Box and Fiddle
Year 16 No 06
March 1993
Price 60p
12 pages
7 month subscription £7.00
Editor – Editor – Doug Adamson, 22 Westfield Drive, Forfar, Angus, DD8 1EQ
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
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
Last month I aired my views on the reason for a lack of players at a number of Clubs. This month I would like to turn my attention to the lack of audience.
As you will appreciate, the reasons are many, varying from Club to Club. However, from my observations the main reason appears to be lack of variety. It is not uncommon for Clubs month after month to book bands which are simply a variation of the same personnel playing the same tunes, sounding the same, and indeed repeating many of the tunes already played earlier in the evening by Club players. This inevitably leads to some lack of interest. Audiences rightly expect something a ‘wee bit different’ from the guest artiste, be it a band or a solo guest, and unfortunately in many cases they are not getting it. After all, for the audience, the guest artiste is the highlight of the evening.
Some people are of the opinion that bands are the only form of guest artiste which are capable of drawing large crowds. Although this is true of certain bands, it is far from the truth generally. Many solo artistes and smaller groups are as capable of filling seats and generally provide a more varied type of programme.
Having said that, there are generally more players at a Club where a band is guesting, but this can sometimes lead to an embarrassment of riches and after all this is not where the finance comes from. I have noticed however, that some Clubs are now charging players who provide their services, possibly because they are not attracting sufficient listeners.
For those Clubs who are not attracting the audience they want, I have come up with the following formula which hopefully will be of assistance to some secretaries when booking guest artistes for next season.
Working on the assumption a Club has eight meetings in a season, I would suggest the following breakdown :
2 full bands
2 trios or smaller groups
2 solo accordion
1 solo fiddle
This leaves one meeting which could either be used for a Club night, an exchange visit or a repeat of one of the items already mentioned – just a suggestion which no doubt many of you will ignore!
As this issue is heavy with advertising, a few regular features are missing, but will return as space allows. I also apologise to anyone whose report has been left out simply due to lack of space.
I am still having a problem with missing mail and I ask you to make sure it is properly addressed. A few items are arriving with the wrong address with irate remarks on the envelope from the Post Office!
Have a good day at Musselburgh.
Doug Adamson
Sound Company
by R.M.
“What’s in a name?” people often ask. Quite a lot when it comes to choosing a name for a band – a name which (with luck?!) will be repeated many times over a period of quite a few years.
That was why this month’s band, Sound Company, decided to break with the long established convention of naming a band after its leader. Sound company are a busy Scottish Dance Band based in the South of England and play for a whole range of events in an average year. Knowing more about the band’s activities should make clear the reason for the choice of name.
Each of the three band members has a wide experience of playing – an ideal formula for a wealth of new ideas (and occasional clash of views!)
Christine Oxtoby (accordion) from Maidenhead in Berkshire pursued a classical training and achieved considerable success, reaching diploma standard. She is a former Thames Champion in both junior and senior classes and at the age of 17 was a finalist in the British Championships.
Chris began playing for dances at 16 and played with a number of bands before forming her own band, Folklore, which ran for 10 years playing for local barn-dances, P.T.A. functions and weddings. During the same period, Chris was a regular member of the dance and music display group, London Folk. Activities with this English Folk Dance and Song Society team ranged from shows at the Albert Hall to foreign tours to Europe and Israel.
The other two members of the band come from a family where traditional music has been played for several generations. Ian Robertson (fiddle), now living in Bath, and Judith Robertson (keyboard), from Aylesbury in Buckinghamshire, both learned their music through the rigours of the exam system, a grounding which has proved invaluable time and again.
Whilst learning classical technique, their interest in traditional music was developing. A fine example to follow was set by their father Alan, who, at that stage had led his own band for some 25 years as well as touring and recording with the likes of English fiddle player Dave Swarbrick. Alan’s band, the Chiltern Ramblers, achieved great popularity playing for dancing, ranging from English through to American and even a little Scottish!
Just as the Chiltern Ramblers were retiring from ‘active service’, pressure from the two youngsters led Dad to continue playing and so the Robertson Family Band was formed. The very first line-up was rather unusual with Alan on accordion, Ian on fiddle and Judith playing her second instrument, clarinet, to provide the bass. Gradually a more orthodox line-up developed with Judith moving to keyboard.
The Robertson Family Band played for a number of years for barn-dances and English Playford dances and it was through a chance encounter that they played for their first Scottish Country Dance in 1983 in Cardiff. From then on the interest in Scottish music increased and gradually both Judith and Ian began playing occasionally with various other Scottish bands in the south, including Frank Reid and McBains. After two years and two records with the newly formed Craigellachie Band, it was a change of direction and a chance meeting with Chris that led to the formation of Sound Company in the summer of 1990.
From the start, Sound company set about making an impact – but there were a few minor hitches to be overcome first. For the first few dances people were surprised to be introduced to the third member of the band. It was when sound checking on day at the bottom of the hall that the problem became obvious. Half an hour later, after some careful work with a saw, five inches were removed from the bottom of the bandstand and the light shone once more on “the very small girl with the very large accordion!”
The band’s repertoire often draws comment from people who hear tunes away from their regular well worn favourites. The secret lies in Ian’s compulsive (and expensive!) habit of music collecting. Ian and Judith’s paternal great-grandmother, Nellie Breck, is known to have acted as accompanist to Scott Skinner in Banchory around the turn of the century (further information would be welcomed!) and some of her music still exists. Building on this material, regular forays into second-hand booksellers have unearthed a number of original collections including music by the Gow family and William Marshall as well as 18th and 19th century song collections. Countless hours spent playing through these books combined with tunes from the vast range of modern publications and the generosity of friends North of the Border have led to a repertoire which contains a satisfying mixture of old and new, familiar and less well known.
If a change is as good as a rest, then Sound Company are in an enviable position. Although primarily now a Scotish Dance Band, Judith still accepts booking for a variety of other events. They continue to play for barn-dances and even the occasional Playford Ball. They are often called upon to play for Scottish weddings, which in the past year have included functions in castles and top London hotels. Even their Scottish Country Dance bookings are varied – with bookings from Devon to Yorkshire, Wales to Essex, as well as regular visits to Europe (sorry – it’s 1993 and this is Europe!) they are well placed to see the differing tastes of dancers in different regions.
Festival bookings bring added spice. For the past three years, the summer ‘holiday’ has been to play at the Sidmouth International Festival of Folk Arts where a morning workshop in Highland dance can be followed by a sedate tea dance or even an outdoor concert.
Playing for people to listen is another activity which provides a challenge to the band. With the absence of Accordion and Fiddle Clubs in the South, the opportunities are more limited, although there are plenty of concerts and fiddle rallies at which a tune is always welcome.
In September, 1990, Ian and Judith recorded a cassette of fiddle music under the title ‘Two’s Company’. It fulfilled a long-standing ambition and proved popular with dancers unaccustomed to hearing anything but dance music.
Also in September of that year, Ian was a finalist in the Young Tradition Award, a competition organised by B.B.C. Radio 2.
Judith’s sympathetic style of accompaniment is often in demand at fiddle rallies and ceilidhs and in July, 1992, she was accompanist to Trevor Hunter on a two week tour of Southern Ireland.
1992 was a busy year with the band recording ‘Best Foot Forward’, their first cassette of dance music, in May. The year ended on a high note when the band were delighted to be asked to provide the guest spot at Blairgowrie A&F Club.
So what’s in a name? A band that plays in a range of styles ; three musicians with an equal part to play ; and above all, a play on words to make people wonder which meaning was intended. Both, say Sound Company!
The Stanley Ceilidh
by Bill Black
Once again the ‘Stanley Ceilidh’ has come and gone and as we have come to expect, it was another tremendous night of musical entertainment. It seems to be the general view that the standard of playing at this year’s ceilidh was the highest so far, but don’t let us get involved in standards, the ceilidh is for musicians of all stages and music enthusiasts to get together for a free and easy night of music and ‘crack’.
As usual, we had the collection at half time for handicapped children and once again this year we were able to hand over £1,000 to Upper Springlands School for the Handicapped. Part of this is due to the excellent efforts of Dave Millward from Kilmelford in Argyll who gave us a cheque for £213 which he raised by doing a sponsored walk – well done, Dave and very many thanks indeed, and many thanks also to all those who gave so generously on the night of the ceilidh and at previous functions.
Thanks also to the Tayside Hotel management and staff for their co-operation throughout the evening and also to Brian and Jennifer Cruickshank for looking after the P.A. system. Finally, very many thanks indeed to all those who gave up their time to come to the ceilidh and just muck in and have a good time or help out whatever way required.
A list of musicians taking part is as follows :-
Accordionists – Drewie Hawick from Lerwick, Jennifer Cruickshank from Stonehaven, Neil Caul from Tealing, Dave Millward from Kilmelford, James and Marie Coutts from Kirkcaldy, Iain Cathcart from West Kilbride, Jim Thom from Guildtown, Lynn Gould from Huntly, David Oswald from Blairgowrie, Brian Morrison from Lerwick, George Work from Blairgowrie, Lindsay Weir from Culbokie, Lynn Christie from Keith, Alan Morrison from Forfar, Bruce Quirrie from Dundee, Fiona Gilfillan from Perth, Lex Keith from Glasgow, Colin Garvin from Glasgow, Jimmy Lindsay and his son Sandy from Amulree And I actually managed to get a wee tune myself.
On fiddle were Kathryn Nicol from Kirriemuir, Neil Dawson from Huntly and Mark McDougall from Muir of Ord.
On bass were Suzanne Gray and Brian Cruickshanls from Clackmannan and Stonehaven respectively.
On drums were Robert McFadyen from Bannockburn, George Gray from Clackmannan, Ian Adamson from Cupar, Duncan Christie from Keith, Ally McIntyre from Glasgow and David Scott from Dundee.
On piano were anne Black, Mabel Gray from Clackmannan and quite a number of the accordion players mentioned above took a spell on the piano to help.
Finally, the man himself on Jews Harp, all the way from Dallas near Forres, Angus McKinnon.
As you can well imagine, by looking at the list of talent above, the ‘Stanley Ceilidh’ was once again a night to remember.
If I have missed anyone out please accept my apologies, and once again my heartfelt thanks to one and all.
P.S. A special thanks to Angie Smith and Neil McEachern who telephoned some time before to say they were unable to manage to the ceilidh and who sent a generous donation to be added to the funds for the handicapped.
Introducing the Clubs
No 14 Gretna
by ?
The Accordion and Fiddle clubs we have come to know and love were born because Jimmy Norman had a ‘tremendous night out’ in Dumfries in the Hole in the Wa’ pub run by Max Houliston. Max had the foresight to see the potential of bringing together the many musicians who had no meeting place to display their talent, exchange ideas and listen to and be encouraged by others.
His musical nights were commercially based in that they drew customers to his premises, but Jimmy was convinced that a non-profit-making Club could be set up. He went absent from work next afternoon - thankfully his boss was a Scottish music lover and he was forgiven! – and visited a local hotel to see if they’d give the idea a try; organized ladies to make sandwiches, and bulldozed his brother, Billy, boss Jimmy Muirhead, friend Bob Cairns and fellow musicians in the Lyne Valley Band, David Bell, Donald Ridley and the late Oliver Waugh, into joining him to form a Committee.
And so it was that in June, 1966, the Gretna Accordion and Fiddle club opened its doors to local musicians, who entered without charge, and audience who paid 2/6 (12½p) and a first guest artiste who was, of course, Max Houliston and Kenny Wilson.
A tradition started that night that the Lyne Valley Band led the evening off and, with few exceptions, this remains the format.
Over the years we have had many gifted guest artistes – we now ask all the players to sign in and have an interesting record, but what a treasure that book would be if it had existed from the beginning! – but will you laugh or be filled with nostalgia to learn that Max and Kenny cost £10, Jimmy Blue and Mickey Ainsworth £18, while Will Starr cost the princely sum of £15/20 depending on who came with him!
The Perth Accordion Club came down in the 1970’s for the cost of the mini-bus (£12) and we were especially proud in 1972 to present Jimmy Shand and his Band. We have managed to keep the door fee down to £2 thanks to a very healthy raffle, but guest artistes have succeeded rather better in assessing their worth!
The Club enjoyed such support from musicians, that 1967 saw our first Accordion and Fiddle Competitions, which continued until the Club left Gretna. These were followed by a dance and then a ‘session’ at Jimmy and his long-suffering wife Dorothy’s home. The hospitable, friendly nature of these occasions can be summarised by the memory of John Carmichael and Charlie Cowie leaving at roughly 4.30am, and John saying ‘Excuse me, sir’ as he walked into a tree!
Several times the Club hired a bus and went to the Perth Festival, booking overnight accommodation at the Salutation Hotel. Why they added this extra expense is a mystery, as once again a ‘session’ always developed and they literally played the night away.
Ten years ago, Jimmy resigned from the Committee due to work obligations, and the Club, unable to get suitable premises in Gretna, crossed the Border and became known as the North Cumbria Club.
The Club has had its ups and downs financially – dare we admit or Affiliation Fees lapsed at one time! – but we have always managed to organize a dinner-dance, a ceilidh or a raffle to give support to various medical charities.
Our comperes, Alex Little, John Prott and presently Murray Irvine, will not be put out if we single out Bill Ritson, our Chairman and compere from ’79 – ’88, for special mention for the tireless work he put into the Club. When he retired he was enrolled as our first and only Honorary member and presented with a silver salver.
At our 25th Birthday Party, commemorative plates were also presented to David Bell and Donald Ridley to acknowledge their service to the Club as serving Committee members from the beginning. Donald also wrote a polka entitled ‘25th Anniversary of the Gretna Accordion and Fiddle Club’ and it’s available on a tape made by Eric Goodfellow and his Band.
Over the past 26½ years we have had six different locations – most moves forced on us as premises changed their use – but our last change brought us back to Gretna, where the Club founder Jimmy, now owns the Halcrow Stadium and has made us so very welcome. Committee Minutes show we have cancelled twice because of snow and reveal a 1977 discussion on whether or not to support a new fangled publication – was it liable to be a success, this ‘Box and Fiddle’.
We’ve been blessed by the support of musicians willing to travel from near and far to enjoy good music. Situated practically on top of the Scottish/English border, we have been fortunate in being able to cultivate a unique style as the music and rhythms of the North East, Northumbria and Scotland blend together to give a rich flavour to our evenings entertainment.
With a view to encouraging our young players, whose music school met on the same night as us, we changed our meeting to a Monday. This was a great success player-wise, unfortunately our audience vanished and we had to revert to our usual Wednesday.
Players are the life blood of any Club, but the audience is the heart that drives the machinery. Their loyality and enthusiasm provide the funds and create the atmosphere that ensures Max’x formula of all those years ago has stood the test of time.
So, as you sit at your next Club meeting, quietly raise your glass to Max Houliston – mastermind of the ‘tremendous night out’.
Writing this brings back so many memories of so many ‘real characters’ – both audience and musicians – who are no longer with us; of heart stopping moments – Mrs Jock Loch’s phone call at 9am. Has the band stayed overnight? Two frantic hours later found stranded on the A74 – instruments smashed, but thankfully the man all well; of the Lockerbie air disaster – the news broke as the meeting started. Not only did most of the audience have friends living in Lockerbie, but the guest artistes passed the spot literally 20 minutes before the tragedy. Coupled with the fact our venue was 400 yards from Carlisle airport it was easily our moist subdued and earliest finished meeting.
Of lighter moments – we gave the Currie Brothers their first professional booking.
Bobby Harvey watching a cat join him on stage and disappear into the back of the piano – he played pizzicato all evening!
Competition judge Charlie Cowie telling an excellent contestant who made a slip he wanted his ‘bum smacked’ (cleaned up version!) and on another occasion he brought along the ‘Big Yin’, a friend who sang us some folk songs – he’s now better know as international star Billy Connolly.
Jim Johnstone achieving a ‘mischievous’ rapport with two ‘inebriated’ ladies.
Compere Bill Ritson’s absolute horror on meeting several ‘scruffy’ individuals who claimed to be the replacement guest artistes for a band stuck in Ireland. Eavesdropping their practice session in a side room had him shooting off for Committee members to see if it would be best to send them on their way. Unable to word a diplomatic cancellation he introduced them and quickly left the stage – to be enthralled by one of the best nights of music we ever had!!
No names – no offence!
‘Scruffy’ to me suggests The Wallochmor boys – as does the best night ever - Ed
Your Letters
Having again heard remarks on one of Robbie’s programmes about the use of G# in pipe music, I would like to give my opinion on the subject.
I don’t see that any hard and fast rule can be laid down as some tunes sound right with the G natural, but other sound terrible. With the best will in the world, an accordion can only give an adaptation of the pipe music for the simple reason that pipes play a blend of two notes rather than an individual note, as each chanter note is a blend of the note plus an A drone. I know that devotees of the G natural being used on every occasion, do not always play an A bass with the G natural, so the pipe sound is not forthcoming anyway. Playing a G or A7 bass with the G natural treble note is a different blend from the pipe sound although musically correct, so I cannot see why the G# should not be used if the chord sequence requires an E7 for instance, as changing the pipe sound with a different treble note is no different from changing it with a different bass note.
A few years ago I spoke to Bobby MacLeod and John D. Burgess on this subject and both agreed that there should be no hesitation in using the G# in a tune, if it made the tune sound better. Indeed, Bobby who is still hailed as the master of pipe music playing told me that he preferred a C natural in the sixth bar of Caberfeidh as the C sharp of the pipes discorded with the bass chord.
One noted player is reported as saying that accordions should be built with no G sharp fitted. I am sure this was meant tongue in cheek, but he may as well say accordions should be nine treble and one bass, as every time he plays anything but an A bass he is changing the pipe sound of note plus drone.
Accordions come closest to the pentatonic scale of the pipes when playing tunes which do not have a G, or tunes which have to be played in the key of D. However, the D bass now changes the pipe blend of 2 notes, i.e. D plus A drone. When pipers play Gaelic tunes such as ‘The Waters of Kylesku’ they have to play G natural. No-one can convince me that this can ever sound correct on an accordion and I have never heard any accordionist play it this way. Why then worry about changing other pipe music by a semi-tone if it makes for a more interesting chord sequence or is more pleasing to the ear.
Ali MacGregor
Tain SDB
Couldn’t agree more. I have always believed that any instrument should be played to its full potential and as an accordion has more notes than the pipes, the G# should be played when G natural sounds incorrect. Ed
Why are most Clubs poorly attended nowadays? Everyone must have their own ideas, here are some of mine.
On entry, you look about and see some friends that you haven’t seen for ages. You wonder if he’s playing a lot, does he have the same line-up and a hundred other questions. (In the case of Jimmy Yeaman, you wonder if he’s at last going to buy you a drink!) Going over, you may be able to say hello and his name, before half a dozen heads turn round, glare at you and start ‘shushing!’ So ends your conversation.
In the playing members there are the stalwarts who when called upon to take the first spot of the evening, do so without protest. This means that in future he is instant prey for the compere who is looking for someone to take the ‘cold spot’. Then there are some, and I repeat some, of the young whiz kids who are reluctant to play until the second half or even last before the guest artiste, thus giving the impression ‘you’ve heard the rest, now it’s me!’
In years gone by, the stramash at the end of the evening could have 20 or more players sitting in with the guests. The guest would play selections of well known tunes that were relatively easy to play. Players of all standards enjoyed the thrash! Now we have the younger players who play selections that the ordinary player (like myself) has never heard of, let alone play, and all at 100 m.p.h. The result of this is that the common 5/8 players don’t go up and indeed, many don’t even take their instruments. The players who have had a tune in the house at night then brave the Club audience once a month deserve better.
To compat all this, could a Club be run as follows : starting at 7.30pm., players listed in the order they come in the door. If they hang back till later on they risk the possibility of not getting ‘a turn’. The punters could play until 9.15pm, a 15 minute interval for the guests to set up. They would then play for 2 hours of round the room dancing. This set-up would mean that people wanting a chat would not disturb the others. Those wishing to sit and listen could do so. The guest band would be playing in a more relaxed atmosphere and people who would not come to sit all night would come to dance, thus swelling the numbers.
When the Club books their guest band, they could inform the band that for a stramash, the following tunes are the ones within the range of the ordinary punters at their Club.
Alex Fitzsimmons
Fintry
M.A.F.I.A
At the Close of the monthly meeting of the second oldest Club in Scotland, compere Bobbie Cronie announced to a staggered audience that this was to be the final night of the M.A.F.I.A. Even the Committee did not know of this and were completely ‘dumfoonit’. Mr Cronie had decided to end the M.A.F.I.A. himself. As audience, guests and musicians were still suffering from shock, the ‘godfather’ founder Bobby Harvey put matters into perspective and asked for a show of hands for support to continue. The response was unanimous. 100% voted to overturn the Cronie decision and the M.A.F.I.A. will enter its 27th year stronger than ever. Committee members, audience and guests were delighted. More next issue.
Take the Floor
6th Mar 93 – John Carmichael SDB
13th Mar 93 – Charlie Kirkpatrick SDB
20th Mar 93 – Alistair Hunter & the Lorne SDB
27th Mar 93 – Lynn Gould SDB
CLUB DIARY
Aberdeen (Dee Motel) – 30th Mar 93 – Paul Anderson
Alnwick (Golden Fleece) – members only 10th Mar 93 – John Laidlaw Trio
Arbroath (Viewfield Hotel) -
Armadale (Masonic Hall) – 4th Mar 93 – Deirdre Adamson
Ayr (Gartferry Hotel) – 7th Mar 93 – Colin Dewar Trio
Balloch (St. Kessog’s Hall) – 21st Mar 93 – Paddy Neary
Banchory (Burnett Arms Hotel) –
Banff & District (Knowes Hotel, Macduff) – 24th Mar 93 – Alex Brown
Beith & District (Hotel de Croft, Dalry) – 15th Mar 93 – Ryan McGlynn SDB
Belford (Community Club) – 25th Mar 93 – Bruce Lindsay Trio
Biggar (Municipal Hall) – 14th Mar 93 – Keith Dickson Orchestra
Blairgowrie (Moorfield Hotel) - 9th Mar 93 – David Oswald SDB
Bridge of Allan (Walmer Hotel) -
Brigmill (Guardbridge Sports & Social Club) 2nd Mar 93 – Fiddlers 3 + 2
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Urr Valley Hotel) – 16th Mar 93 – Pauline Laverie Trio
Coalburn (Miners’ Welfare) - 18th Mar 93 – Donnie McGregor & Friends
Crieff & District (Drummond Arms Hotel) 4th Mar 93 – Gordon Pattullo
Dalriada (Argyll Arms Hotel, Lochgilphead) 16th Mar 93 – Bill Black SDB
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 3rd Mar 93 – Lynne Christie
Dunblane (Westlands Hotel) – 16th Mar 93 – Jimmy Yeaman SDB
Dundee (Invercarse Hotel) –
Dunfermline (Jubilee House) – 9th Mar 93 – Lomond SDB
Dunoon & Cowal (McColl’s Hotel) 12th / 13th Mar 93 – Alan McIntosh SDB, Alan Roy & Archie Duncan
East Kilbride (Sweepers, Cambuslang) – 25th Mar 93 – Jim Johnstone SDB
Ellon (Ladbroke Hotel) –
Ettrick & Yarrow (The Gordon Arms) - 17th Mar 93 – Sandy Legget
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) - 28th Mar 93 – Iain Cathcart
Forres (Brig Motel) – 10th Mar 93 – Highland Club
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel – Wooler) – 18th Mar 93 – James Lindsay Trio
Gretna (Halcrow Stadium) - 17th Mar 93 – Paddy Neary
Highland (Drumossie Hotel) – 15th Mar 93 – North East Club
Inveraray (Loch Fyne Hotel) - 2nd Mar 93 – Ian Thomson SDB
Isle of Skye -
Islesteps (Mabie House Hotel) – 2nd Mar 93 – Tommy Ford
Kelso (Ednam House Hotel) – 31st Mar 93 – Lindsay Weir SDB
Kinlochshiel (Strathcarron Hotel) - 8th Mar 93 – Ian Thomson SDB
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 11th Mar 93 – Ian Hutson SDB
Livingston (Golden Circle Hotel, Bathgate) 16th Mar 93 – Gordon Pattullo
Lockerbie (Bluebell Hotel) - 30th Mar 93 – Morag Robertson Duo
Mauchline (The Jean Armour Function Suite) 16th Mar 93 – Willie McFarlane Band
M.A.F.I.A. (Masonic Hall, Milngavie) –
Montrose (Park Hotel) – 3rd Mar 93 – Tommy Newcomen
Newtongrange (Dean Tavern) – 29th Mar 93 – Joe Gordon Ceilidh Trio
North East (Royal British Legion, Keith) –
Oban (Harbour Lights Restaurant) – 4th Mar 93 – Dochie McCallum & Friends
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Green Tree Hotel) – 25th Mar 93 – David Vernon
Perth (Salutation Hotel) – 16th Mar 93 – Charlie Cowie
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 9th Mar 93 – Deirdre Adamson
Rothbury (Queen’s Head) -
Shetland (venue?) -
Stirling (Terraces Hotel) - 14th Mar 93 – Iain MacPhail SDB
Thornhill (?)
Thurso (Pentland Hotel) –
Tranent (East Lothian Labour Club) 9th Mar 93 – Keith Dickson Accordion Orchestra
Turriff (Royal Oak Hotel) –
Tynedale (Hexham Ex Service Club) – 9th Mar 93 – Paddy Neary
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Alnwick
2. Banchory
3. Banff
4. Blairgowrie
5. Brigmill
6. Castle Douglas
7. Crieff
8. Dalriada
9. Dingwall
10. Dundee
11. Dunfermline
12. Dunoon & Cowal
13. East Kilbride
14. Etterick & Yarrow
15. Forfar
16. Forres
17. Glendale
18. Gretna
19. Kelso
20. Kintore
21. Lesmahagow
22. Livingston
23. Lockerbie
24. Mauchline
25. Montrose
26. Newtongrange
27. North East
28. Oban
29. Peebles
30. Renfrew
31. Rothbury
32. Stirling
33. Wick
CLUB DIRECTORY AS AT SEPT 1991 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Sept 1976 – present)
3. Arbroath A&F Club (1991? – present)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
5. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Brigmill A&F Club (Oct 1990) Closed
14. Button Key A&F Club (
15. Castle Douglas A&F Club (c Sept 1980 – present)
16. Coalburn A&F Club (
17. Crieff A&F Club (cSept 1981)
18. Dalriada A&F Club (Feb 1981)
19. Derwentside A&F Club
20. Dingwall & District A&F Club (May 1979 – per first report)
21. Dunblane & District A&F Club (1971 – present)
22. Dundee & District A&F Club (1970? -
23. Dunfermline & District A&F Club (1974 – per first edition)
24. Dunoon & Cowal A&F Club (
25. East Kilbride A&F Club (Sept 1980)
26. Ellon A&F Club (
27. Etterick & Yarrow (Jan 1989 -
28. Fintry A&F Club (
29. Forfar A&F Club (
30. Forres A&F Club (Jan 1978)
31. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
32. Galashiels A&F Club (joined Sept 1982 - present)
33. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
34. Glendale Accordion Club (Jan 1973)
35. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
36. Highland A&F Club (Inverness)
37. Inveraray A&F Club (Oct 1991)
38. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
39. Isle of Skye A&F Club (
40. Kelso A&F Club (May 1976 – present)
41. Kintore A&F Club (
42. Langholm A&F Club (Oct 1967 - present)
43. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
44. Livingston A&F Club (Sept 1973 – present)
45. Lockerbie A&F Club (Nov 1973 - present)
46. M.A.F.I.A. (1966 - )
47. Mauchline A&F Club (first mention 1986? - present)
48. Montrose A&F Club (joined Sept 1982 - present)
49. Mull A&F Club
50. Newtongrange A&F Club (joined Sept 1977 - present)
51. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
52. North East A&F Club aka Keith A&FC (Sept 1971 - present)
53. Oban A&F Club (Nov 1975 - present)
54. Orkney A&F Club (Mar 1978 - present)
55. Peebles A&F Club (26 Nov 1981 - present)
56. Perth & District A&F Club (Aug 1970 - present)
57. Premier A&F Club NI (April 1980)
58. Rothbury Accordion Club (1987??)
59. Shetland A&F Club (Sept 1978 - present)
60. Stirling A&F Club (Oct 1991 - )
61. Sutherland A&F Club (
62. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
63. Thurso A&F Club (cSept 1981 - present)
64. Tranent A&F Club
65. Turriff A&F Club (March 1982 - present)
66. Tynedale A&F Club (Nov 1980 - present)
67. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
68. Acharacle & District A&F Club (cMay 1988)
69. Bonchester Accordion Club (Closed?)
70. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
71. Buchan A&F Club
72. Callander A&F Club (
73. Campbeltown & District A&F Club (c Dec 1980)
74. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
75. Club Accord
76. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
77. Coupar Angus A&F Club (cSept 1978 - ?)
78. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
79. Denny & Dunipace A&F Club (Feb 1981)
80. Dornoch A&F Club (first mention in directory 1986)
81. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
82. Dunbar Cement Works A&F Club (Closed?)
83. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
84. Falkirk A&F Club (Sept 1978 - )
85. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
86. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
87. Kinlochsheil A&F Club (
88. Kirriemuir A&F Club (cSept 1981)
89. Monklands A&F Club (Nov 1978 – closed cApril 1983)
90. Morecambe A&F Club (joined Sept 1982)
91. Newcastleton Accordion Club
92. New Cumnock A&F Club (cMarch 1979)
93. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
94. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
95. Straiton Accordion Club (c1968 – closed March 1979)
96. Stranraer & District Accordion Club (1974 – per first edition)
97. Torthorwald A&F Club (near Dumfries)
98. Walmer (Bridge of Allan) A&F Club
99. Wellbank A&F Club
Advertising rates
Full Page - £92
Half Page - £46
Quarter Page - £23
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
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
Last month I aired my views on the reason for a lack of players at a number of Clubs. This month I would like to turn my attention to the lack of audience.
As you will appreciate, the reasons are many, varying from Club to Club. However, from my observations the main reason appears to be lack of variety. It is not uncommon for Clubs month after month to book bands which are simply a variation of the same personnel playing the same tunes, sounding the same, and indeed repeating many of the tunes already played earlier in the evening by Club players. This inevitably leads to some lack of interest. Audiences rightly expect something a ‘wee bit different’ from the guest artiste, be it a band or a solo guest, and unfortunately in many cases they are not getting it. After all, for the audience, the guest artiste is the highlight of the evening.
Some people are of the opinion that bands are the only form of guest artiste which are capable of drawing large crowds. Although this is true of certain bands, it is far from the truth generally. Many solo artistes and smaller groups are as capable of filling seats and generally provide a more varied type of programme.
Having said that, there are generally more players at a Club where a band is guesting, but this can sometimes lead to an embarrassment of riches and after all this is not where the finance comes from. I have noticed however, that some Clubs are now charging players who provide their services, possibly because they are not attracting sufficient listeners.
For those Clubs who are not attracting the audience they want, I have come up with the following formula which hopefully will be of assistance to some secretaries when booking guest artistes for next season.
Working on the assumption a Club has eight meetings in a season, I would suggest the following breakdown :
2 full bands
2 trios or smaller groups
2 solo accordion
1 solo fiddle
This leaves one meeting which could either be used for a Club night, an exchange visit or a repeat of one of the items already mentioned – just a suggestion which no doubt many of you will ignore!
As this issue is heavy with advertising, a few regular features are missing, but will return as space allows. I also apologise to anyone whose report has been left out simply due to lack of space.
I am still having a problem with missing mail and I ask you to make sure it is properly addressed. A few items are arriving with the wrong address with irate remarks on the envelope from the Post Office!
Have a good day at Musselburgh.
Doug Adamson
Sound Company
by R.M.
“What’s in a name?” people often ask. Quite a lot when it comes to choosing a name for a band – a name which (with luck?!) will be repeated many times over a period of quite a few years.
That was why this month’s band, Sound Company, decided to break with the long established convention of naming a band after its leader. Sound company are a busy Scottish Dance Band based in the South of England and play for a whole range of events in an average year. Knowing more about the band’s activities should make clear the reason for the choice of name.
Each of the three band members has a wide experience of playing – an ideal formula for a wealth of new ideas (and occasional clash of views!)
Christine Oxtoby (accordion) from Maidenhead in Berkshire pursued a classical training and achieved considerable success, reaching diploma standard. She is a former Thames Champion in both junior and senior classes and at the age of 17 was a finalist in the British Championships.
Chris began playing for dances at 16 and played with a number of bands before forming her own band, Folklore, which ran for 10 years playing for local barn-dances, P.T.A. functions and weddings. During the same period, Chris was a regular member of the dance and music display group, London Folk. Activities with this English Folk Dance and Song Society team ranged from shows at the Albert Hall to foreign tours to Europe and Israel.
The other two members of the band come from a family where traditional music has been played for several generations. Ian Robertson (fiddle), now living in Bath, and Judith Robertson (keyboard), from Aylesbury in Buckinghamshire, both learned their music through the rigours of the exam system, a grounding which has proved invaluable time and again.
Whilst learning classical technique, their interest in traditional music was developing. A fine example to follow was set by their father Alan, who, at that stage had led his own band for some 25 years as well as touring and recording with the likes of English fiddle player Dave Swarbrick. Alan’s band, the Chiltern Ramblers, achieved great popularity playing for dancing, ranging from English through to American and even a little Scottish!
Just as the Chiltern Ramblers were retiring from ‘active service’, pressure from the two youngsters led Dad to continue playing and so the Robertson Family Band was formed. The very first line-up was rather unusual with Alan on accordion, Ian on fiddle and Judith playing her second instrument, clarinet, to provide the bass. Gradually a more orthodox line-up developed with Judith moving to keyboard.
The Robertson Family Band played for a number of years for barn-dances and English Playford dances and it was through a chance encounter that they played for their first Scottish Country Dance in 1983 in Cardiff. From then on the interest in Scottish music increased and gradually both Judith and Ian began playing occasionally with various other Scottish bands in the south, including Frank Reid and McBains. After two years and two records with the newly formed Craigellachie Band, it was a change of direction and a chance meeting with Chris that led to the formation of Sound Company in the summer of 1990.
From the start, Sound company set about making an impact – but there were a few minor hitches to be overcome first. For the first few dances people were surprised to be introduced to the third member of the band. It was when sound checking on day at the bottom of the hall that the problem became obvious. Half an hour later, after some careful work with a saw, five inches were removed from the bottom of the bandstand and the light shone once more on “the very small girl with the very large accordion!”
The band’s repertoire often draws comment from people who hear tunes away from their regular well worn favourites. The secret lies in Ian’s compulsive (and expensive!) habit of music collecting. Ian and Judith’s paternal great-grandmother, Nellie Breck, is known to have acted as accompanist to Scott Skinner in Banchory around the turn of the century (further information would be welcomed!) and some of her music still exists. Building on this material, regular forays into second-hand booksellers have unearthed a number of original collections including music by the Gow family and William Marshall as well as 18th and 19th century song collections. Countless hours spent playing through these books combined with tunes from the vast range of modern publications and the generosity of friends North of the Border have led to a repertoire which contains a satisfying mixture of old and new, familiar and less well known.
If a change is as good as a rest, then Sound Company are in an enviable position. Although primarily now a Scotish Dance Band, Judith still accepts booking for a variety of other events. They continue to play for barn-dances and even the occasional Playford Ball. They are often called upon to play for Scottish weddings, which in the past year have included functions in castles and top London hotels. Even their Scottish Country Dance bookings are varied – with bookings from Devon to Yorkshire, Wales to Essex, as well as regular visits to Europe (sorry – it’s 1993 and this is Europe!) they are well placed to see the differing tastes of dancers in different regions.
Festival bookings bring added spice. For the past three years, the summer ‘holiday’ has been to play at the Sidmouth International Festival of Folk Arts where a morning workshop in Highland dance can be followed by a sedate tea dance or even an outdoor concert.
Playing for people to listen is another activity which provides a challenge to the band. With the absence of Accordion and Fiddle Clubs in the South, the opportunities are more limited, although there are plenty of concerts and fiddle rallies at which a tune is always welcome.
In September, 1990, Ian and Judith recorded a cassette of fiddle music under the title ‘Two’s Company’. It fulfilled a long-standing ambition and proved popular with dancers unaccustomed to hearing anything but dance music.
Also in September of that year, Ian was a finalist in the Young Tradition Award, a competition organised by B.B.C. Radio 2.
Judith’s sympathetic style of accompaniment is often in demand at fiddle rallies and ceilidhs and in July, 1992, she was accompanist to Trevor Hunter on a two week tour of Southern Ireland.
1992 was a busy year with the band recording ‘Best Foot Forward’, their first cassette of dance music, in May. The year ended on a high note when the band were delighted to be asked to provide the guest spot at Blairgowrie A&F Club.
So what’s in a name? A band that plays in a range of styles ; three musicians with an equal part to play ; and above all, a play on words to make people wonder which meaning was intended. Both, say Sound Company!
The Stanley Ceilidh
by Bill Black
Once again the ‘Stanley Ceilidh’ has come and gone and as we have come to expect, it was another tremendous night of musical entertainment. It seems to be the general view that the standard of playing at this year’s ceilidh was the highest so far, but don’t let us get involved in standards, the ceilidh is for musicians of all stages and music enthusiasts to get together for a free and easy night of music and ‘crack’.
As usual, we had the collection at half time for handicapped children and once again this year we were able to hand over £1,000 to Upper Springlands School for the Handicapped. Part of this is due to the excellent efforts of Dave Millward from Kilmelford in Argyll who gave us a cheque for £213 which he raised by doing a sponsored walk – well done, Dave and very many thanks indeed, and many thanks also to all those who gave so generously on the night of the ceilidh and at previous functions.
Thanks also to the Tayside Hotel management and staff for their co-operation throughout the evening and also to Brian and Jennifer Cruickshank for looking after the P.A. system. Finally, very many thanks indeed to all those who gave up their time to come to the ceilidh and just muck in and have a good time or help out whatever way required.
A list of musicians taking part is as follows :-
Accordionists – Drewie Hawick from Lerwick, Jennifer Cruickshank from Stonehaven, Neil Caul from Tealing, Dave Millward from Kilmelford, James and Marie Coutts from Kirkcaldy, Iain Cathcart from West Kilbride, Jim Thom from Guildtown, Lynn Gould from Huntly, David Oswald from Blairgowrie, Brian Morrison from Lerwick, George Work from Blairgowrie, Lindsay Weir from Culbokie, Lynn Christie from Keith, Alan Morrison from Forfar, Bruce Quirrie from Dundee, Fiona Gilfillan from Perth, Lex Keith from Glasgow, Colin Garvin from Glasgow, Jimmy Lindsay and his son Sandy from Amulree And I actually managed to get a wee tune myself.
On fiddle were Kathryn Nicol from Kirriemuir, Neil Dawson from Huntly and Mark McDougall from Muir of Ord.
On bass were Suzanne Gray and Brian Cruickshanls from Clackmannan and Stonehaven respectively.
On drums were Robert McFadyen from Bannockburn, George Gray from Clackmannan, Ian Adamson from Cupar, Duncan Christie from Keith, Ally McIntyre from Glasgow and David Scott from Dundee.
On piano were anne Black, Mabel Gray from Clackmannan and quite a number of the accordion players mentioned above took a spell on the piano to help.
Finally, the man himself on Jews Harp, all the way from Dallas near Forres, Angus McKinnon.
As you can well imagine, by looking at the list of talent above, the ‘Stanley Ceilidh’ was once again a night to remember.
If I have missed anyone out please accept my apologies, and once again my heartfelt thanks to one and all.
P.S. A special thanks to Angie Smith and Neil McEachern who telephoned some time before to say they were unable to manage to the ceilidh and who sent a generous donation to be added to the funds for the handicapped.
Introducing the Clubs
No 14 Gretna
by ?
The Accordion and Fiddle clubs we have come to know and love were born because Jimmy Norman had a ‘tremendous night out’ in Dumfries in the Hole in the Wa’ pub run by Max Houliston. Max had the foresight to see the potential of bringing together the many musicians who had no meeting place to display their talent, exchange ideas and listen to and be encouraged by others.
His musical nights were commercially based in that they drew customers to his premises, but Jimmy was convinced that a non-profit-making Club could be set up. He went absent from work next afternoon - thankfully his boss was a Scottish music lover and he was forgiven! – and visited a local hotel to see if they’d give the idea a try; organized ladies to make sandwiches, and bulldozed his brother, Billy, boss Jimmy Muirhead, friend Bob Cairns and fellow musicians in the Lyne Valley Band, David Bell, Donald Ridley and the late Oliver Waugh, into joining him to form a Committee.
And so it was that in June, 1966, the Gretna Accordion and Fiddle club opened its doors to local musicians, who entered without charge, and audience who paid 2/6 (12½p) and a first guest artiste who was, of course, Max Houliston and Kenny Wilson.
A tradition started that night that the Lyne Valley Band led the evening off and, with few exceptions, this remains the format.
Over the years we have had many gifted guest artistes – we now ask all the players to sign in and have an interesting record, but what a treasure that book would be if it had existed from the beginning! – but will you laugh or be filled with nostalgia to learn that Max and Kenny cost £10, Jimmy Blue and Mickey Ainsworth £18, while Will Starr cost the princely sum of £15/20 depending on who came with him!
The Perth Accordion Club came down in the 1970’s for the cost of the mini-bus (£12) and we were especially proud in 1972 to present Jimmy Shand and his Band. We have managed to keep the door fee down to £2 thanks to a very healthy raffle, but guest artistes have succeeded rather better in assessing their worth!
The Club enjoyed such support from musicians, that 1967 saw our first Accordion and Fiddle Competitions, which continued until the Club left Gretna. These were followed by a dance and then a ‘session’ at Jimmy and his long-suffering wife Dorothy’s home. The hospitable, friendly nature of these occasions can be summarised by the memory of John Carmichael and Charlie Cowie leaving at roughly 4.30am, and John saying ‘Excuse me, sir’ as he walked into a tree!
Several times the Club hired a bus and went to the Perth Festival, booking overnight accommodation at the Salutation Hotel. Why they added this extra expense is a mystery, as once again a ‘session’ always developed and they literally played the night away.
Ten years ago, Jimmy resigned from the Committee due to work obligations, and the Club, unable to get suitable premises in Gretna, crossed the Border and became known as the North Cumbria Club.
The Club has had its ups and downs financially – dare we admit or Affiliation Fees lapsed at one time! – but we have always managed to organize a dinner-dance, a ceilidh or a raffle to give support to various medical charities.
Our comperes, Alex Little, John Prott and presently Murray Irvine, will not be put out if we single out Bill Ritson, our Chairman and compere from ’79 – ’88, for special mention for the tireless work he put into the Club. When he retired he was enrolled as our first and only Honorary member and presented with a silver salver.
At our 25th Birthday Party, commemorative plates were also presented to David Bell and Donald Ridley to acknowledge their service to the Club as serving Committee members from the beginning. Donald also wrote a polka entitled ‘25th Anniversary of the Gretna Accordion and Fiddle Club’ and it’s available on a tape made by Eric Goodfellow and his Band.
Over the past 26½ years we have had six different locations – most moves forced on us as premises changed their use – but our last change brought us back to Gretna, where the Club founder Jimmy, now owns the Halcrow Stadium and has made us so very welcome. Committee Minutes show we have cancelled twice because of snow and reveal a 1977 discussion on whether or not to support a new fangled publication – was it liable to be a success, this ‘Box and Fiddle’.
We’ve been blessed by the support of musicians willing to travel from near and far to enjoy good music. Situated practically on top of the Scottish/English border, we have been fortunate in being able to cultivate a unique style as the music and rhythms of the North East, Northumbria and Scotland blend together to give a rich flavour to our evenings entertainment.
With a view to encouraging our young players, whose music school met on the same night as us, we changed our meeting to a Monday. This was a great success player-wise, unfortunately our audience vanished and we had to revert to our usual Wednesday.
Players are the life blood of any Club, but the audience is the heart that drives the machinery. Their loyality and enthusiasm provide the funds and create the atmosphere that ensures Max’x formula of all those years ago has stood the test of time.
So, as you sit at your next Club meeting, quietly raise your glass to Max Houliston – mastermind of the ‘tremendous night out’.
Writing this brings back so many memories of so many ‘real characters’ – both audience and musicians – who are no longer with us; of heart stopping moments – Mrs Jock Loch’s phone call at 9am. Has the band stayed overnight? Two frantic hours later found stranded on the A74 – instruments smashed, but thankfully the man all well; of the Lockerbie air disaster – the news broke as the meeting started. Not only did most of the audience have friends living in Lockerbie, but the guest artistes passed the spot literally 20 minutes before the tragedy. Coupled with the fact our venue was 400 yards from Carlisle airport it was easily our moist subdued and earliest finished meeting.
Of lighter moments – we gave the Currie Brothers their first professional booking.
Bobby Harvey watching a cat join him on stage and disappear into the back of the piano – he played pizzicato all evening!
Competition judge Charlie Cowie telling an excellent contestant who made a slip he wanted his ‘bum smacked’ (cleaned up version!) and on another occasion he brought along the ‘Big Yin’, a friend who sang us some folk songs – he’s now better know as international star Billy Connolly.
Jim Johnstone achieving a ‘mischievous’ rapport with two ‘inebriated’ ladies.
Compere Bill Ritson’s absolute horror on meeting several ‘scruffy’ individuals who claimed to be the replacement guest artistes for a band stuck in Ireland. Eavesdropping their practice session in a side room had him shooting off for Committee members to see if it would be best to send them on their way. Unable to word a diplomatic cancellation he introduced them and quickly left the stage – to be enthralled by one of the best nights of music we ever had!!
No names – no offence!
‘Scruffy’ to me suggests The Wallochmor boys – as does the best night ever - Ed
Your Letters
Having again heard remarks on one of Robbie’s programmes about the use of G# in pipe music, I would like to give my opinion on the subject.
I don’t see that any hard and fast rule can be laid down as some tunes sound right with the G natural, but other sound terrible. With the best will in the world, an accordion can only give an adaptation of the pipe music for the simple reason that pipes play a blend of two notes rather than an individual note, as each chanter note is a blend of the note plus an A drone. I know that devotees of the G natural being used on every occasion, do not always play an A bass with the G natural, so the pipe sound is not forthcoming anyway. Playing a G or A7 bass with the G natural treble note is a different blend from the pipe sound although musically correct, so I cannot see why the G# should not be used if the chord sequence requires an E7 for instance, as changing the pipe sound with a different treble note is no different from changing it with a different bass note.
A few years ago I spoke to Bobby MacLeod and John D. Burgess on this subject and both agreed that there should be no hesitation in using the G# in a tune, if it made the tune sound better. Indeed, Bobby who is still hailed as the master of pipe music playing told me that he preferred a C natural in the sixth bar of Caberfeidh as the C sharp of the pipes discorded with the bass chord.
One noted player is reported as saying that accordions should be built with no G sharp fitted. I am sure this was meant tongue in cheek, but he may as well say accordions should be nine treble and one bass, as every time he plays anything but an A bass he is changing the pipe sound of note plus drone.
Accordions come closest to the pentatonic scale of the pipes when playing tunes which do not have a G, or tunes which have to be played in the key of D. However, the D bass now changes the pipe blend of 2 notes, i.e. D plus A drone. When pipers play Gaelic tunes such as ‘The Waters of Kylesku’ they have to play G natural. No-one can convince me that this can ever sound correct on an accordion and I have never heard any accordionist play it this way. Why then worry about changing other pipe music by a semi-tone if it makes for a more interesting chord sequence or is more pleasing to the ear.
Ali MacGregor
Tain SDB
Couldn’t agree more. I have always believed that any instrument should be played to its full potential and as an accordion has more notes than the pipes, the G# should be played when G natural sounds incorrect. Ed
Why are most Clubs poorly attended nowadays? Everyone must have their own ideas, here are some of mine.
On entry, you look about and see some friends that you haven’t seen for ages. You wonder if he’s playing a lot, does he have the same line-up and a hundred other questions. (In the case of Jimmy Yeaman, you wonder if he’s at last going to buy you a drink!) Going over, you may be able to say hello and his name, before half a dozen heads turn round, glare at you and start ‘shushing!’ So ends your conversation.
In the playing members there are the stalwarts who when called upon to take the first spot of the evening, do so without protest. This means that in future he is instant prey for the compere who is looking for someone to take the ‘cold spot’. Then there are some, and I repeat some, of the young whiz kids who are reluctant to play until the second half or even last before the guest artiste, thus giving the impression ‘you’ve heard the rest, now it’s me!’
In years gone by, the stramash at the end of the evening could have 20 or more players sitting in with the guests. The guest would play selections of well known tunes that were relatively easy to play. Players of all standards enjoyed the thrash! Now we have the younger players who play selections that the ordinary player (like myself) has never heard of, let alone play, and all at 100 m.p.h. The result of this is that the common 5/8 players don’t go up and indeed, many don’t even take their instruments. The players who have had a tune in the house at night then brave the Club audience once a month deserve better.
To compat all this, could a Club be run as follows : starting at 7.30pm., players listed in the order they come in the door. If they hang back till later on they risk the possibility of not getting ‘a turn’. The punters could play until 9.15pm, a 15 minute interval for the guests to set up. They would then play for 2 hours of round the room dancing. This set-up would mean that people wanting a chat would not disturb the others. Those wishing to sit and listen could do so. The guest band would be playing in a more relaxed atmosphere and people who would not come to sit all night would come to dance, thus swelling the numbers.
When the Club books their guest band, they could inform the band that for a stramash, the following tunes are the ones within the range of the ordinary punters at their Club.
Alex Fitzsimmons
Fintry
M.A.F.I.A
At the Close of the monthly meeting of the second oldest Club in Scotland, compere Bobbie Cronie announced to a staggered audience that this was to be the final night of the M.A.F.I.A. Even the Committee did not know of this and were completely ‘dumfoonit’. Mr Cronie had decided to end the M.A.F.I.A. himself. As audience, guests and musicians were still suffering from shock, the ‘godfather’ founder Bobby Harvey put matters into perspective and asked for a show of hands for support to continue. The response was unanimous. 100% voted to overturn the Cronie decision and the M.A.F.I.A. will enter its 27th year stronger than ever. Committee members, audience and guests were delighted. More next issue.
Take the Floor
6th Mar 93 – John Carmichael SDB
13th Mar 93 – Charlie Kirkpatrick SDB
20th Mar 93 – Alistair Hunter & the Lorne SDB
27th Mar 93 – Lynn Gould SDB
CLUB DIARY
Aberdeen (Dee Motel) – 30th Mar 93 – Paul Anderson
Alnwick (Golden Fleece) – members only 10th Mar 93 – John Laidlaw Trio
Arbroath (Viewfield Hotel) -
Armadale (Masonic Hall) – 4th Mar 93 – Deirdre Adamson
Ayr (Gartferry Hotel) – 7th Mar 93 – Colin Dewar Trio
Balloch (St. Kessog’s Hall) – 21st Mar 93 – Paddy Neary
Banchory (Burnett Arms Hotel) –
Banff & District (Knowes Hotel, Macduff) – 24th Mar 93 – Alex Brown
Beith & District (Hotel de Croft, Dalry) – 15th Mar 93 – Ryan McGlynn SDB
Belford (Community Club) – 25th Mar 93 – Bruce Lindsay Trio
Biggar (Municipal Hall) – 14th Mar 93 – Keith Dickson Orchestra
Blairgowrie (Moorfield Hotel) - 9th Mar 93 – David Oswald SDB
Bridge of Allan (Walmer Hotel) -
Brigmill (Guardbridge Sports & Social Club) 2nd Mar 93 – Fiddlers 3 + 2
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Urr Valley Hotel) – 16th Mar 93 – Pauline Laverie Trio
Coalburn (Miners’ Welfare) - 18th Mar 93 – Donnie McGregor & Friends
Crieff & District (Drummond Arms Hotel) 4th Mar 93 – Gordon Pattullo
Dalriada (Argyll Arms Hotel, Lochgilphead) 16th Mar 93 – Bill Black SDB
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 3rd Mar 93 – Lynne Christie
Dunblane (Westlands Hotel) – 16th Mar 93 – Jimmy Yeaman SDB
Dundee (Invercarse Hotel) –
Dunfermline (Jubilee House) – 9th Mar 93 – Lomond SDB
Dunoon & Cowal (McColl’s Hotel) 12th / 13th Mar 93 – Alan McIntosh SDB, Alan Roy & Archie Duncan
East Kilbride (Sweepers, Cambuslang) – 25th Mar 93 – Jim Johnstone SDB
Ellon (Ladbroke Hotel) –
Ettrick & Yarrow (The Gordon Arms) - 17th Mar 93 – Sandy Legget
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) - 28th Mar 93 – Iain Cathcart
Forres (Brig Motel) – 10th Mar 93 – Highland Club
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel – Wooler) – 18th Mar 93 – James Lindsay Trio
Gretna (Halcrow Stadium) - 17th Mar 93 – Paddy Neary
Highland (Drumossie Hotel) – 15th Mar 93 – North East Club
Inveraray (Loch Fyne Hotel) - 2nd Mar 93 – Ian Thomson SDB
Isle of Skye -
Islesteps (Mabie House Hotel) – 2nd Mar 93 – Tommy Ford
Kelso (Ednam House Hotel) – 31st Mar 93 – Lindsay Weir SDB
Kinlochshiel (Strathcarron Hotel) - 8th Mar 93 – Ian Thomson SDB
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 11th Mar 93 – Ian Hutson SDB
Livingston (Golden Circle Hotel, Bathgate) 16th Mar 93 – Gordon Pattullo
Lockerbie (Bluebell Hotel) - 30th Mar 93 – Morag Robertson Duo
Mauchline (The Jean Armour Function Suite) 16th Mar 93 – Willie McFarlane Band
M.A.F.I.A. (Masonic Hall, Milngavie) –
Montrose (Park Hotel) – 3rd Mar 93 – Tommy Newcomen
Newtongrange (Dean Tavern) – 29th Mar 93 – Joe Gordon Ceilidh Trio
North East (Royal British Legion, Keith) –
Oban (Harbour Lights Restaurant) – 4th Mar 93 – Dochie McCallum & Friends
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Green Tree Hotel) – 25th Mar 93 – David Vernon
Perth (Salutation Hotel) – 16th Mar 93 – Charlie Cowie
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 9th Mar 93 – Deirdre Adamson
Rothbury (Queen’s Head) -
Shetland (venue?) -
Stirling (Terraces Hotel) - 14th Mar 93 – Iain MacPhail SDB
Thornhill (?)
Thurso (Pentland Hotel) –
Tranent (East Lothian Labour Club) 9th Mar 93 – Keith Dickson Accordion Orchestra
Turriff (Royal Oak Hotel) –
Tynedale (Hexham Ex Service Club) – 9th Mar 93 – Paddy Neary
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Alnwick
2. Banchory
3. Banff
4. Blairgowrie
5. Brigmill
6. Castle Douglas
7. Crieff
8. Dalriada
9. Dingwall
10. Dundee
11. Dunfermline
12. Dunoon & Cowal
13. East Kilbride
14. Etterick & Yarrow
15. Forfar
16. Forres
17. Glendale
18. Gretna
19. Kelso
20. Kintore
21. Lesmahagow
22. Livingston
23. Lockerbie
24. Mauchline
25. Montrose
26. Newtongrange
27. North East
28. Oban
29. Peebles
30. Renfrew
31. Rothbury
32. Stirling
33. Wick
CLUB DIRECTORY AS AT SEPT 1991 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Sept 1976 – present)
3. Arbroath A&F Club (1991? – present)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
5. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Brigmill A&F Club (Oct 1990) Closed
14. Button Key A&F Club (
15. Castle Douglas A&F Club (c Sept 1980 – present)
16. Coalburn A&F Club (
17. Crieff A&F Club (cSept 1981)
18. Dalriada A&F Club (Feb 1981)
19. Derwentside A&F Club
20. Dingwall & District A&F Club (May 1979 – per first report)
21. Dunblane & District A&F Club (1971 – present)
22. Dundee & District A&F Club (1970? -
23. Dunfermline & District A&F Club (1974 – per first edition)
24. Dunoon & Cowal A&F Club (
25. East Kilbride A&F Club (Sept 1980)
26. Ellon A&F Club (
27. Etterick & Yarrow (Jan 1989 -
28. Fintry A&F Club (
29. Forfar A&F Club (
30. Forres A&F Club (Jan 1978)
31. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
32. Galashiels A&F Club (joined Sept 1982 - present)
33. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
34. Glendale Accordion Club (Jan 1973)
35. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
36. Highland A&F Club (Inverness)
37. Inveraray A&F Club (Oct 1991)
38. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
39. Isle of Skye A&F Club (
40. Kelso A&F Club (May 1976 – present)
41. Kintore A&F Club (
42. Langholm A&F Club (Oct 1967 - present)
43. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
44. Livingston A&F Club (Sept 1973 – present)
45. Lockerbie A&F Club (Nov 1973 - present)
46. M.A.F.I.A. (1966 - )
47. Mauchline A&F Club (first mention 1986? - present)
48. Montrose A&F Club (joined Sept 1982 - present)
49. Mull A&F Club
50. Newtongrange A&F Club (joined Sept 1977 - present)
51. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
52. North East A&F Club aka Keith A&FC (Sept 1971 - present)
53. Oban A&F Club (Nov 1975 - present)
54. Orkney A&F Club (Mar 1978 - present)
55. Peebles A&F Club (26 Nov 1981 - present)
56. Perth & District A&F Club (Aug 1970 - present)
57. Premier A&F Club NI (April 1980)
58. Rothbury Accordion Club (1987??)
59. Shetland A&F Club (Sept 1978 - present)
60. Stirling A&F Club (Oct 1991 - )
61. Sutherland A&F Club (
62. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
63. Thurso A&F Club (cSept 1981 - present)
64. Tranent A&F Club
65. Turriff A&F Club (March 1982 - present)
66. Tynedale A&F Club (Nov 1980 - present)
67. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
68. Acharacle & District A&F Club (cMay 1988)
69. Bonchester Accordion Club (Closed?)
70. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
71. Buchan A&F Club
72. Callander A&F Club (
73. Campbeltown & District A&F Club (c Dec 1980)
74. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
75. Club Accord
76. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
77. Coupar Angus A&F Club (cSept 1978 - ?)
78. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
79. Denny & Dunipace A&F Club (Feb 1981)
80. Dornoch A&F Club (first mention in directory 1986)
81. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
82. Dunbar Cement Works A&F Club (Closed?)
83. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
84. Falkirk A&F Club (Sept 1978 - )
85. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
86. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
87. Kinlochsheil A&F Club (
88. Kirriemuir A&F Club (cSept 1981)
89. Monklands A&F Club (Nov 1978 – closed cApril 1983)
90. Morecambe A&F Club (joined Sept 1982)
91. Newcastleton Accordion Club
92. New Cumnock A&F Club (cMarch 1979)
93. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
94. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
95. Straiton Accordion Club (c1968 – closed March 1979)
96. Stranraer & District Accordion Club (1974 – per first edition)
97. Torthorwald A&F Club (near Dumfries)
98. Walmer (Bridge of Allan) A&F Club
99. Wellbank A&F Club
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