Box and Fiddle
Year 23 No 02
October 1999
Price £1
32 Page Magazine
7 month subscription £10.00
Editor – Charlie Todd, 63 Station Road, Thankerton, Biggar, ML12 6NZ
B&F Treasurer – Alan Gardiner, Cocklaw Farm, Elsrickle, Biggar.
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
Delighted to hear that Jimmy Helm has been so encouraged by the response to his book ‘Who’s On The Dance Music tonight?’ that he’s hard at work on volume 2 covering bands from 1970. Well done Jimmy. On that very topic I would encourage all bandleaders to periodically get a few good photographs of their band for posterity. Remember to record the date and the line-up on the back. It doesn’t need the services of a professional photographer, most modern instamatics will yield good results in decent lighting conditions (in other words they won’t in a smoke filled Social Club at night with a small automatic flash which, when we look back, is frequently all we have!)
Continuing on the subject of photographs, Keith Dickson was able to provide me with some crackers but again we were sometimes left with question marks hanging over dates, identities or in the case of the cars, makes, models and dates. If anyone knows more than we do then please drop me a line. Since October is a quiet month, with most Clubs just getting under way, I have taken the opportunity to include a few more photographs than usual. Keith is also interested to learn if there are any other claimants to the tune ‘High Road to Linton’. As well as the Medwynbank to West Linton road, the road on the other side from Edinburgh via Carlops to West Linton was also known by that title at one time. Can anyone confirm the James / John Dickson theory or does anyone know otherwise?
Moving on then, while this month’s lead article is obviously my handiwork since Keith is a ‘local’ I would encourage our 1,700+ recipients of the B&F to do the same for a musician of their choice. Geography dictates certain realistic limits so while the B&F is published in Lanarkshire feel free to contribute stories or ‘profiles’ from around the country. While the Club Reports will always be the backbone of the B&F more variety is needed.
Is it just me or are all bands finding things quiet? Bookings seem remarkably few and far between in my part of the country – is this a general trend? With lots of fine young musicians around do readers foresee a day when bands have no dancers to play for?
Congratulations to Bill and Ena Wilkie who are celebrating their 50th Perth Festival and their 40th year in business. Quite an achievement.
Please note that Inveraray Club have changed their meeting night to the Second Wednesday and that they are back in the Argyll Hotel.
Charlie Todd
The High Road to Linton
The Story of Keith Dickson
by Charlie Todd
October 1999 marks milestone in the achievements of the Keith Dickson Accordion Orchestra with the release of their debut album “Mist in the Glen” on the Shielburn Associates label. Formed in 1987 the Orchestra consists of young musicians from throughout the south of Scotland including the Lothians, Dumfries-shire and the numerous villages in my own part of Lanarkshire who congregate at Symington Hall on a Sunday afternoon for Orchestra practice.
The Orchestra (later renamed KODA) is backed by a strong and enthusiastic Parents Committee with much of the work falling on the shoulders of present Secretary, Hazel Orr from Hyndfordbridge near Lanark and Treasurer Jean Carswell from Symington. Their fund raising and organising activities enabled the Orchestra to make Town Twinning visits to Germany in 1997 and France in the current year as well as more regular outings like the annual trip to Scarborough in May for the UK Championships.
The main core of the Orchestra is made up of Keith’s students, the “Keith Dickson School of Music” who are great supporters of all the Accordion Championships, both in the traditional and classical fields, with Airdrie, Musselburgh, Dumfries, Newtongrange, Perth and as I say Scarborough receiving a welcome contingent. Keith also actively encourages pupils to attend and participate in the local Accordion and Fiddle Clubs.
As an observer of Keith’s pupils in action at both competition and club it’s obvious that he moulds the choice of music to suit the pupil and the adjudicator or the audience, whichever is the case. A late starter himself on the competition stage no-one understands better the need to start early and let the pupil grow accustomed to the pressure which is inevitably part of any serious competition. Only if nervousness is kept in check will the competitor be able to concentrate on the playing and expression of the piece.
That he shares with many of his fellow teachers but it’s in the allied field of entertainment that, in my opinion, he leaves many of them on the starting blocks. Nowhere was Keith’s “clued up” approach more apparent than in the grandly named United Kingdom Accordion Showband Championship at the UK Championships held in Scarborough in May of this year. Keith’s group were there as defending Champions and unfortunately there was only one other entry. They adopted a fairly conventional approach with a vocalist fronting the first number in their “Queen” medley but unfortunately he retired to his seat thereafter leaving the remained of the performance as something of an anticlimax. The performance received the polite applause reserved for competitions (or uninspiring performances).
Enter the KODA Showband. The M.C. announces the programme, all traditional Scottish and Irish tunes and the audience settle back in their seats – but not for long. Diminutive fiddle player Fiona Johnston from Currie takes centre stage an we’re into Cutting Bracken, fiddle leading, twelve accordions, three keyboards and a full drum kit backing. Loud applause. Next it’s Emily Smith from Gatelawbridge near Thornhill, one of Keith’s accordion pupils, but today fulfilling her other role as vocalist with a wonderfully evocative rendition of “Wild Mountain Thyme”. Extremely loud applause. And to finish, what else but the pipes, in the capable hands of young Gavin Maxwell from Dumfries, with a set of pipe jigs in a rousing “Celtic Rock” style. Deafening applause. So not much doubt there then – these people have been well and truly entertained.
In days of old accordion orchestras existed by virtue of the Post Office. The reason – well it went like this. You posted off a cheque with your ‘order’ to an address in London and they posted the ‘scores’ for the requested piece back up to you. Easy really – then all you had to do was spend a few months (or years) grinding your way through a German’s interpretation of a Rumanian (or whatever) classic. Keith has modified this ‘traditional’ approach by removing the cheque, the Post Office and the grinding. He orchestrates good music, mostly Scottish and Irish, in such a way that everyone enjoys playing it and, equally as important, listening to it.
THE MAN HIMSELF
Keith started the accordion at the age of 8 on a 72 bass Hohner Arietta under the guiding hand of dad, Jimmy. The family home at Medwynbank is slightly off the beaten track (first time visitors are advised to hire a Sherpa Guide at the junction with the A702) and both distance and financial constraints ruled out tuition at either of the ‘local’ teachers in those days at Wishaw or Edinburgh. Undeterred however Keith taught himself by listening to records and reading every piece of music he could lay his hands on.
Almost six years were to elapse before an opportunity for tuition presented itself in the form of Alistair Gillespie who had established a teaching centre in Biggar. Keith attended lessons there for three years, participating in the Gillespie Accordion Orchestra and latterly even deputising on occasions for Alistair in a teaching role. From there he moved in 1984 to another newcomer to the Scottish teaching scene Paul Capaldi, who began teaching for Clinkscales in Melrose. Around then Keith and another name that would shortly become well known, Peter Wood from Crawfordjohn, joined Abington based Joe Taylor’s band as lead and second accordionists.
It was from Alistair and Paul that Keith found the answers to all the questions which had been building up over the previous years. Chords had always fascinated him and now that the theory was being properly explained and practical exercises improved his fingering there was no holding him. He adapted easily to the keyboard and my first memories of Keith are as our Kirk organist at Carmichael (usually turning up on his moped with three minutes to spare).I recall that even at that stage he had the ability to modulate at the end of the first verse from the written key into something he gauged the congregation could handle by transposing the music in his head.
But strange as it may seem now, Keith had no thoughts of teaching music at this stage. Brought up with the various activities – farming, sawmilling and joinery – at Medwynbank he envisaged life as a stockman or a tractorman. Accordingly he attended Oatridge Agricultural College near Broxburn from 1982-85 coming out with a Certificate in Agriculture and receiving an award for Best Part-Time Student in 1983-84.
All that was soon to change however. Progressing rapidly on both accordion and keyboard, Keith himself began modest part-time teaching under the Clinkscale umbrella in 1986 with a dozen pupils. It was a meeting that year with Alex MacArthur, recently moved at that time from Biggar to Thornhill, which changed all that. Alex said there was a desperate need for a good teacher in the Dumfries area and promised him a further dozen pupils immediately. Keith began a Saturday studio, initially at Closeburn Primary School and the die was cast.
The following year he took his ABCA (Performers) Diploma (he always intended to follow up with the (Teachers) Diploma but never got round to it), former his own Accordion Orchestra, did his first Guest Spot at Biggar in February of that year and led a band to accompany the New Scotland Country Dancers on a three week trip of Norway where, if I recall correctly, amongst many other highlights we had the privilege of actually seeing the “midnight sun” through a gap in the clouds when we visited the North Cape.
Soon Keith’s new role as teacher was totally eclipsing his other activities at Medwynbank. In 1988 he entered the broadcasting scene for the first time as second box player on Peter Wood’s second broadcast from Studio 2 in Glasgow. The following year he joined the Alan Gardiner SDB, in that same role, and remain there until the present day. His first broadcast with Alan was from Kircudbright in 1990 and they have averaged more than one a year since together with 3 CDs over that period.
Away from the broadcast scene Keith has assisted on keyboard or second box with a variety of bands over the years, Gary Donaldson and Gordon Shand in particular. He followed Peter Wood into the pianist’s seat with the Iain MacPhail SDB in 1996 but relinquished that to become keyboard player with “Duke Box” – Scotland’s Premier Function Band (“or so the Web-site says” jokes Keith). Fronted by ex-Shetlander Stuart Bentley on vocals, guitar or accordion. Keith’s fellow band members are Ian MacDonald on bass guitar and vocals and Max Ketchin on drums.
So all-in-all a very full agenda but what of Keith’s family history. As we stand poised to enter the 21st century Keith’s response to that tried and tested question “was there music in the family” can take us back with some certainly not just to the end of the 19th century but to the start of the 18th!
PAST TIMES
Circa 1705 – John Dickson was born somewhere in East Lothian. In time he became gardener at Dumcrieff House near Moffat and still later, around 1750, continued that role for Sir George Clark at Penicuik House. That name will be familiar to musicians since there is a Strathspey entitles “Sir George Clark of Pennycuik” by Nathanial Gow which is used as the original for the dance “Up in the Air” from Book 20 of the RSCDS. However, something untoward happened by the time of John’s death because he is reputed to lie buried under the doorstep of Penicuik Kirk – a punishment, Keith assumes, to ensure that his soul could never rest so long as it was regularly disturbed by God fearing folk entering the kirk. John Dickson was Keith’s great great great great great grandfather.
Circa 1735 – John’s sons, Robert and James, would be born in the 1730s. At the time of the 1745 Rebellion, Robert was captured by the Highlanders who compelled him to show them the way to Dumcrieff House. However he was able to escape from his captors and hid in the woods until the rebels marched off – taking his shoes with them! They accompanied their father in his move to Penicuik. It was while they were there that General Douglas, then the laird of lands at what was then called Garlefoot, Dolphinton, approached them about establishing and running a wool, spinning, weaving and carding mill there. This they did, but James eventually returned to Moffat, while Robert remained, married Janet Alexander and bought the mill at what became known, somewhere along the line, as Garvaldfoot.
1765 – Per the Parish records eight children were born to Robert and Janet starting with Henry (b1765), John (b 1767), Agnes (b. 1769), George (1771 – 1853), Mary (1774 – 1802), Elizabeth (b 1778), Robert (1781 – 1885) and ending with Keith’s great great great grandfather Adam, born in 1787. In 1822 John and Adam negotiated a lease for land half a mile up the road from Garvldfoot on the banks of the Medwyn. The Lease stated “To John and Adam Dickson, Garvaldfoot 16/11/1822. Sir C.N. Lockhart has accepted of your offer for the bit of ground for Mill at Easton. The lease runs for 45 years from the present time but if you put down a real substantial set of houses we shall extend it 5 years longer”. Other records show that George managed the carding mill, John the dyeing business, Henry the land and the kye and Adam was the millwright. Henry and John wore long blue swallowtail coats with brass buttons, knee breeches and high hats.
1823 – Adam had six of a family, namely Robert (b 1823), Agnes (b 1825), James (1827 – 1908), George (b 1829), John (b 1831) and Adam (b 1836). By this time Medwynbank was in full swing with the power from the mill being used by joiners and millcrights by day and by a nightshift of weavers. This industry was mirroring much larger developments in water power in nearby New Lanark at this time. No doubt there had been musicians in earlier generations but it is here that we find the first record of musicians in the family. Keith’s great great grandfather James and his brother John were sufficiently proficient fiddlers to cause local bards to record their appreciation in rhyme with “Fiddler by the Fireside” dedicated to James and “Epistle to Jock Dickson” for John. Family tradition also has it that it was one or the other of the brothers who composed the reel “Ower the Garle” or as it later became known “The High Road to Linton”. The Garle was the back road from Medwynbank to West Linton which followed the natural contours of the land unlike the relatively flat Drove Road in the valley bottom below. It’s unlikely that the brothers read music hence there other compositions were probably in time lost. Jamie lived into his eighty-first year and also merited a mention in the “Caledonian” magazine of 1836.
1865 – James and Jane Dickson also had six of a family. Keith’s great grandfather Adam was the first, born in 1865, followed by Isabel, Agnes, Jean, George and James. The first car hit the roads of the UK in 1885 and Adam built himself one in the early years of the new century which was registered as V 512. Another family photograph, from about 1915, shows a family outing in a more sophisticated production vehicle registered V 971. The Dicksons must have been amongst Lanarkshire’s earliest users of “horseless carriages”. These Registration Numbers obviously precede the better known Lanarkshire County numbers which were prefixed VA or VD.
1894 – Adam and Hannah Dickson had three of a family. Grandfather James, born in 1894, with Alice in 1896 and William in 1898. The family must have enjoyed a period of relative affluence since the family members, house and cars were recorded on quite a number of early photographs whose negatives were in the form of glass slides.
1930 – James and Catherine Dickson’s firstborn was Keith’s dad James in 1930, with Uncle Rob in 1934 and Aunt Lillias in 1936. Jimmy Dickson played the piano accordion and Uncle Rob the drums with the “Olympics” at local dances in the village halls of Lanarkshire, Peebles-shire and the Lothians. Sadly Jimmy died prematurely in 1995, in all likelihood taking with him many stories of the family’s past.
1965 – Keith appeared on the scene with brother Gordon following in 1968. Gordon dabbled briefly with the fiddle but continues in the family tradition as a joiner whole Keith looks after the sheep on Medwynbank’s 50 acres.
1995 – Keith and Sheena, daughter of Biggar Accordion and Fiddle Club Chairman John Anderson, bring the next generation into the world, the sixth to be raised at Medwynbank. Daughter Hannah born in 1995 and twins James and Emma in 1997.
And that, as they say, is the story so far. The snippets of information from the early days are recorded on an old manuscript which details the early part of the Dickson family tree which has been passed down through the family. As for Dumcrieff House, Tom and Margaret Porteous tell me that it was later owned by “Tar” McAdam, of road surfacing fame, and that he lies buried in the kirkyard in the middle of Moffat.
So I’ll close by wishing the Keith Dickson Accordion Orchestra every success with “Mist in the Glen”. Having heard the Orchestra live, as well as the CD, I can wholeheartedly endorse the comments in our CD Review. Thanks to Keith for his time and Tam Ward and Biggar Museum Trust for providing many of the photographs which accompany this article from the glass slides. To Keith, Sheena and family and everyone involved with the “Keith Dickson School of Music” every good wish for the future.
The Caledonian Magazine – March 1936
A Pair of Fiddlers of the Real Old School
James Dickson of Medwynbank and Donald McDonald of Ballackriochk by E.G. Robins
Of recent years mechanical music has to a great extent ousted the ‘hand-made’ variety and amateur performers, who can play passably on piano or violin, are much rarer than they were previous to the Great War of 1914.
In many respects this fact is to be deplored, although it must be admitted that there were too many ‘would be’ musicians in the days when all children were made to ‘study music’. Nevertheless, one misses the emotion and the ‘fire’ that so many ‘rustic masters’ of former days managed to impart to their playing and the enthusiasm with which they inspired their hearers, as they rattled off a lengthy programme of reels, strathspeys and country dance music. Few indeed can do so today.
Two men, whom I will remember, possessed this power and I shall try to bring them to your minds in these few brief notes. These were James Dickson, reckoned to be one of the best reel players of his day in Southern Scotland and Donald McDonald, a spirited player, who resided in Badenoch, Inverness-shire.
James Dickson (Born 1827 – Died 1908)
Picture to yourselves a substantially-built sandstone house standing on the bank of a small river in an isolated part of the Country of Lanark. In its kitchen, low-raftered but cosy, a cheery fire is burning on a wide, white stone hearth and the reflection of its flame is caught by the rows of china plates and jugs that adorn a number of shelves on the dark papered walls. A parritch-pat bubbles on the ‘swey’ and some empty dishes lie on the table, for supper is just over, and the remains have not yet been cleared away.
The air is thick with the reek of peat and tobacco, and, in a high-backed ‘grandfather’ chair sits an old man, enjoying his evening pipe. He is fresh complexioned, grey bearded, and has a mop of grizzled, wiry hair. He has humourous blue eyes and is rather short of stature and square of build, facts accentuated by the long, loose-fitting jacket he usually affects, with buttons on the ‘tails’. Often, too, he wears his cap and ‘cravat’ indoors, as well as out!
This old man is James Dickson, millwright and small farmer, of Medwynbank, whose property lies in and around a lovely glen, through which flows the River Medwyn. Grouped around the ‘couthie’ dwellinghouse are the sawmill, workshops and farm buildings. From the glen the land rises to the slopes of the ‘outlying spurs’ of the Pentland Hills – bleak, poor farmland where Nature is niggardly with her crops to even the most industrious. James works as hard as anybody in the field or in the ‘shop’ but comes in-by for his supper and his relaxations – a piper, a paper and sometimes ‘a tune’.
At present he is saying with a smile – (for some neoghbours have by this time dropped in) – “Dod, man, Doctor! I’m no’ in guid trim for playin’. I’ve hardly had the fiddle doun the year but I’ll see what I can dae”.
Lovingly he takes down his instrument from a nail above his head and begins to tune it. He gives a few flourishes across the strings. The bow needs some ‘rosit’ but at last he is ready to begin.
One of the listeners, himself a fiddler, says “Man, Jamie, give us ‘Tullimet’ and ‘Captain Keeler’”.
So old Jamie takes his fiddle under his bristly beard, turns his massive head to one side, as is his habit, and begin his programme. Gradually he warms to his work and his hobnailed boot beats time on the wooden floor as his bow sweeps to and fro across the strings. What a ‘bow hand’ he has and his horny fingers fairly skip across the finger-board!
“Grand, man, grand” echoes through the kitchen. Other feet mark time and the whole place seems suddenly to become intensely alive. Tune succeeds tune and some of the younger folk present begin to dance. Oh, it is all splendid! Sometimes James intersperses his quick music with a slow air or an old fashioned song.
But alas all good things have an end and James lays down his bow, for the hour is very late. Regretfully we say goodnight and leave him and his guid-wife, Jean, to their well earned rest.
Tunes in plenty did we pick up from Jamie’s playing, some of them airs which were never written down and certainly never published.
Oftentimes we say in sorry “Oh, if we could have Jamie back to show how the ‘Auld Springs’ should be played!”
But this is a vain wish, for both Jamie and his good looking and sonsy wife (whose custom it was to knit thick woolen socks whilst proudly listening to her husband’s music and noting with approval its effects on the listeners) have gone to the far country where music and happiness go hand-in-hand and where all earthly trials and sorrows are forgotten.
Nevertheless, they shall be enshrined in our hearts as vivid memories as long as life shall last.
The Fiddler by the Fireside
Auld Jamie Dickson
By Mrs Robbins (Edinburgh) Bessie Dickson, Eldest Daughter of James Dickson
Contented by the ingle neuk Auld James smokes his pipe,
He’s makin’ plans aboot the hairst, his corns a’maist ripe,
“Aweel !” he lays his cutty doon an’ glances at the nock,
“I think I’ll hae a wee bit tune, afore its time to lock”.
An’ frae a nail aboon his heid he taks his fiddle doon,
An’ plunks the strings an’ cocks his ear tae mak’ sure she’s in tune, He snuggles her aneath his chin an’ gies the pegs a screw,
Syne draws his bow – it’s no’ quite richt, he needs some rosit noo!
He starts off in a slow strathspey, syne follows in a reel,
He’s warming up, he’ll play straight on the ains he lou’s sae weel,
But deed he’s never lang alane for neebors come inby,
To harken to the fiddles vice an’ whiles a dance tae try.
It’s “Jamie gie us Tullymet, Pease Strae or Isle o’ Skye”,
An’ later Jamie changes ower to ‘Comin thro’ the Rye’,
An’ whiles he gies a wee bit sang sae pawky an’ sae crouse,
Like ‘Big Broom Besoms’, ‘Canny Frien!’ an ‘My Ain Dear Auld Hoose’.
Syne Jean, his wife, says “See the time, man ye sud be in bed”,
But Jamie plays anither reel an’ a’ the fowks are gled,
But ilka pleasure has a end an Jamie’s dune rich’ weel,
“Guid nicht ma friens an’ come back sune tae hear anither reel”.
Epistle to Jock Dickson
by Dick
Dear Jock, I humbly beg and pray, you’ll pardon me for this delay,
When o’ my reason half bereft, an’ just twa nichts afore you left,
After a very merry week, in this ancient city famed for reek,
I rashly vowed, if given time, t’immortalise your name in rhyme,
Though vows are aft ower lightly spoken, ower rashly made, ower quickly broken,
Still, if it be his Godship’s will, my promise I will yet fulfill.
But, noo that I am fairly startit, I feel a wee thocht chicken-heartit,
Lest, doubtin’ what some passage means, you show it to your learned freens,
(Critics abound in in ilka toun, e.g. the Smith or Jamie Broon),
Wha, without judgement, wit or conscience, might still pronounce my rhyme damned nonsense,
An’ straightway prove’t to be the vain, abortion o’ some moon struck brain,
But, Lord, Jock, tongues were meant to wag, auld nature won’t supply a gag.
An’ to her shame she aft refrains, frae drawin’ on her stock o’ brains,
Leaving some hears deficient quite, of that most useful requisite,
Why this should be I canna tell, perhaps she disna ken hersel’,
But trustin’ that some early day, she’ll see the error o’ her way,
I leave it to her ain discretion, to rectift this sad omission,
A word, noo, Jocj ‘tween you an’ me, last time we met we had a spree.
An’, if again we do forgather, I hope an’ trust we’ll hae anither,
Though a’ the priests in sable coats, frae Dolphinton tae John o’ Groats,
Should raise their voice in loud accord, an’ damn the baith o’ swi’ ae word,
Sae merrily the whaup we’ll quaff, we’ll crack oor jokes, an’ syne we’ll laugh,
We’ll dance an’ hooch, we’ll rant an’ sing, till Kippie Hill wi’ echoes ring,
An’ hoolets at the dead o’ nicht, shall, tremblin’, haud their breath wi’ fright.
Then notes o’ music, sweet an’ clear, shall soothe the enchanted listener’s ear,
Guid auld Scotch music, best o’ ony, it’s measure aye rins smooth an’ bonny,
But, played wi’ Dickson’s skill an’ art, it never fails tae touch the heart,
Scotch sangs an’ tunes by men o’ taste, are ranked among the very best,
Although some modern Scots, I fear, hae lost theit taste as weel’s their ear,
Neglictin’ mony a guid auld sang, for senseless trash in Cockney slang.
Though worthy o’ a better fate, Rab’s sangs are noo ‘not up to date’,
They dina suit the modern taste, outlandish jargon pleases best,
Imported frae some foreign clime, an’ lost to music, sense an’ rhyme,
There’s German bands in ilka street, dispensin’ stuff that’s far frae sweet,
An’ organ grinders deave oor lugs, while wily dames hand round their jugs,
Then bow, an’ grin, an’ wink their ee, tae catch the canny Scots bawbee.
But should a note o’ foreign gear, e’er frae your fiddle reach my ear,
Though but ae demi-semi-quaver, that day oor freenship ends forever,
When winter wi’ his snaw an’ frost, has lifted to some other coast,
An’ pearly dews an’ vernal showers, revive the little droopin’ flowers,
When fields assume their coat o’ green, an’ scented breezes fan the scene.
When birdies sing amang the broughs, an’ lambkins bleat upon the knows,
Then will I leave Auld Reekie’s bounds, her never-endin’ deafenin’ sounds,
Her mingled dirt an’ dignity, an’ spend ae day alang wi’ thee,
Should Heaven decree’t to be my last, I widna wish it better passed,
Jock, I might say a hantle mair, an’ no’ exhaust my rhymin’ ware,
But here, it is my firm conviction, I should pronounce the benediction.
Though godly priests charge Godly fee, I send you here my blessin’ free,
If I’m a judge o’ Holy wares, I think my ain’s as guid as theirs,
An’ what to Kirk folk may seem queer, I claim that my ane is sincere,
May Heaven wi’ choicest blessings bless thee, nor care nor sorrow e’er oppress thee,
Lang may ye play the ‘Laird o’ Grant’, ‘Over the Garle’ an ‘Maxwell’s Rant’,
An’ when that ancient ruffian Death, comes wi’ his scythe to stop your breath,
Just meet him wi’ a steady eye, an’ treat him to a bauld Strathspey,
An’ when in Linton’s auld kirkyard, ye’re laid beneath the grassy sward,
Soun’ may the King o’ Fiddlers sleep, while bairns’ bairns in sorrow weep.
The Dickson Family Gallery
Photographs
CD Reviews
Keith Dickson Accordion Orchestra – Mist in the Glen – SHEILCD008
Sandy Nixon SDB – Repeat Prescription – HRMCD556
The Craigowl SDB – Scottish Country Dances for Young People and New Dancers – Book 40 and Childrens Book – CD015
Sandy Legget & the Carseloch Ceilidh Band – Scottish Dances Vol 9 – HRMCD509
Ron Kerr SDB – St Andrew’s Ball – SHEILCD007
Alistair Hunter & the Lorne SDB – RSCDS Book 25 – CD013
North Cregg – And They Danced All Night – MMCD1026
THE RSCDS – 12 Scottish Country Dances Book 26 – Alan Gardiner SDB
Letters to the Editor
Every so often, the pages of ‘B&F’ feature complaints about the damage caused to Scottish dance music by those who control our radio and television channels. I agree most heartily with the sentiments of those who take the trouble to put their views in writing. Unfortunately I also fear that those views will never get beyond the complaint stage unless those of us who love the Scottish instrumental tradition can come up with a cogent rebuttal of the media moguls’ reasons for giving this wonderful art form such limited air time.
Apparently we have fallen victim to the mindless debunking of ‘Heather and Haggis’ . How or why Scottish dance music managed to get itself tarred with this brush isn’t clear. ‘Heather and Haggis’ is a tired pejorative which is long overdue for putting out to grass. What is clear is that it is time to scrape the tar off.
I have a suspicion that too many of us have accepted the ‘Heather and Haggis’ argument without question. Our media moguls tell us that the folk scene is where the true spirit of the Scots tradition really lies. Box squeezers and fiddle scrapers of a fringe aberration. But does that argument really stand up to scrutiny? Does the true Scots tradition really lie in the bland ersatz concoctions that pass for folk music these days? Is this really the best that Scotland can offer the world in the name of traditional music?
I happen to have a deep and passionate love for Scots folk songs and the Scots language that so many of them preserve. I grew up with the bothy ballads and have spent many an idyllic hour or three in smoky pubs listening to traditional songs. I only mention this to make it clear that I am not in the business of denigrating our national song heritage or questioning its artistic merits. What I am questioning is whether the ‘folkies’ really have the right to claim the moral high ground of traditional authenticity (or authentic tradition even!) After all, the current folk scene had its roots in attempts by middle-class intellectuals to identify with the sons and daughters of honest toil. It was always something of an affection and like most affections, needed some kind of imaginary cause to justify itself.
In Scotland, that cause was the destruction of ‘Heather and Haggis’. It was simply a blanket derogation for anything that didn’t fit in with the new folk movement’s idea’s of Scottish music. In fact, most of what these self-appointed guardians of tradition find acceptable has little to do with Scotland as it is now. The image that they cooked up was even more absurd than the one that it sought to replace. The Corries fought the ’45 Rebellion all over again. They did it very well but they added not one whit of relevance to the Jacobite cause. Hamish Henderson wrote songs, albeit very good ones, about wars that passed and industries that were either dead or moribund. Three chord wonders with guitar sung lustily in bad Doric about draught horses and feeing markets. Others sang in marginally better Doric about pits and shipyards.
Is this stuff any more representative of almost twenty-first century Scotland than tunes designed to accompany dances that people still perform? As far as I am aware, the tractor reached even the remotest parts of Aberdeenshire around 40 years ago. Feeing markets are pretty rare now and deep pit coal mining is hardly a thriving industry these days.
I am not saying that these songs aren’t good or worth singing. Personally, I think they are great and should be sung right lustily and often. What I question is their ability to re-elect Scotland as it really is instead of Scotland as it might once have been. At least Sir Jimmy Shand, one of the supposed emblems of Heather and Haggis, was a real miner. I suspect that most of the people who extol the virtues of miners in song have never been near a coal pit in their lives. The whole thing is as much an exercise in false image making as Grannie’s Heilan’ Hame ever was. The only difference is that the media controllers have fallen for the false image hook, line and sinker. Perhaps we should coin phrases like ‘Pitheidery’ and ‘Mince and Middens’ to expose the ridiculous posturing of some of the movement’s more extremem followers.
Having said all that, it would make more sense for the separate strands of Scottish musical culture to come together. It is better to value our diversity than to squabble over claims to artistic and culture purity. The much-maligned ‘White Heather Club’ managed to accommodate such diverse acts as Andy Stewart, Joe Gordon, Jimmy Shand, The Brand Sisters, Robert Wilson and Sidney Devine on one bill. Surely it is not beyond the wit of our great nation to come up with a more modern format that could do the same thing for our current stars in all fields.
Maybe we need to be a bit more aggressive in marketing our music. The threat of ‘Heather and Haggis’ has made us far too apologetic about what we have on offer. We need to be a bit more up-front about ‘our kind of music’. After all, it is something that is both genially Scottish and artistically valid. Surely a set of reels by Iain MacPhail is at least as culturally relevant as a song about ‘Bonnie Prince Charlie’. At least the dance tunes are honest and unpretentious. A song romanticising a bungling political opportunist who wrecked Highlanders’ lives is neither of those things. The skills of our top musicians deserve better coverage and higher rewards than they are getting at the moment. They are unlikely to get them unless all of us believe in the worth of our art.
Perhaps the problem with getting a television slot lies in the limited visual appeal of a box and fiddle band. Close ups of flying fingers and jinking elbows would have limited appeal to a mass audience.This could be solved with a few imaginative dance sequences.
Scottish Country Dancing, the mainstay of most of our top band, is not all that telegenic. Over the years it has assumed a father frumpy image. Even the best teams look stilted and constrained. It needs some fresh thought and ingenious choreography to turn it into modern visual entertainment but that is hardly mission impossible. Look at what ‘Riverdance’ managed to make out of Irish dancing. Scotland’s dancing tradition is at least as good and could prove to be as spectacular. Is there anybody out there?
Finlay Forbes
I write regarding H. MacGillivray’s diatribe in the September issue regarding Robbie Shepherd. I believe, and I am not alone, that when the time comes that Robbie Shepherd gives up presenting Scottish Dance Music programmes as we know them, he will not be replaced by someone more to H. MacGillivray’s liking – he will not be replaced at all!
The simple fact is that our kind of music is not what the vast majority of the inhabitants of Scotland now want to hear. I would hazard a guess that of the five million or so people who live in Scotland, less than 1% would tune in to it and going by the obituaries in the B&F and the Reel Blend there are less of us every week. In fact the Generation Game or Blin d Date would be more to the taste of the majority.
Regarding the ‘Doric’, what’s wrong with any regional accent? They don’t bother me. What does are some ‘professional’ Scots speakers on other programmes who have obviously learned their vocabulary either from a dictionary or reading the works of Robert Burns.
As others have pointed out the ‘Reel Blend’ is already being diluted with folk bands and the like for example interviews with people like Ena Baxter. A gracious lady and her soups are the best you will get out of a tin. I enjoyed her contribution but little to do with Scottish music.
However let us not criticise too much but enjoy our programmes while they still broadcast them and Robbie Shepherd is still around to present them.
Ian Robertson
Poor old Robbie! Whatever has he done to deserve H. MacGillivray’s vitriolic attack? Iain Peterson thought Robbie too much of a gentleman to respond to personal attacks, so why can’t we all behave like gentlemen? (or ladies and gentlemen to be politically correct).
I did make the point in an earlier letter that we should probably be grateful for what little of our music we get. Readers will also remember (from Robin Ellis) that we poor souls in the South get nothing at all. Presumably Robbie’s detractors are seeking an improvement. The problem in that the BBC accountants might react to criticism by removing Scottish Music programme altogether.
The circulation of the ‘B&F’ is counted in hundreds, not thousands, and many Accordion and Fiddle Clubs (of those which survive after a relatively short history) are supported by a majority of older members. It is now a minority interest and it does need the sort of positive attitude as demonstrated by, among others, Iain Peterson and Rory MacLeod and yes, Robbie Shepherd.
By all means let us feel free to raise constructive criticism, but please Mr MacGillivray and others, let us refrain from personal attacks on people who, whether or not we like their style, give much support to our culture.
Bob Parsons
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
2nd Oct 99 – OB Canada - Bobby Brown and the Scottish Accent with Guests
9th Oct 99 – Kenny Thomson & the Wardlaw SDB & feature
16th Oct 99 – Jimmy Lindsay SDB & feature
23rd Oct 99 – OB Biggar – Alan Gardiner SDB & Guests
30th Oct 99 – Alastair Hunter SDB & feature
6th Nov 99 – Ian Cruickshanks SDB & feature
13th Nov 99 – OB Perth – Jim Lindsay SDB & Guests
20th Nov 99 – David Cunningham Jnr SDB & feature
27th Oct 99 – OB St Andrews – Colin Dewar SDB & Guests
CLUB DIARY
Aberdeen (Dee Motel) – 26th Oct 99 – Dick Black Band
Alnwick (White Swan Hotel) – members only 13th Oct 99 - tbc
Annan (St Andrew’s Social Club) - 17th Oct 99 – The Big Squeeze
Arbroath (Viewfield Hotel) - 3rd Oct 99 – Tayside Youth Fiddlers
Armadale (Masonic Hall) – 7th Oct 99 – Donnie McGregor SDB
Balloch (St. Kessog’s Hall) – 17th Oct 99 – Colin Dewar Trio
Banchory (Burnett Arms Hotel) – 25th Oct 99 – James Coutts SDB
Banff & District (Banff Springs Hotel) – 27th Oct 99 – Wayne Robertson
Beith & District (Hotel de Croft, Dalry) – 18th Oct 99 – Donald MacLeod SDB
Belford (Community Club) – 28th Oct 99 - tbc
Biggar (Municipal Hall) – 10th Oct 99 – Alan Gardiner SDB 25th Anniv
Blairgowrie (Moorfield Hotel) - 12th Oct 99 – Paul Anderson
Bromley (Trinity United Reform Church) - 12th Oct 99 - tbc
Button Key (Windygates Institute) – 14th Oct 99 – Meoran Ciuil
Campbeltown (Royal or Argyll Hotel) -
Campsie (Glazert House Hotel) - 5th Oct 99 – Ian Cruickshanks SDB
Carlisle (Border Regiment Club, Carlisle Castle) - 14th Oct 99 – Tom Porteous Trio
Castle Douglas (Ernespie House Hotel) – 19th Oct 99 – Meoran Ciuil
Coalburn (Miners’ Welfare) - 21st Oct 99 – Richard Smith Duo
Crathes (Crathes Hall, Banchory) - 10th Oct 99 – All musicians welcome
Crieff & District (Arduthie Hotel) 7th Oct 99 – Marian Anderson SDB
Cults (Cults Sports & Social Club) 13th Oct 99 – George Meikle & the Lothian Trio
Dalriada (Argyll Arms Hotel, Lochgilphead) 19th Oct 99 – David Vernon
Dingwall (National Hotel) – 6th Oct 99 – Shirley Campbell & Friends
Dunblane (Westlands Hotel) – 19th Oct 99 – Sandy Legget SDB
Dunfermline (Headwell Bowling Club) – 12th Oct 99 – Bruce Lindsay Trio
Dunoon & Cowal (McColl’s Hotel) 8th Oct 99 - tbc
East Kilbride (Sweepers, Cambuslang) – 28th Oct 99 – Allan MacIntosh Duo
Ellon (Station Hotel) – 19th Oct 99 – Lomond Ceilidh Band
Fintry (Fintry Sports Centre) – 25th Oct 99 – Burns Brothers
Forfar (Plough Inn) - 31st Oct 99 - tbc
Forres (Brig Motel) – 13th Oct 99 – Kintore A & F Club
Galashiels (Abbotsford Arms Hotel) – 7th Oct 99 – Alan Gardiner Trio
Galston (Barr Castle Social Club) – 11th Oct 99 – Tommy Ford
Glendale (Black Bull Hotel – Wooler) – 21st Oct 99 – Meoran Ciuil (Musical Fingers) Trio
Glenfarg (Lomond Hotel) - 6th Oct 99 – Willie Simpson
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 26th Oct 99 – The Crawford Brothers
Gretna (Halcrow Stadium) - 3rd Oct 99 – Morag Robertson Trio
Highland (Drumossie Hotel) – 18th Oct 99 – Gavin Piper & Friends
Inveraray (Loch Fyne Hotel) - 13th Oct 99 – Willie Simpson Trio
Isle of Skye – (The Royal Hotel, Portree) - 7th Oct 99 - tbc
Islesteps (The Embassy Hotel) – 5th Oct 99 – Scott Gordon Trio
Kelso (Ednam House Hotel) – 27th Oct 99 – Jimmy Cassidy
Kintore (Torryburn Hotel) – 6th Oct 99 – Jimmy Cassidy
Lanark (Masonic Hall) - 25th Oct 99 – Keith Dickson Orchestra
Langholm (Crown Hotel) – 13th Oct 99 – Bill Black SDB
Lesmahagow (Masonic Hall) – 14th Oct 99 – Tommy Newcomen Duo
Lewis & Harris (Stornoway Legion) - 7th Oct 99 - tbc
Livingston (Cairn Hotel) - 19th Oct 99 – Wayne Robertson & Davie Stewart
Lockerbie (Queen’s Hotel) - 26th Oct 99 – Jimmy Cassidy
Mauchline (Sorn Village Hall) 19th Oct 99 – Duncan Black Trio
Montrose (Park Hotel) – 6th Oct 99 – Lomond Ceilidh Band
Muirhead (Belmont Arms, Meigle) - 17th Oct 99 – All players welcome
Newtongrange (Dean Tavern) – 25th Oct 99 – Gordon Pattullo
North East (Royal British Legion, Keith) – 5th Oct 99 – Strathbogie Fiddlers
Oban (McTavish’s Kitchen) – 7th Oct 99 – Fraser McGlynn
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 28th Oct 99 – Colin Dewar Duo
Perth (Salutation Hotel) – 19th Oct 99 – Fraser McGlynn Duo
Premier NI (Camlin Function Rooms) - 5th Oct 99 – Ian Muir
Reading Fiddlers (Piggot School) -
Renfrew (Masonic Hall, Broadloan) – 12th Oct 99 – Carlisle Family
Rothbury (Queen’s Head) - 7th Oct 99 – Wendy Godfrey SDB
Selkirk (Cricket Club) - 14th Oct 99 – Sandy Legget SDB
Shetland (Shetland Hotel, Lerwick) -
Stirling (Terraces Hotel) - 10th Oct 99 – Iain Cathcart SDB
Sutherland (Rogart Hall) - 16th Oct 99 - tbc
Thornhill (Masonic Hall) - 13th Oct 99 – Jim MacKay C.B.
Thurso (Pentland Hotel) – 4th Oct 99 – John Morgan
Turriff (Royal Oak Hotel) – 7th Oct 99 – Nicol McLaren SDB
Tynedale (Hexham Ex Service Club) – 21st Oct 99 - tbc
Wick (McKay’s Hotel) – 12th Oct 99 – Hebbie Gray Duo
Yarrow (Gordon Arms) - 20th Oct 99 – Glenelvin SDB
THERE WERE CLUB REPORTS FROM :-
1. Arbroath
2. Banchory
3. Blairgowrie
4. Button Key
5. Campsie
6. Crathes
7. Cults
8. Dingwall
9. Dunoon & Cowal
10. Forres
11. Glenrothes & District
12. Inveraray
13. Kintore
14. Lesmahagow
15. Montrose
16. Premier
17. Renfrew
18. Thurso
19. Turriff
20. Tynedale
21. Yarrow
CLUB DIRECTORY AS AT OCT 1999
(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 (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) 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. Bromley A&F Club
14. Button Key A&F Club (
15. Campbeltown A&F Club (
16. Campsie A&F Club (Nov 95 – present)
17. Carlisle A&F Club (joined Sept 1993 -
18. Castle Douglas A&F Club (c Sept 1980 – present)
19. Coalburn A&F Club (
20. Crathes A&F Club (also called Scottish Accordion Music – Crathes (Nov 1997 -
21. Crieff A&F Club (cSept 1981)
22. Cults A&F Club (
23. Dalriada A&F Club (Feb 1981)
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dunfermline & District A&F Club (1974 – per first edition)
27. Dunoon & Cowal A&F Club (
28. East Kilbride A&F Club (Sept 1980)
29. Ellon A&F Club (
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Galashiels A&F Club (joined Sept 1982 - present)
34. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
35. Glendale Accordion Club (Jan 1973)
36. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
37. Glenrothes A&F Club (Mar 93?
38. 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)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Feb 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (June 1983 – present)
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Ladybank A&F Club (joined Apr 98 but formed
47. Lanark A&F Club (joined Sept 96 – present)
48. Langholm A&F Club (Oct 1967 - present)
49. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Mauchline A&F Club (Sept 1983 - present)
54. Montrose A&F Club (joined Sept 1982 - present)
55. Muirhead A&F Club (Dec 1994 -
56. Newtongrange A&F Club (joined Sept 1977 - present)
57. North East A&F Club aka Keith A&FC (Sept 1971 - present)
58. Oban A&F Club (Nov 1975 - present)
59. Orkney A&F Club (Mar 1978 - present)
60. Peebles A&F Club (26 Nov 1981 - present)
61. Perth & District A&F Club (Aug 1970 - present)
62. Premier A&F Club NI (April 1980)
63. Renfrew A&F Club (1984 -
64. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
65. Selkirk A&F Club (
66. Shetland A&F Club (Sept 1978 - present)
67. Stirling A&F Club (Oct 1991 - )
68. Sutherland A&F Club (
69. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
70. Thurso A&F Club (Oct 1981 - present)
71. Turriff A&F Club (March 1982 - present)
72. Tynedale A&F Club (Nov 1980 - present)
73. Vancouver
74. Wick A&F Club (Oct 1975 - present)
75. Yarrow (previously called Etterick & Yarrow) (Jan 1989 -
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
76. Acharacle & District A&F Club (cMay 1988)
77. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
78. Bonchester Accordion Club (Closed?)
79. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
80. Brigmill A&F Club (Oct 1990) Closed
81. Buchan A&F Club
82. Callander A&F Club (
83. Campbeltown & District A&F Club (c Dec 1980)
84. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
85. Club Accord
86. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
87. Coupar Angus A&F Club (cSept 1978 - ?)
88. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
89. Denny & Dunipace A&F Club (Feb 1981)
90. Derwentside A&F Club
91. Dornoch A&F Club (first mention in directory 1986)
92. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
93. Dunbar Cement Works A&F Club (Closed?)
94. Dundee & District A&F Club (1970? – 1995?)
95. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
96. Falkirk A&F Club (Sept 1978 - )
97. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
98. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
99. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
100. Kirriemuir A&F Club (cSept 1981)
101. M.A.F.I.A. (1966 – 1993?)
102. Monklands A&F Club (Nov 1978 – closed cApril 1983)
103. Morecambe A&F Club (joined Sept 1982)
104. Mull A&F Club
105. Newcastleton Accordion Club
106. New Cumnock A&F Club (cMarch 1979)
107. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
108. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
109. Reading Scottish Fiddlers (cMarch 1997
110. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
111. Straiton Accordion Club (c1968 – closed March 1979)
112. Stranraer & District Accordion Club (1974 – per first edition)
113. Torthorwald A&F Club (near Dumfries)
114. Tranent A&F Club
115. Walmer (Bridge of Allan) A&F Club
116. Wellbank A&F Club
Advertising rates
Full Page - £120
Half Page - £60
Quarter Page - £30
B&F Treasurer – Alan Gardiner, Cocklaw Farm, Elsrickle, Biggar.
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
Delighted to hear that Jimmy Helm has been so encouraged by the response to his book ‘Who’s On The Dance Music tonight?’ that he’s hard at work on volume 2 covering bands from 1970. Well done Jimmy. On that very topic I would encourage all bandleaders to periodically get a few good photographs of their band for posterity. Remember to record the date and the line-up on the back. It doesn’t need the services of a professional photographer, most modern instamatics will yield good results in decent lighting conditions (in other words they won’t in a smoke filled Social Club at night with a small automatic flash which, when we look back, is frequently all we have!)
Continuing on the subject of photographs, Keith Dickson was able to provide me with some crackers but again we were sometimes left with question marks hanging over dates, identities or in the case of the cars, makes, models and dates. If anyone knows more than we do then please drop me a line. Since October is a quiet month, with most Clubs just getting under way, I have taken the opportunity to include a few more photographs than usual. Keith is also interested to learn if there are any other claimants to the tune ‘High Road to Linton’. As well as the Medwynbank to West Linton road, the road on the other side from Edinburgh via Carlops to West Linton was also known by that title at one time. Can anyone confirm the James / John Dickson theory or does anyone know otherwise?
Moving on then, while this month’s lead article is obviously my handiwork since Keith is a ‘local’ I would encourage our 1,700+ recipients of the B&F to do the same for a musician of their choice. Geography dictates certain realistic limits so while the B&F is published in Lanarkshire feel free to contribute stories or ‘profiles’ from around the country. While the Club Reports will always be the backbone of the B&F more variety is needed.
Is it just me or are all bands finding things quiet? Bookings seem remarkably few and far between in my part of the country – is this a general trend? With lots of fine young musicians around do readers foresee a day when bands have no dancers to play for?
Congratulations to Bill and Ena Wilkie who are celebrating their 50th Perth Festival and their 40th year in business. Quite an achievement.
Please note that Inveraray Club have changed their meeting night to the Second Wednesday and that they are back in the Argyll Hotel.
Charlie Todd
The High Road to Linton
The Story of Keith Dickson
by Charlie Todd
October 1999 marks milestone in the achievements of the Keith Dickson Accordion Orchestra with the release of their debut album “Mist in the Glen” on the Shielburn Associates label. Formed in 1987 the Orchestra consists of young musicians from throughout the south of Scotland including the Lothians, Dumfries-shire and the numerous villages in my own part of Lanarkshire who congregate at Symington Hall on a Sunday afternoon for Orchestra practice.
The Orchestra (later renamed KODA) is backed by a strong and enthusiastic Parents Committee with much of the work falling on the shoulders of present Secretary, Hazel Orr from Hyndfordbridge near Lanark and Treasurer Jean Carswell from Symington. Their fund raising and organising activities enabled the Orchestra to make Town Twinning visits to Germany in 1997 and France in the current year as well as more regular outings like the annual trip to Scarborough in May for the UK Championships.
The main core of the Orchestra is made up of Keith’s students, the “Keith Dickson School of Music” who are great supporters of all the Accordion Championships, both in the traditional and classical fields, with Airdrie, Musselburgh, Dumfries, Newtongrange, Perth and as I say Scarborough receiving a welcome contingent. Keith also actively encourages pupils to attend and participate in the local Accordion and Fiddle Clubs.
As an observer of Keith’s pupils in action at both competition and club it’s obvious that he moulds the choice of music to suit the pupil and the adjudicator or the audience, whichever is the case. A late starter himself on the competition stage no-one understands better the need to start early and let the pupil grow accustomed to the pressure which is inevitably part of any serious competition. Only if nervousness is kept in check will the competitor be able to concentrate on the playing and expression of the piece.
That he shares with many of his fellow teachers but it’s in the allied field of entertainment that, in my opinion, he leaves many of them on the starting blocks. Nowhere was Keith’s “clued up” approach more apparent than in the grandly named United Kingdom Accordion Showband Championship at the UK Championships held in Scarborough in May of this year. Keith’s group were there as defending Champions and unfortunately there was only one other entry. They adopted a fairly conventional approach with a vocalist fronting the first number in their “Queen” medley but unfortunately he retired to his seat thereafter leaving the remained of the performance as something of an anticlimax. The performance received the polite applause reserved for competitions (or uninspiring performances).
Enter the KODA Showband. The M.C. announces the programme, all traditional Scottish and Irish tunes and the audience settle back in their seats – but not for long. Diminutive fiddle player Fiona Johnston from Currie takes centre stage an we’re into Cutting Bracken, fiddle leading, twelve accordions, three keyboards and a full drum kit backing. Loud applause. Next it’s Emily Smith from Gatelawbridge near Thornhill, one of Keith’s accordion pupils, but today fulfilling her other role as vocalist with a wonderfully evocative rendition of “Wild Mountain Thyme”. Extremely loud applause. And to finish, what else but the pipes, in the capable hands of young Gavin Maxwell from Dumfries, with a set of pipe jigs in a rousing “Celtic Rock” style. Deafening applause. So not much doubt there then – these people have been well and truly entertained.
In days of old accordion orchestras existed by virtue of the Post Office. The reason – well it went like this. You posted off a cheque with your ‘order’ to an address in London and they posted the ‘scores’ for the requested piece back up to you. Easy really – then all you had to do was spend a few months (or years) grinding your way through a German’s interpretation of a Rumanian (or whatever) classic. Keith has modified this ‘traditional’ approach by removing the cheque, the Post Office and the grinding. He orchestrates good music, mostly Scottish and Irish, in such a way that everyone enjoys playing it and, equally as important, listening to it.
THE MAN HIMSELF
Keith started the accordion at the age of 8 on a 72 bass Hohner Arietta under the guiding hand of dad, Jimmy. The family home at Medwynbank is slightly off the beaten track (first time visitors are advised to hire a Sherpa Guide at the junction with the A702) and both distance and financial constraints ruled out tuition at either of the ‘local’ teachers in those days at Wishaw or Edinburgh. Undeterred however Keith taught himself by listening to records and reading every piece of music he could lay his hands on.
Almost six years were to elapse before an opportunity for tuition presented itself in the form of Alistair Gillespie who had established a teaching centre in Biggar. Keith attended lessons there for three years, participating in the Gillespie Accordion Orchestra and latterly even deputising on occasions for Alistair in a teaching role. From there he moved in 1984 to another newcomer to the Scottish teaching scene Paul Capaldi, who began teaching for Clinkscales in Melrose. Around then Keith and another name that would shortly become well known, Peter Wood from Crawfordjohn, joined Abington based Joe Taylor’s band as lead and second accordionists.
It was from Alistair and Paul that Keith found the answers to all the questions which had been building up over the previous years. Chords had always fascinated him and now that the theory was being properly explained and practical exercises improved his fingering there was no holding him. He adapted easily to the keyboard and my first memories of Keith are as our Kirk organist at Carmichael (usually turning up on his moped with three minutes to spare).I recall that even at that stage he had the ability to modulate at the end of the first verse from the written key into something he gauged the congregation could handle by transposing the music in his head.
But strange as it may seem now, Keith had no thoughts of teaching music at this stage. Brought up with the various activities – farming, sawmilling and joinery – at Medwynbank he envisaged life as a stockman or a tractorman. Accordingly he attended Oatridge Agricultural College near Broxburn from 1982-85 coming out with a Certificate in Agriculture and receiving an award for Best Part-Time Student in 1983-84.
All that was soon to change however. Progressing rapidly on both accordion and keyboard, Keith himself began modest part-time teaching under the Clinkscale umbrella in 1986 with a dozen pupils. It was a meeting that year with Alex MacArthur, recently moved at that time from Biggar to Thornhill, which changed all that. Alex said there was a desperate need for a good teacher in the Dumfries area and promised him a further dozen pupils immediately. Keith began a Saturday studio, initially at Closeburn Primary School and the die was cast.
The following year he took his ABCA (Performers) Diploma (he always intended to follow up with the (Teachers) Diploma but never got round to it), former his own Accordion Orchestra, did his first Guest Spot at Biggar in February of that year and led a band to accompany the New Scotland Country Dancers on a three week trip of Norway where, if I recall correctly, amongst many other highlights we had the privilege of actually seeing the “midnight sun” through a gap in the clouds when we visited the North Cape.
Soon Keith’s new role as teacher was totally eclipsing his other activities at Medwynbank. In 1988 he entered the broadcasting scene for the first time as second box player on Peter Wood’s second broadcast from Studio 2 in Glasgow. The following year he joined the Alan Gardiner SDB, in that same role, and remain there until the present day. His first broadcast with Alan was from Kircudbright in 1990 and they have averaged more than one a year since together with 3 CDs over that period.
Away from the broadcast scene Keith has assisted on keyboard or second box with a variety of bands over the years, Gary Donaldson and Gordon Shand in particular. He followed Peter Wood into the pianist’s seat with the Iain MacPhail SDB in 1996 but relinquished that to become keyboard player with “Duke Box” – Scotland’s Premier Function Band (“or so the Web-site says” jokes Keith). Fronted by ex-Shetlander Stuart Bentley on vocals, guitar or accordion. Keith’s fellow band members are Ian MacDonald on bass guitar and vocals and Max Ketchin on drums.
So all-in-all a very full agenda but what of Keith’s family history. As we stand poised to enter the 21st century Keith’s response to that tried and tested question “was there music in the family” can take us back with some certainly not just to the end of the 19th century but to the start of the 18th!
PAST TIMES
Circa 1705 – John Dickson was born somewhere in East Lothian. In time he became gardener at Dumcrieff House near Moffat and still later, around 1750, continued that role for Sir George Clark at Penicuik House. That name will be familiar to musicians since there is a Strathspey entitles “Sir George Clark of Pennycuik” by Nathanial Gow which is used as the original for the dance “Up in the Air” from Book 20 of the RSCDS. However, something untoward happened by the time of John’s death because he is reputed to lie buried under the doorstep of Penicuik Kirk – a punishment, Keith assumes, to ensure that his soul could never rest so long as it was regularly disturbed by God fearing folk entering the kirk. John Dickson was Keith’s great great great great great grandfather.
Circa 1735 – John’s sons, Robert and James, would be born in the 1730s. At the time of the 1745 Rebellion, Robert was captured by the Highlanders who compelled him to show them the way to Dumcrieff House. However he was able to escape from his captors and hid in the woods until the rebels marched off – taking his shoes with them! They accompanied their father in his move to Penicuik. It was while they were there that General Douglas, then the laird of lands at what was then called Garlefoot, Dolphinton, approached them about establishing and running a wool, spinning, weaving and carding mill there. This they did, but James eventually returned to Moffat, while Robert remained, married Janet Alexander and bought the mill at what became known, somewhere along the line, as Garvaldfoot.
1765 – Per the Parish records eight children were born to Robert and Janet starting with Henry (b1765), John (b 1767), Agnes (b. 1769), George (1771 – 1853), Mary (1774 – 1802), Elizabeth (b 1778), Robert (1781 – 1885) and ending with Keith’s great great great grandfather Adam, born in 1787. In 1822 John and Adam negotiated a lease for land half a mile up the road from Garvldfoot on the banks of the Medwyn. The Lease stated “To John and Adam Dickson, Garvaldfoot 16/11/1822. Sir C.N. Lockhart has accepted of your offer for the bit of ground for Mill at Easton. The lease runs for 45 years from the present time but if you put down a real substantial set of houses we shall extend it 5 years longer”. Other records show that George managed the carding mill, John the dyeing business, Henry the land and the kye and Adam was the millwright. Henry and John wore long blue swallowtail coats with brass buttons, knee breeches and high hats.
1823 – Adam had six of a family, namely Robert (b 1823), Agnes (b 1825), James (1827 – 1908), George (b 1829), John (b 1831) and Adam (b 1836). By this time Medwynbank was in full swing with the power from the mill being used by joiners and millcrights by day and by a nightshift of weavers. This industry was mirroring much larger developments in water power in nearby New Lanark at this time. No doubt there had been musicians in earlier generations but it is here that we find the first record of musicians in the family. Keith’s great great grandfather James and his brother John were sufficiently proficient fiddlers to cause local bards to record their appreciation in rhyme with “Fiddler by the Fireside” dedicated to James and “Epistle to Jock Dickson” for John. Family tradition also has it that it was one or the other of the brothers who composed the reel “Ower the Garle” or as it later became known “The High Road to Linton”. The Garle was the back road from Medwynbank to West Linton which followed the natural contours of the land unlike the relatively flat Drove Road in the valley bottom below. It’s unlikely that the brothers read music hence there other compositions were probably in time lost. Jamie lived into his eighty-first year and also merited a mention in the “Caledonian” magazine of 1836.
1865 – James and Jane Dickson also had six of a family. Keith’s great grandfather Adam was the first, born in 1865, followed by Isabel, Agnes, Jean, George and James. The first car hit the roads of the UK in 1885 and Adam built himself one in the early years of the new century which was registered as V 512. Another family photograph, from about 1915, shows a family outing in a more sophisticated production vehicle registered V 971. The Dicksons must have been amongst Lanarkshire’s earliest users of “horseless carriages”. These Registration Numbers obviously precede the better known Lanarkshire County numbers which were prefixed VA or VD.
1894 – Adam and Hannah Dickson had three of a family. Grandfather James, born in 1894, with Alice in 1896 and William in 1898. The family must have enjoyed a period of relative affluence since the family members, house and cars were recorded on quite a number of early photographs whose negatives were in the form of glass slides.
1930 – James and Catherine Dickson’s firstborn was Keith’s dad James in 1930, with Uncle Rob in 1934 and Aunt Lillias in 1936. Jimmy Dickson played the piano accordion and Uncle Rob the drums with the “Olympics” at local dances in the village halls of Lanarkshire, Peebles-shire and the Lothians. Sadly Jimmy died prematurely in 1995, in all likelihood taking with him many stories of the family’s past.
1965 – Keith appeared on the scene with brother Gordon following in 1968. Gordon dabbled briefly with the fiddle but continues in the family tradition as a joiner whole Keith looks after the sheep on Medwynbank’s 50 acres.
1995 – Keith and Sheena, daughter of Biggar Accordion and Fiddle Club Chairman John Anderson, bring the next generation into the world, the sixth to be raised at Medwynbank. Daughter Hannah born in 1995 and twins James and Emma in 1997.
And that, as they say, is the story so far. The snippets of information from the early days are recorded on an old manuscript which details the early part of the Dickson family tree which has been passed down through the family. As for Dumcrieff House, Tom and Margaret Porteous tell me that it was later owned by “Tar” McAdam, of road surfacing fame, and that he lies buried in the kirkyard in the middle of Moffat.
So I’ll close by wishing the Keith Dickson Accordion Orchestra every success with “Mist in the Glen”. Having heard the Orchestra live, as well as the CD, I can wholeheartedly endorse the comments in our CD Review. Thanks to Keith for his time and Tam Ward and Biggar Museum Trust for providing many of the photographs which accompany this article from the glass slides. To Keith, Sheena and family and everyone involved with the “Keith Dickson School of Music” every good wish for the future.
The Caledonian Magazine – March 1936
A Pair of Fiddlers of the Real Old School
James Dickson of Medwynbank and Donald McDonald of Ballackriochk by E.G. Robins
Of recent years mechanical music has to a great extent ousted the ‘hand-made’ variety and amateur performers, who can play passably on piano or violin, are much rarer than they were previous to the Great War of 1914.
In many respects this fact is to be deplored, although it must be admitted that there were too many ‘would be’ musicians in the days when all children were made to ‘study music’. Nevertheless, one misses the emotion and the ‘fire’ that so many ‘rustic masters’ of former days managed to impart to their playing and the enthusiasm with which they inspired their hearers, as they rattled off a lengthy programme of reels, strathspeys and country dance music. Few indeed can do so today.
Two men, whom I will remember, possessed this power and I shall try to bring them to your minds in these few brief notes. These were James Dickson, reckoned to be one of the best reel players of his day in Southern Scotland and Donald McDonald, a spirited player, who resided in Badenoch, Inverness-shire.
James Dickson (Born 1827 – Died 1908)
Picture to yourselves a substantially-built sandstone house standing on the bank of a small river in an isolated part of the Country of Lanark. In its kitchen, low-raftered but cosy, a cheery fire is burning on a wide, white stone hearth and the reflection of its flame is caught by the rows of china plates and jugs that adorn a number of shelves on the dark papered walls. A parritch-pat bubbles on the ‘swey’ and some empty dishes lie on the table, for supper is just over, and the remains have not yet been cleared away.
The air is thick with the reek of peat and tobacco, and, in a high-backed ‘grandfather’ chair sits an old man, enjoying his evening pipe. He is fresh complexioned, grey bearded, and has a mop of grizzled, wiry hair. He has humourous blue eyes and is rather short of stature and square of build, facts accentuated by the long, loose-fitting jacket he usually affects, with buttons on the ‘tails’. Often, too, he wears his cap and ‘cravat’ indoors, as well as out!
This old man is James Dickson, millwright and small farmer, of Medwynbank, whose property lies in and around a lovely glen, through which flows the River Medwyn. Grouped around the ‘couthie’ dwellinghouse are the sawmill, workshops and farm buildings. From the glen the land rises to the slopes of the ‘outlying spurs’ of the Pentland Hills – bleak, poor farmland where Nature is niggardly with her crops to even the most industrious. James works as hard as anybody in the field or in the ‘shop’ but comes in-by for his supper and his relaxations – a piper, a paper and sometimes ‘a tune’.
At present he is saying with a smile – (for some neoghbours have by this time dropped in) – “Dod, man, Doctor! I’m no’ in guid trim for playin’. I’ve hardly had the fiddle doun the year but I’ll see what I can dae”.
Lovingly he takes down his instrument from a nail above his head and begins to tune it. He gives a few flourishes across the strings. The bow needs some ‘rosit’ but at last he is ready to begin.
One of the listeners, himself a fiddler, says “Man, Jamie, give us ‘Tullimet’ and ‘Captain Keeler’”.
So old Jamie takes his fiddle under his bristly beard, turns his massive head to one side, as is his habit, and begin his programme. Gradually he warms to his work and his hobnailed boot beats time on the wooden floor as his bow sweeps to and fro across the strings. What a ‘bow hand’ he has and his horny fingers fairly skip across the finger-board!
“Grand, man, grand” echoes through the kitchen. Other feet mark time and the whole place seems suddenly to become intensely alive. Tune succeeds tune and some of the younger folk present begin to dance. Oh, it is all splendid! Sometimes James intersperses his quick music with a slow air or an old fashioned song.
But alas all good things have an end and James lays down his bow, for the hour is very late. Regretfully we say goodnight and leave him and his guid-wife, Jean, to their well earned rest.
Tunes in plenty did we pick up from Jamie’s playing, some of them airs which were never written down and certainly never published.
Oftentimes we say in sorry “Oh, if we could have Jamie back to show how the ‘Auld Springs’ should be played!”
But this is a vain wish, for both Jamie and his good looking and sonsy wife (whose custom it was to knit thick woolen socks whilst proudly listening to her husband’s music and noting with approval its effects on the listeners) have gone to the far country where music and happiness go hand-in-hand and where all earthly trials and sorrows are forgotten.
Nevertheless, they shall be enshrined in our hearts as vivid memories as long as life shall last.
The Fiddler by the Fireside
Auld Jamie Dickson
By Mrs Robbins (Edinburgh) Bessie Dickson, Eldest Daughter of James Dickson
Contented by the ingle neuk Auld James smokes his pipe,
He’s makin’ plans aboot the hairst, his corns a’maist ripe,
“Aweel !” he lays his cutty doon an’ glances at the nock,
“I think I’ll hae a wee bit tune, afore its time to lock”.
An’ frae a nail aboon his heid he taks his fiddle doon,
An’ plunks the strings an’ cocks his ear tae mak’ sure she’s in tune, He snuggles her aneath his chin an’ gies the pegs a screw,
Syne draws his bow – it’s no’ quite richt, he needs some rosit noo!
He starts off in a slow strathspey, syne follows in a reel,
He’s warming up, he’ll play straight on the ains he lou’s sae weel,
But deed he’s never lang alane for neebors come inby,
To harken to the fiddles vice an’ whiles a dance tae try.
It’s “Jamie gie us Tullymet, Pease Strae or Isle o’ Skye”,
An’ later Jamie changes ower to ‘Comin thro’ the Rye’,
An’ whiles he gies a wee bit sang sae pawky an’ sae crouse,
Like ‘Big Broom Besoms’, ‘Canny Frien!’ an ‘My Ain Dear Auld Hoose’.
Syne Jean, his wife, says “See the time, man ye sud be in bed”,
But Jamie plays anither reel an’ a’ the fowks are gled,
But ilka pleasure has a end an Jamie’s dune rich’ weel,
“Guid nicht ma friens an’ come back sune tae hear anither reel”.
Epistle to Jock Dickson
by Dick
Dear Jock, I humbly beg and pray, you’ll pardon me for this delay,
When o’ my reason half bereft, an’ just twa nichts afore you left,
After a very merry week, in this ancient city famed for reek,
I rashly vowed, if given time, t’immortalise your name in rhyme,
Though vows are aft ower lightly spoken, ower rashly made, ower quickly broken,
Still, if it be his Godship’s will, my promise I will yet fulfill.
But, noo that I am fairly startit, I feel a wee thocht chicken-heartit,
Lest, doubtin’ what some passage means, you show it to your learned freens,
(Critics abound in in ilka toun, e.g. the Smith or Jamie Broon),
Wha, without judgement, wit or conscience, might still pronounce my rhyme damned nonsense,
An’ straightway prove’t to be the vain, abortion o’ some moon struck brain,
But, Lord, Jock, tongues were meant to wag, auld nature won’t supply a gag.
An’ to her shame she aft refrains, frae drawin’ on her stock o’ brains,
Leaving some hears deficient quite, of that most useful requisite,
Why this should be I canna tell, perhaps she disna ken hersel’,
But trustin’ that some early day, she’ll see the error o’ her way,
I leave it to her ain discretion, to rectift this sad omission,
A word, noo, Jocj ‘tween you an’ me, last time we met we had a spree.
An’, if again we do forgather, I hope an’ trust we’ll hae anither,
Though a’ the priests in sable coats, frae Dolphinton tae John o’ Groats,
Should raise their voice in loud accord, an’ damn the baith o’ swi’ ae word,
Sae merrily the whaup we’ll quaff, we’ll crack oor jokes, an’ syne we’ll laugh,
We’ll dance an’ hooch, we’ll rant an’ sing, till Kippie Hill wi’ echoes ring,
An’ hoolets at the dead o’ nicht, shall, tremblin’, haud their breath wi’ fright.
Then notes o’ music, sweet an’ clear, shall soothe the enchanted listener’s ear,
Guid auld Scotch music, best o’ ony, it’s measure aye rins smooth an’ bonny,
But, played wi’ Dickson’s skill an’ art, it never fails tae touch the heart,
Scotch sangs an’ tunes by men o’ taste, are ranked among the very best,
Although some modern Scots, I fear, hae lost theit taste as weel’s their ear,
Neglictin’ mony a guid auld sang, for senseless trash in Cockney slang.
Though worthy o’ a better fate, Rab’s sangs are noo ‘not up to date’,
They dina suit the modern taste, outlandish jargon pleases best,
Imported frae some foreign clime, an’ lost to music, sense an’ rhyme,
There’s German bands in ilka street, dispensin’ stuff that’s far frae sweet,
An’ organ grinders deave oor lugs, while wily dames hand round their jugs,
Then bow, an’ grin, an’ wink their ee, tae catch the canny Scots bawbee.
But should a note o’ foreign gear, e’er frae your fiddle reach my ear,
Though but ae demi-semi-quaver, that day oor freenship ends forever,
When winter wi’ his snaw an’ frost, has lifted to some other coast,
An’ pearly dews an’ vernal showers, revive the little droopin’ flowers,
When fields assume their coat o’ green, an’ scented breezes fan the scene.
When birdies sing amang the broughs, an’ lambkins bleat upon the knows,
Then will I leave Auld Reekie’s bounds, her never-endin’ deafenin’ sounds,
Her mingled dirt an’ dignity, an’ spend ae day alang wi’ thee,
Should Heaven decree’t to be my last, I widna wish it better passed,
Jock, I might say a hantle mair, an’ no’ exhaust my rhymin’ ware,
But here, it is my firm conviction, I should pronounce the benediction.
Though godly priests charge Godly fee, I send you here my blessin’ free,
If I’m a judge o’ Holy wares, I think my ain’s as guid as theirs,
An’ what to Kirk folk may seem queer, I claim that my ane is sincere,
May Heaven wi’ choicest blessings bless thee, nor care nor sorrow e’er oppress thee,
Lang may ye play the ‘Laird o’ Grant’, ‘Over the Garle’ an ‘Maxwell’s Rant’,
An’ when that ancient ruffian Death, comes wi’ his scythe to stop your breath,
Just meet him wi’ a steady eye, an’ treat him to a bauld Strathspey,
An’ when in Linton’s auld kirkyard, ye’re laid beneath the grassy sward,
Soun’ may the King o’ Fiddlers sleep, while bairns’ bairns in sorrow weep.
The Dickson Family Gallery
Photographs
CD Reviews
Keith Dickson Accordion Orchestra – Mist in the Glen – SHEILCD008
Sandy Nixon SDB – Repeat Prescription – HRMCD556
The Craigowl SDB – Scottish Country Dances for Young People and New Dancers – Book 40 and Childrens Book – CD015
Sandy Legget & the Carseloch Ceilidh Band – Scottish Dances Vol 9 – HRMCD509
Ron Kerr SDB – St Andrew’s Ball – SHEILCD007
Alistair Hunter & the Lorne SDB – RSCDS Book 25 – CD013
North Cregg – And They Danced All Night – MMCD1026
THE RSCDS – 12 Scottish Country Dances Book 26 – Alan Gardiner SDB
Letters to the Editor
Every so often, the pages of ‘B&F’ feature complaints about the damage caused to Scottish dance music by those who control our radio and television channels. I agree most heartily with the sentiments of those who take the trouble to put their views in writing. Unfortunately I also fear that those views will never get beyond the complaint stage unless those of us who love the Scottish instrumental tradition can come up with a cogent rebuttal of the media moguls’ reasons for giving this wonderful art form such limited air time.
Apparently we have fallen victim to the mindless debunking of ‘Heather and Haggis’ . How or why Scottish dance music managed to get itself tarred with this brush isn’t clear. ‘Heather and Haggis’ is a tired pejorative which is long overdue for putting out to grass. What is clear is that it is time to scrape the tar off.
I have a suspicion that too many of us have accepted the ‘Heather and Haggis’ argument without question. Our media moguls tell us that the folk scene is where the true spirit of the Scots tradition really lies. Box squeezers and fiddle scrapers of a fringe aberration. But does that argument really stand up to scrutiny? Does the true Scots tradition really lie in the bland ersatz concoctions that pass for folk music these days? Is this really the best that Scotland can offer the world in the name of traditional music?
I happen to have a deep and passionate love for Scots folk songs and the Scots language that so many of them preserve. I grew up with the bothy ballads and have spent many an idyllic hour or three in smoky pubs listening to traditional songs. I only mention this to make it clear that I am not in the business of denigrating our national song heritage or questioning its artistic merits. What I am questioning is whether the ‘folkies’ really have the right to claim the moral high ground of traditional authenticity (or authentic tradition even!) After all, the current folk scene had its roots in attempts by middle-class intellectuals to identify with the sons and daughters of honest toil. It was always something of an affection and like most affections, needed some kind of imaginary cause to justify itself.
In Scotland, that cause was the destruction of ‘Heather and Haggis’. It was simply a blanket derogation for anything that didn’t fit in with the new folk movement’s idea’s of Scottish music. In fact, most of what these self-appointed guardians of tradition find acceptable has little to do with Scotland as it is now. The image that they cooked up was even more absurd than the one that it sought to replace. The Corries fought the ’45 Rebellion all over again. They did it very well but they added not one whit of relevance to the Jacobite cause. Hamish Henderson wrote songs, albeit very good ones, about wars that passed and industries that were either dead or moribund. Three chord wonders with guitar sung lustily in bad Doric about draught horses and feeing markets. Others sang in marginally better Doric about pits and shipyards.
Is this stuff any more representative of almost twenty-first century Scotland than tunes designed to accompany dances that people still perform? As far as I am aware, the tractor reached even the remotest parts of Aberdeenshire around 40 years ago. Feeing markets are pretty rare now and deep pit coal mining is hardly a thriving industry these days.
I am not saying that these songs aren’t good or worth singing. Personally, I think they are great and should be sung right lustily and often. What I question is their ability to re-elect Scotland as it really is instead of Scotland as it might once have been. At least Sir Jimmy Shand, one of the supposed emblems of Heather and Haggis, was a real miner. I suspect that most of the people who extol the virtues of miners in song have never been near a coal pit in their lives. The whole thing is as much an exercise in false image making as Grannie’s Heilan’ Hame ever was. The only difference is that the media controllers have fallen for the false image hook, line and sinker. Perhaps we should coin phrases like ‘Pitheidery’ and ‘Mince and Middens’ to expose the ridiculous posturing of some of the movement’s more extremem followers.
Having said all that, it would make more sense for the separate strands of Scottish musical culture to come together. It is better to value our diversity than to squabble over claims to artistic and culture purity. The much-maligned ‘White Heather Club’ managed to accommodate such diverse acts as Andy Stewart, Joe Gordon, Jimmy Shand, The Brand Sisters, Robert Wilson and Sidney Devine on one bill. Surely it is not beyond the wit of our great nation to come up with a more modern format that could do the same thing for our current stars in all fields.
Maybe we need to be a bit more aggressive in marketing our music. The threat of ‘Heather and Haggis’ has made us far too apologetic about what we have on offer. We need to be a bit more up-front about ‘our kind of music’. After all, it is something that is both genially Scottish and artistically valid. Surely a set of reels by Iain MacPhail is at least as culturally relevant as a song about ‘Bonnie Prince Charlie’. At least the dance tunes are honest and unpretentious. A song romanticising a bungling political opportunist who wrecked Highlanders’ lives is neither of those things. The skills of our top musicians deserve better coverage and higher rewards than they are getting at the moment. They are unlikely to get them unless all of us believe in the worth of our art.
Perhaps the problem with getting a television slot lies in the limited visual appeal of a box and fiddle band. Close ups of flying fingers and jinking elbows would have limited appeal to a mass audience.This could be solved with a few imaginative dance sequences.
Scottish Country Dancing, the mainstay of most of our top band, is not all that telegenic. Over the years it has assumed a father frumpy image. Even the best teams look stilted and constrained. It needs some fresh thought and ingenious choreography to turn it into modern visual entertainment but that is hardly mission impossible. Look at what ‘Riverdance’ managed to make out of Irish dancing. Scotland’s dancing tradition is at least as good and could prove to be as spectacular. Is there anybody out there?
Finlay Forbes
I write regarding H. MacGillivray’s diatribe in the September issue regarding Robbie Shepherd. I believe, and I am not alone, that when the time comes that Robbie Shepherd gives up presenting Scottish Dance Music programmes as we know them, he will not be replaced by someone more to H. MacGillivray’s liking – he will not be replaced at all!
The simple fact is that our kind of music is not what the vast majority of the inhabitants of Scotland now want to hear. I would hazard a guess that of the five million or so people who live in Scotland, less than 1% would tune in to it and going by the obituaries in the B&F and the Reel Blend there are less of us every week. In fact the Generation Game or Blin d Date would be more to the taste of the majority.
Regarding the ‘Doric’, what’s wrong with any regional accent? They don’t bother me. What does are some ‘professional’ Scots speakers on other programmes who have obviously learned their vocabulary either from a dictionary or reading the works of Robert Burns.
As others have pointed out the ‘Reel Blend’ is already being diluted with folk bands and the like for example interviews with people like Ena Baxter. A gracious lady and her soups are the best you will get out of a tin. I enjoyed her contribution but little to do with Scottish music.
However let us not criticise too much but enjoy our programmes while they still broadcast them and Robbie Shepherd is still around to present them.
Ian Robertson
Poor old Robbie! Whatever has he done to deserve H. MacGillivray’s vitriolic attack? Iain Peterson thought Robbie too much of a gentleman to respond to personal attacks, so why can’t we all behave like gentlemen? (or ladies and gentlemen to be politically correct).
I did make the point in an earlier letter that we should probably be grateful for what little of our music we get. Readers will also remember (from Robin Ellis) that we poor souls in the South get nothing at all. Presumably Robbie’s detractors are seeking an improvement. The problem in that the BBC accountants might react to criticism by removing Scottish Music programme altogether.
The circulation of the ‘B&F’ is counted in hundreds, not thousands, and many Accordion and Fiddle Clubs (of those which survive after a relatively short history) are supported by a majority of older members. It is now a minority interest and it does need the sort of positive attitude as demonstrated by, among others, Iain Peterson and Rory MacLeod and yes, Robbie Shepherd.
By all means let us feel free to raise constructive criticism, but please Mr MacGillivray and others, let us refrain from personal attacks on people who, whether or not we like their style, give much support to our culture.
Bob Parsons
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
2nd Oct 99 – OB Canada - Bobby Brown and the Scottish Accent with Guests
9th Oct 99 – Kenny Thomson & the Wardlaw SDB & feature
16th Oct 99 – Jimmy Lindsay SDB & feature
23rd Oct 99 – OB Biggar – Alan Gardiner SDB & Guests
30th Oct 99 – Alastair Hunter SDB & feature
6th Nov 99 – Ian Cruickshanks SDB & feature
13th Nov 99 – OB Perth – Jim Lindsay SDB & Guests
20th Nov 99 – David Cunningham Jnr SDB & feature
27th Oct 99 – OB St Andrews – Colin Dewar SDB & Guests
CLUB DIARY
Aberdeen (Dee Motel) – 26th Oct 99 – Dick Black Band
Alnwick (White Swan Hotel) – members only 13th Oct 99 - tbc
Annan (St Andrew’s Social Club) - 17th Oct 99 – The Big Squeeze
Arbroath (Viewfield Hotel) - 3rd Oct 99 – Tayside Youth Fiddlers
Armadale (Masonic Hall) – 7th Oct 99 – Donnie McGregor SDB
Balloch (St. Kessog’s Hall) – 17th Oct 99 – Colin Dewar Trio
Banchory (Burnett Arms Hotel) – 25th Oct 99 – James Coutts SDB
Banff & District (Banff Springs Hotel) – 27th Oct 99 – Wayne Robertson
Beith & District (Hotel de Croft, Dalry) – 18th Oct 99 – Donald MacLeod SDB
Belford (Community Club) – 28th Oct 99 - tbc
Biggar (Municipal Hall) – 10th Oct 99 – Alan Gardiner SDB 25th Anniv
Blairgowrie (Moorfield Hotel) - 12th Oct 99 – Paul Anderson
Bromley (Trinity United Reform Church) - 12th Oct 99 - tbc
Button Key (Windygates Institute) – 14th Oct 99 – Meoran Ciuil
Campbeltown (Royal or Argyll Hotel) -
Campsie (Glazert House Hotel) - 5th Oct 99 – Ian Cruickshanks SDB
Carlisle (Border Regiment Club, Carlisle Castle) - 14th Oct 99 – Tom Porteous Trio
Castle Douglas (Ernespie House Hotel) – 19th Oct 99 – Meoran Ciuil
Coalburn (Miners’ Welfare) - 21st Oct 99 – Richard Smith Duo
Crathes (Crathes Hall, Banchory) - 10th Oct 99 – All musicians welcome
Crieff & District (Arduthie Hotel) 7th Oct 99 – Marian Anderson SDB
Cults (Cults Sports & Social Club) 13th Oct 99 – George Meikle & the Lothian Trio
Dalriada (Argyll Arms Hotel, Lochgilphead) 19th Oct 99 – David Vernon
Dingwall (National Hotel) – 6th Oct 99 – Shirley Campbell & Friends
Dunblane (Westlands Hotel) – 19th Oct 99 – Sandy Legget SDB
Dunfermline (Headwell Bowling Club) – 12th Oct 99 – Bruce Lindsay Trio
Dunoon & Cowal (McColl’s Hotel) 8th Oct 99 - tbc
East Kilbride (Sweepers, Cambuslang) – 28th Oct 99 – Allan MacIntosh Duo
Ellon (Station Hotel) – 19th Oct 99 – Lomond Ceilidh Band
Fintry (Fintry Sports Centre) – 25th Oct 99 – Burns Brothers
Forfar (Plough Inn) - 31st Oct 99 - tbc
Forres (Brig Motel) – 13th Oct 99 – Kintore A & F Club
Galashiels (Abbotsford Arms Hotel) – 7th Oct 99 – Alan Gardiner Trio
Galston (Barr Castle Social Club) – 11th Oct 99 – Tommy Ford
Glendale (Black Bull Hotel – Wooler) – 21st Oct 99 – Meoran Ciuil (Musical Fingers) Trio
Glenfarg (Lomond Hotel) - 6th Oct 99 – Willie Simpson
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 26th Oct 99 – The Crawford Brothers
Gretna (Halcrow Stadium) - 3rd Oct 99 – Morag Robertson Trio
Highland (Drumossie Hotel) – 18th Oct 99 – Gavin Piper & Friends
Inveraray (Loch Fyne Hotel) - 13th Oct 99 – Willie Simpson Trio
Isle of Skye – (The Royal Hotel, Portree) - 7th Oct 99 - tbc
Islesteps (The Embassy Hotel) – 5th Oct 99 – Scott Gordon Trio
Kelso (Ednam House Hotel) – 27th Oct 99 – Jimmy Cassidy
Kintore (Torryburn Hotel) – 6th Oct 99 – Jimmy Cassidy
Lanark (Masonic Hall) - 25th Oct 99 – Keith Dickson Orchestra
Langholm (Crown Hotel) – 13th Oct 99 – Bill Black SDB
Lesmahagow (Masonic Hall) – 14th Oct 99 – Tommy Newcomen Duo
Lewis & Harris (Stornoway Legion) - 7th Oct 99 - tbc
Livingston (Cairn Hotel) - 19th Oct 99 – Wayne Robertson & Davie Stewart
Lockerbie (Queen’s Hotel) - 26th Oct 99 – Jimmy Cassidy
Mauchline (Sorn Village Hall) 19th Oct 99 – Duncan Black Trio
Montrose (Park Hotel) – 6th Oct 99 – Lomond Ceilidh Band
Muirhead (Belmont Arms, Meigle) - 17th Oct 99 – All players welcome
Newtongrange (Dean Tavern) – 25th Oct 99 – Gordon Pattullo
North East (Royal British Legion, Keith) – 5th Oct 99 – Strathbogie Fiddlers
Oban (McTavish’s Kitchen) – 7th Oct 99 – Fraser McGlynn
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 28th Oct 99 – Colin Dewar Duo
Perth (Salutation Hotel) – 19th Oct 99 – Fraser McGlynn Duo
Premier NI (Camlin Function Rooms) - 5th Oct 99 – Ian Muir
Reading Fiddlers (Piggot School) -
Renfrew (Masonic Hall, Broadloan) – 12th Oct 99 – Carlisle Family
Rothbury (Queen’s Head) - 7th Oct 99 – Wendy Godfrey SDB
Selkirk (Cricket Club) - 14th Oct 99 – Sandy Legget SDB
Shetland (Shetland Hotel, Lerwick) -
Stirling (Terraces Hotel) - 10th Oct 99 – Iain Cathcart SDB
Sutherland (Rogart Hall) - 16th Oct 99 - tbc
Thornhill (Masonic Hall) - 13th Oct 99 – Jim MacKay C.B.
Thurso (Pentland Hotel) – 4th Oct 99 – John Morgan
Turriff (Royal Oak Hotel) – 7th Oct 99 – Nicol McLaren SDB
Tynedale (Hexham Ex Service Club) – 21st Oct 99 - tbc
Wick (McKay’s Hotel) – 12th Oct 99 – Hebbie Gray Duo
Yarrow (Gordon Arms) - 20th Oct 99 – Glenelvin SDB
THERE WERE CLUB REPORTS FROM :-
1. Arbroath
2. Banchory
3. Blairgowrie
4. Button Key
5. Campsie
6. Crathes
7. Cults
8. Dingwall
9. Dunoon & Cowal
10. Forres
11. Glenrothes & District
12. Inveraray
13. Kintore
14. Lesmahagow
15. Montrose
16. Premier
17. Renfrew
18. Thurso
19. Turriff
20. Tynedale
21. Yarrow
CLUB DIRECTORY AS AT OCT 1999
(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 (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) 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. Bromley A&F Club
14. Button Key A&F Club (
15. Campbeltown A&F Club (
16. Campsie A&F Club (Nov 95 – present)
17. Carlisle A&F Club (joined Sept 1993 -
18. Castle Douglas A&F Club (c Sept 1980 – present)
19. Coalburn A&F Club (
20. Crathes A&F Club (also called Scottish Accordion Music – Crathes (Nov 1997 -
21. Crieff A&F Club (cSept 1981)
22. Cults A&F Club (
23. Dalriada A&F Club (Feb 1981)
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dunfermline & District A&F Club (1974 – per first edition)
27. Dunoon & Cowal A&F Club (
28. East Kilbride A&F Club (Sept 1980)
29. Ellon A&F Club (
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Galashiels A&F Club (joined Sept 1982 - present)
34. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
35. Glendale Accordion Club (Jan 1973)
36. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
37. Glenrothes A&F Club (Mar 93?
38. 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)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Feb 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (June 1983 – present)
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Ladybank A&F Club (joined Apr 98 but formed
47. Lanark A&F Club (joined Sept 96 – present)
48. Langholm A&F Club (Oct 1967 - present)
49. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Mauchline A&F Club (Sept 1983 - present)
54. Montrose A&F Club (joined Sept 1982 - present)
55. Muirhead A&F Club (Dec 1994 -
56. Newtongrange A&F Club (joined Sept 1977 - present)
57. North East A&F Club aka Keith A&FC (Sept 1971 - present)
58. Oban A&F Club (Nov 1975 - present)
59. Orkney A&F Club (Mar 1978 - present)
60. Peebles A&F Club (26 Nov 1981 - present)
61. Perth & District A&F Club (Aug 1970 - present)
62. Premier A&F Club NI (April 1980)
63. Renfrew A&F Club (1984 -
64. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
65. Selkirk A&F Club (
66. Shetland A&F Club (Sept 1978 - present)
67. Stirling A&F Club (Oct 1991 - )
68. Sutherland A&F Club (
69. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
70. Thurso A&F Club (Oct 1981 - present)
71. Turriff A&F Club (March 1982 - present)
72. Tynedale A&F Club (Nov 1980 - present)
73. Vancouver
74. Wick A&F Club (Oct 1975 - present)
75. Yarrow (previously called Etterick & Yarrow) (Jan 1989 -
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
76. Acharacle & District A&F Club (cMay 1988)
77. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
78. Bonchester Accordion Club (Closed?)
79. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
80. Brigmill A&F Club (Oct 1990) Closed
81. Buchan A&F Club
82. Callander A&F Club (
83. Campbeltown & District A&F Club (c Dec 1980)
84. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
85. Club Accord
86. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
87. Coupar Angus A&F Club (cSept 1978 - ?)
88. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
89. Denny & Dunipace A&F Club (Feb 1981)
90. Derwentside A&F Club
91. Dornoch A&F Club (first mention in directory 1986)
92. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
93. Dunbar Cement Works A&F Club (Closed?)
94. Dundee & District A&F Club (1970? – 1995?)
95. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
96. Falkirk A&F Club (Sept 1978 - )
97. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
98. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
99. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
100. Kirriemuir A&F Club (cSept 1981)
101. M.A.F.I.A. (1966 – 1993?)
102. Monklands A&F Club (Nov 1978 – closed cApril 1983)
103. Morecambe A&F Club (joined Sept 1982)
104. Mull A&F Club
105. Newcastleton Accordion Club
106. New Cumnock A&F Club (cMarch 1979)
107. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
108. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
109. Reading Scottish Fiddlers (cMarch 1997
110. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
111. Straiton Accordion Club (c1968 – closed March 1979)
112. Stranraer & District Accordion Club (1974 – per first edition)
113. Torthorwald A&F Club (near Dumfries)
114. Tranent A&F Club
115. Walmer (Bridge of Allan) A&F Club
116. Wellbank A&F Club
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