George Darling
by Pia Walker
George was born in 1931 in Newcastle. His father, Ralph, was a tenant farmer and neither he nor his mum, Millie, was musical. George tells me that his father took no interest in music, as his life was his farm. Likewise his only sibling, James, also a farmer, had no interest. His mum liked dancing and perhaps this is where George inherited his rhythmic talent. George too likes to dance, he tells me, especially the modern stuff – quicksteps etc. George is obviously still the unique one in the family. His late wife, Moira, whom he met in the 60s at a dance, was not interested in music and neither is his son Kevin nor his grown-up grandsons, Michael, Adam and Liam. But perhaps his baby great granddaughter will change that!
George learnt to play the drums from Scottish soldiers stationed on the estate opposite his father’s farm near Alnwick during the war when he was used as a messenger boy between locals of a certain gender who were not allowed into the camp and the gentlemen who resided there. George told me that the drummers used to practise with dinner plates held under their arms, to learn to keep their arms as close to their bodies as possible, and if they dropped the plates and broke them, they had to pay for them out of their pay. If you notice, George always keeps his arms close to his sides while drumming - now you know who he got it from!
After the war, George started an apprenticeship in Alnwick, but didn’t like it much and transferred to a NCB colliery to finish as a time-served mining engineer. He had also started a band in a boys’ club with Bryce Anderson and John Thompson – The Alnmouth Boys’ Club Band. Later, after leaving the boys’ club, they named themselves The Minstrel Boys and started playing at local dances. The BBC later called them The Cheviot Ranters, a Northumbrian band that lasted well into the 70s. DJ John Peel was very fond of this band, although by then George had left to do something different.
Playing for the BBC was a challenge, as the BBC didn’t like the bands to repeat tunes, or play too much Scottish. It had to be a Northumbrian local programme. “It was not easy to get hold of music in those days.” I asked if it was a problem finding the sheet music, to which George replied wryly: “In those days only the bass session player could read music … we listened to the tunes and mostly busked”. I also think he mentioned something like “… and we repeated a few tunes too by renaming them”.
As his reputation grew, he was gigging more and more. It was pretty hard coming home from a gig at 4 in the morning to go down the mine at 7am, work a shift and then go back out and play. While he was single and living with his mum, he sometimes tried to avoid his call-out duties when there were problems at a mine. His mum used to tell him it was his duty and duly ensured he got up and went. Later on, after getting more and more gigs in Scotland and with his marriage failing, George moved across the border and decided to become a full time musician in Scotland: “I thought about it hard and decided that if I didn’t do it, I would regret it for the rest of my life.”
Now followed an interesting and busy life of playing music with some very well-known bands. When ‘resting’ he worked in various jobs as an engineer. George says Andrew Rankin was extremely particular with presentation. One lad was told to get a haircut, as he did not fit in with how Andrew saw the band. He also would have no instrument cases on stage. George says that Andrew would never criticize a band member in front of others; he would suggest changes and follow up if they were not implemented. If George was testing out some new creative drum moves, Andrew, who liked music to be tasteful and full of light and shade, would lean over and say, “I quite like this, but wouldn’t like to hear it all night!”
Today George mostly plays with the Iain MacPhail Band, whom he has played with since the 70s. He agrees with both these bandleaders that preparation and presentation is everything. When asked whom he admired musically, he of course mentions a whole raft of contemporary Scottish musicians, but he especially liked Jim Johnston for his band discipline. Outwith the Scottish music it is Mantovani for his arrangements and André Rieu for his showmanship. “Showmanship is definitely a band’s selling point.”
George has travelled extensively abroad, and I was told some wonderful stories about various places, especially Brazil. Did you know that Brian Griffin and George joined a Samba-school during the Carnival in
Rio? And that they got dressed up in samba gear and took part in a parade? He is partial to Caipirinhas, the cocktail made from cachaça. Apparently, they were offered this in hydration bottles during the parade! He still travels to Brazil, also for personal reasons, as his long-standing lady-friend Sandra, a professional photographer, lives there. He has also visited Singapore for 29 St Andrews Night balls! On one memorable occasion they boarded the plane back home piped in by the BA-pipe band. This year he is gigging in Kenya! Talk about being well travelled!
George declares himself a busy man, so what does he do in his spare time? Well, he still puts in practice on his drums, although he says: “Practising is a frame of mind, and if you are not in that frame of mind it is worthless”. George learned to read a bit of music in Newcastle, although the teacher was more interested in modern music and had no understanding of the Scottish. He can, he says, “follow the bars and the breaks in the piano music.” He has two drums, one a Premier, the other a 50-year old Ludwig, a rep. sample that Andrew Rankin secured for him. Many a drummer has asked to buy it, to which his answer is: “It’s getting buried with me; you can dig it up afterwards!” I guess that means it is not for sale! He loves kit-playing, but doesn’t get to do that much these days, as it is not needed so much for Scottish dancing.
He also loves motorbikes. He still owns and used to drive and show a 1948 BSA and a 1958 Triumph. He doesn’t have the time any more, he says, as playing takes precedence over everything. He also admits that as he is always being busy, he is a master ‘Birds-Eye’ chef!
“Music has been kind to me, and I have seen good times and bad times through my music.” He has a well-honed sense of humour: “You have got to see the funny side of life.” George is very popular with the younger generation. They phone him up and invite him to all-night sessions, boys’ trips abroad etc. He doesn’t feel up to ‘all-nighters’ any more, although he is obviously proud of still being ‘one of the lads’. Early on in his career, he was given a piece of advice by Sir Jimmy Shand, which he has always tried to follow. Jimmy put his arm round his shoulder and said: “Come here, son. When you are on the road with a band, keep a steady heid on yer shoo’ders!”
He interacts with many of the younger musicians, and tells me: “The young musicians today are brilliant – extremely good players. If they are lacking, it is perhaps in not mixing and playing much with older musicians to gain more experience. This is how we were taught, by playing with already recognised bands”. (Visiting bands invited local musicians to play with them during breaks so the music never stopped.) He also feels that they are locked too much into the ‘fast stuff’.” As Brian Griffin says: “You need to learn and think of other types of music.” George likes different types of music and not only Scottish. He loves Latin American music, as well modern rhythms such as quicksteps and foxtrots.
When playing, he likes to sit back from the front line so as not to be too loud and over-powering and likes to be near and able to flow with the piano. He is adamant that it is the front-line setting the tempo and not the drummer.
He goes to many accordion and fiddle clubs, and not just as a guest artist. He is very happy to play with others and would never pick and choose depending on experience. “The clubs are there to give everyone a tune. If the more inexperienced and non-professional players didn’t turn up, there would be no clubs.” He admits it is very daunting to play in front of a club audience; they are a more discerning audience than dancers are. Many have certain expectations on what should be played, although now there is a much bigger variety than early on when button-boxes were to the fore. The week I spoke to him, he was going to Newtongrange, Kelso and Peebles.
What does the future hold – is he going to retire? Well, he is not planning to. “When I decide to go, I will be going immediately, not plan it for months/years ahead. I will, however, not wish to stay on for so long that other musicians will say I am past it”.
George, I hope and am sure you will continue for a long time to come. George Darling is a charming and grounded gentleman, a musician to be admired and a very fitting recipient of the NAAFC Guest of Honour Award.
An article about George appeared in the Sept. and Oct. 2014 Box & Fiddle magazine.
Comments to be added to the article
I have had the privilege of knowing George Darling for over 40 years as a friend and musician.
He is the ultimate professional in his loyalty to his craft and the band. His sense of humour and no mean abilities, enabling him to accommodate all genres of music, have served me well whether he be playing in village hall or in the splendour of The Copacabana Palace, Rio de Janeiro!
George’s considerable contribution to Scotland’s musical traditions fully merits recognition in this award from his peers.
Iain MacPhail
A quote by Mark Twain that describes George perfectly is
" Age is an issue of mind over matter. If you don't mind, it doesn't matter"
Issy Hodgson
Box and Fiddle
June 2017
George learnt to play the drums from Scottish soldiers stationed on the estate opposite his father’s farm near Alnwick during the war when he was used as a messenger boy between locals of a certain gender who were not allowed into the camp and the gentlemen who resided there. George told me that the drummers used to practise with dinner plates held under their arms, to learn to keep their arms as close to their bodies as possible, and if they dropped the plates and broke them, they had to pay for them out of their pay. If you notice, George always keeps his arms close to his sides while drumming - now you know who he got it from!
After the war, George started an apprenticeship in Alnwick, but didn’t like it much and transferred to a NCB colliery to finish as a time-served mining engineer. He had also started a band in a boys’ club with Bryce Anderson and John Thompson – The Alnmouth Boys’ Club Band. Later, after leaving the boys’ club, they named themselves The Minstrel Boys and started playing at local dances. The BBC later called them The Cheviot Ranters, a Northumbrian band that lasted well into the 70s. DJ John Peel was very fond of this band, although by then George had left to do something different.
Playing for the BBC was a challenge, as the BBC didn’t like the bands to repeat tunes, or play too much Scottish. It had to be a Northumbrian local programme. “It was not easy to get hold of music in those days.” I asked if it was a problem finding the sheet music, to which George replied wryly: “In those days only the bass session player could read music … we listened to the tunes and mostly busked”. I also think he mentioned something like “… and we repeated a few tunes too by renaming them”.
As his reputation grew, he was gigging more and more. It was pretty hard coming home from a gig at 4 in the morning to go down the mine at 7am, work a shift and then go back out and play. While he was single and living with his mum, he sometimes tried to avoid his call-out duties when there were problems at a mine. His mum used to tell him it was his duty and duly ensured he got up and went. Later on, after getting more and more gigs in Scotland and with his marriage failing, George moved across the border and decided to become a full time musician in Scotland: “I thought about it hard and decided that if I didn’t do it, I would regret it for the rest of my life.”
Now followed an interesting and busy life of playing music with some very well-known bands. When ‘resting’ he worked in various jobs as an engineer. George says Andrew Rankin was extremely particular with presentation. One lad was told to get a haircut, as he did not fit in with how Andrew saw the band. He also would have no instrument cases on stage. George says that Andrew would never criticize a band member in front of others; he would suggest changes and follow up if they were not implemented. If George was testing out some new creative drum moves, Andrew, who liked music to be tasteful and full of light and shade, would lean over and say, “I quite like this, but wouldn’t like to hear it all night!”
Today George mostly plays with the Iain MacPhail Band, whom he has played with since the 70s. He agrees with both these bandleaders that preparation and presentation is everything. When asked whom he admired musically, he of course mentions a whole raft of contemporary Scottish musicians, but he especially liked Jim Johnston for his band discipline. Outwith the Scottish music it is Mantovani for his arrangements and André Rieu for his showmanship. “Showmanship is definitely a band’s selling point.”
George has travelled extensively abroad, and I was told some wonderful stories about various places, especially Brazil. Did you know that Brian Griffin and George joined a Samba-school during the Carnival in
Rio? And that they got dressed up in samba gear and took part in a parade? He is partial to Caipirinhas, the cocktail made from cachaça. Apparently, they were offered this in hydration bottles during the parade! He still travels to Brazil, also for personal reasons, as his long-standing lady-friend Sandra, a professional photographer, lives there. He has also visited Singapore for 29 St Andrews Night balls! On one memorable occasion they boarded the plane back home piped in by the BA-pipe band. This year he is gigging in Kenya! Talk about being well travelled!
George declares himself a busy man, so what does he do in his spare time? Well, he still puts in practice on his drums, although he says: “Practising is a frame of mind, and if you are not in that frame of mind it is worthless”. George learned to read a bit of music in Newcastle, although the teacher was more interested in modern music and had no understanding of the Scottish. He can, he says, “follow the bars and the breaks in the piano music.” He has two drums, one a Premier, the other a 50-year old Ludwig, a rep. sample that Andrew Rankin secured for him. Many a drummer has asked to buy it, to which his answer is: “It’s getting buried with me; you can dig it up afterwards!” I guess that means it is not for sale! He loves kit-playing, but doesn’t get to do that much these days, as it is not needed so much for Scottish dancing.
He also loves motorbikes. He still owns and used to drive and show a 1948 BSA and a 1958 Triumph. He doesn’t have the time any more, he says, as playing takes precedence over everything. He also admits that as he is always being busy, he is a master ‘Birds-Eye’ chef!
“Music has been kind to me, and I have seen good times and bad times through my music.” He has a well-honed sense of humour: “You have got to see the funny side of life.” George is very popular with the younger generation. They phone him up and invite him to all-night sessions, boys’ trips abroad etc. He doesn’t feel up to ‘all-nighters’ any more, although he is obviously proud of still being ‘one of the lads’. Early on in his career, he was given a piece of advice by Sir Jimmy Shand, which he has always tried to follow. Jimmy put his arm round his shoulder and said: “Come here, son. When you are on the road with a band, keep a steady heid on yer shoo’ders!”
He interacts with many of the younger musicians, and tells me: “The young musicians today are brilliant – extremely good players. If they are lacking, it is perhaps in not mixing and playing much with older musicians to gain more experience. This is how we were taught, by playing with already recognised bands”. (Visiting bands invited local musicians to play with them during breaks so the music never stopped.) He also feels that they are locked too much into the ‘fast stuff’.” As Brian Griffin says: “You need to learn and think of other types of music.” George likes different types of music and not only Scottish. He loves Latin American music, as well modern rhythms such as quicksteps and foxtrots.
When playing, he likes to sit back from the front line so as not to be too loud and over-powering and likes to be near and able to flow with the piano. He is adamant that it is the front-line setting the tempo and not the drummer.
He goes to many accordion and fiddle clubs, and not just as a guest artist. He is very happy to play with others and would never pick and choose depending on experience. “The clubs are there to give everyone a tune. If the more inexperienced and non-professional players didn’t turn up, there would be no clubs.” He admits it is very daunting to play in front of a club audience; they are a more discerning audience than dancers are. Many have certain expectations on what should be played, although now there is a much bigger variety than early on when button-boxes were to the fore. The week I spoke to him, he was going to Newtongrange, Kelso and Peebles.
What does the future hold – is he going to retire? Well, he is not planning to. “When I decide to go, I will be going immediately, not plan it for months/years ahead. I will, however, not wish to stay on for so long that other musicians will say I am past it”.
George, I hope and am sure you will continue for a long time to come. George Darling is a charming and grounded gentleman, a musician to be admired and a very fitting recipient of the NAAFC Guest of Honour Award.
An article about George appeared in the Sept. and Oct. 2014 Box & Fiddle magazine.
Comments to be added to the article
I have had the privilege of knowing George Darling for over 40 years as a friend and musician.
He is the ultimate professional in his loyalty to his craft and the band. His sense of humour and no mean abilities, enabling him to accommodate all genres of music, have served me well whether he be playing in village hall or in the splendour of The Copacabana Palace, Rio de Janeiro!
George’s considerable contribution to Scotland’s musical traditions fully merits recognition in this award from his peers.
Iain MacPhail
A quote by Mark Twain that describes George perfectly is
" Age is an issue of mind over matter. If you don't mind, it doesn't matter"
Issy Hodgson
Box and Fiddle
June 2017
