Turriff
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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