Box and Fiddle
Year 08 No 04
December 1984
Price 25p
16 pages
8 month subscription £3.20
Editor – Ian Smith, 50 Mount Vernon Road, Stranraer Tele 4098
B&F Treasurer – Mrs Cathy Andrew, 22 Lochinver Crescent, Foxbar, Paisley Tele 2824
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
A new address for that fine player Robert Whitehead, 274 Wellbeck Terrace, Pegswood, Morpeth. Tele 06709-511-127
On going through the guest artistes list. One finds a lot of discrepancies. It is time once again to update it. But our Secretary Andrew Nairn cannot do it alone. Please let him know the various changes, it’s to your own advantage to do so.
This is the time of the year when the Clubs find it hard to attract the customers, with so much else going on and there is less money around, thanks to a certain Iron Lady in London. Keep going is the message, spring is not that far away.
All that remains to be said now is that we in the Association wish everyone ‘A’ the best for 1985’.
Evening of Surprises
by
The Masonic Hall at Renfrew (just behind the Fire Station) was certainly a good place
Born a Starr (Final Part)
by Peter Paterson
Meeting Robert Wilson was the start of the name of Will Starr coming to the forefront in the world of Scottish showbusiness. This was around the middle 1940s.
From then on and for around 18 years Robert Wilson and Will Starr were the first names thought of when news of a White Heather Group concert was mentioned.
The late 40s was also the first time I heard of the White Heather Group. It came about this way. I had been very much interested in the country life and as a young lad of 11 I was daft, as the saying goes, on tractors.
I became acquainted with a local farmer who rented the farm Carnbroe Mains, near Bellshill. This farm had two tractors, so I was nearly always at the farm at weekends and any holiday times helping out and hoping for a go on the tractors.
Good Friends
At that particular time the ploughman on the farm was a young man called Bill Patrick. We became good friends. Bill taught me to drive that old standard Fordson tractor and also the new tractor at the time, the petrol/paraffin Fordson Major.
In those days the art of conversation was strong. Bill and I had many talks on various subjects whilst we cairted dung, shawed neeps or carried out the variety of jobs that were plentiful on the farm.
Bill always came back to the same subject – Scottish music and in particular about the new Scottish tenor Robert Wilson. He knew I was interested in Scottish music and he said he would get me a ticket for the next White Heather Group concert the next time it was in our area.
I do not know exactly the year, 46 or 47, but as good as his word Bill produced a ticket for me for the concert in Hamilton Town Hall.
He had managed to get three tickets for the Saturday night show – the White Heather Group in Hamilton. I had never been to a professional show before, so I did not know what to expect.
Saturday at last came round. Bill, his pal, and I headed for Hamilton by bus. In those days cars were not so numerous on the road and none of my friends had one, so public transport was the only way to travel.
On arriving at Hamilton Town Hall, the surrounding area was jam-packed with people heading for the hall. A long queue had formed, so we joined it. This was exciting to me as this was my first experience of a live show and all that went with it.
Whilst waiting to go in I remember seeing a van parked in front of the entrance. On its side was pained a sprig of white heather and, of course, the name White Heather Group.
Seated in the hall after quite a wait the atmosphere was different to anything I had experienced. The hall was full to capacity and I did not know what to expect next.
The house lights dimmed and on stage came a dark-haired young man dressed in a white tuxedo with his three row button box, a very broad accordion with Franchetti printed down the front of it.
As soon as I heard those first notes of ‘The Atholl Highlanders’ I knew this was a new sound. The arrangement and the delivery was unique. This, topped with the stage presence of that young man, has stuck with me over the years.
That night was the first of many enjoyable evenings watching and listening to the sheer magic of Will Starr.
During that concert he never spoke a word. He was shy in those days ; he just played from selection to selection, just acknowledging the applause with a smile.
Same effect
The highlight of this performance was his dedication to the 51st Highland Division ; his arrangement of the Last Post.
I heard him play this at many venues in later years. It always had the same effect. You could hear a pin drop in the silence he commanded as the last notes of the bugle impersonation died away.
After an encore or two, Will Starr concluded his act. The show continued to the top of the bill – the voice of Scotland – Robert Wilson. Robert, in those days, was at his peak, resplendent in his Highland dress he sang 12 songs to finish the show. He was accompanied at the piano by Tammas Fisher.
A great credit to Robert Wilson and his voice was the fact he did not use a microphone at that time, just the pure tones of his voice filling the Hamilton Town Hall.
The show went on quite late owing to the response the artistes received doing encore after encore. We missed the last bus and had to walk the five miles or so to Bellshill. That autumn night, I still remember it well. The three of us trudging along discussing the show and the miles going past without us noticing them. Certainly a night I will always remember.
Will Starr’s success went on steadily in the late 40s. At this time it was the heyday of Scottish music and, of course, Scottish dance bands. Twice a week on the Scottish Home Service they produced programmes of Scottish dance music featuring the prominent bands on the scene. Many times I listened to the master himself, Jimmy Shand, leading his band in strict tempo. These broadcasts were live and I looked forward to each one.
Bobby MacLeod, the master of pipe tunes, was another great bandleader featured. Jim Cameron’s band featured a trumpet player in the line-up. And once I heard a very talented Jimmy Clinkscale and his band on the programme.
Days of the legendary Scottish dance bands are now part of our history and probably the incentive for the younger players of today’s Scottish dance bands.
Radio at that time played a significant part in everyday entertainment. ‘Children’s Hour’ on Scottish radio was the highlight of the day for most children. We had Tammy Troot and a programme called ‘Down at the Mains’. This was a popular show. It was based on a Scottish farming community. The character that came across well was the dominie Archie Grant ; he was a box player. Will Starr played the music for this part and each week his spot was eagerly awaited. Later on, a well known accordionist of today took over that part, Malcolm McLean, a young lad in those days.
The recording career of Will Starr began in the late 40s. His recording company then was Parlophone. His first record was his own composition ‘Jacqueline’. The story goes that Will had just composed this tune and after recording it he was asked what it was called. After discussing the naming of it someone suggested calling it after his girlfriend. So Will’s lass at that time was immortalised forever in music ; her name was Jacqueline.
The young recording engineer on those early 78rpm records was the man who brought The Beatles to fame with their recordings. His name – George Martin.
In those early days the White Heather Group tours of Scotland, England and Ireland kept Will Starr busy, mostly on a one-night stand basis.
This was a very tiring way of making a living in the business, but it certainly was a grounding for learning his stage craft.
Donning the kilt, or occasionally tartan trews, he changed his image to the way most people remember him.
In 1948 the White Heather Group headed out to Canada by cargo passenger ship. They had a booking in Toronto at the Massey Hall. On that tour their party comprised four – Robert Wilson, Tammas Fisher, C. Arthur Mitchell and Will Starr. The Massey Hall was a 700-seater and it was a sell-out.
They took the stage at 8pm and finished at 12.15am. They took encore after encore. The audience just would not let them finish.
That was the only date at that time, but word got around and that led to the regular annual tours of the White Heather Group to Canada and America, tours which are still going to this day.
Will continued his recording career and did quite a lot of recordings for the Canadian market through Robert Wilson’s company Thistle Records. He also did recordings in Canada on the Dominion label.
The halcyon days of the White Heather Group continued into the 60s. Will Starr worked with many Scottish artistes well-known today who owe part of their early success to Robert Wilson and the White Heather Group. Names like Andy Stewart, Sydney Devine, Kenneth McKellar, Ken Swann and McGee to name a few. If you were a Scottish artiste in those days and made the White Heather Group it certainly helped you on your way.
Tradedy struck in 1963 ; Robert Wilson was involved in a car crash and died shortly after ; he was only 53. The WHG continued, headed by other artistes. Will Starr moved on to work with names like Calum Kennedy on his touring shows.
New Media
He then became involved in the new media – television. He did a series or two with Calum Kennedy on a production for Grampian TV called ‘Calum’s Ceilidh’. This was a great success and it brought Will’s music to a wider audience. With the close-ups on the television it showed the fingering and the bellows control he had when playing.
He still continued with his stage performances and still toured Canada, America, South Africa, Hong Kong and as the saying goes – you name it, he’d been there.
He then joined forces with that brilliant artiste Alec Finlay. Alec, with his group The Royal clansmen, built up their own reputation and soon became well known in their own right. They did many tours and did a lot of work in the Aberdeen area.
During this period, Will’s act was taking on a new slant. He was doing feed man to Alec Finlay in comedy routines. Will Starr had a rather unique voice, well suited to comedy. He also had a peculiar singing voice. This was always great for a laugh when he sang with The Clansmen.
Earlier he made a record for Parlophone, singing a song called ‘Croy Hill’. This is an experience not to be missed if you ever get a chance to hear it. This certainly showed another side of Will Starr.
I believed had he lived he would have developed into a great comedian. But who knows?
In the early 70s The Royal Clansmen did a lot of work for Grampian TV. Although only seen in the north it was a great success.
I know of only one video left from Grampian TV featuring Will playing two selections. I saw it recently. In this year’s Accordions Galore Show at Motherwell on 10th November I hope to show this video so the younger generation who never saw Will Starr can get a chance to remedy this and in doing so will see the genius of the man coming through in his performance.
I only knew Will Starr like most of you folks who saw him on stage. I met him about a dozen times over the years in theatre dressing rooms around the country. Will lived a solitary life. He never married. His sister Rose described his way of life as “living out of a suitcase”.
In Canada many years ago this was brought home to me. I had gone to see him in Winnipeg’s Playhouse Theatre. After Will’s first spot on stage he left to a thunderous applause as usual. I went backstage to see him. Jack Radcliff was on the bill and I asked him where Will was. He directed me to a dark corner at the far side of this huge stage. I went over and there, sitting quietly with his own thoughts was the man. Dressed in his kilt and shirt sleeves, smoking a cigarette, no-one else around, he did not see me. He must have had lots of moments like that, proving it’s not all glamour and glitter in showbusiness.
I last saw Will Starr at a concert in Airdrie. It was only a few days before Christmas in 1972. It was only a small hall, the Community Centre. He was there to present certificates to pupils of the James McEwan School of Music. This was their annual concert and presentation night. James McEwan knew Will Starr well and ran a fan club in his honour. Will had come along that night to show his appreciation.
The small hall was filled to bursting point. Will played two half hour spots. He was at his brilliant best. Fortunately I taped the concert. I’m glad I did because it was the last time I was to see and speak to him.
I learned later from Jim McEwan his back gave him a lot of trouble that night.
In 1973 he made his last three LP recordings for the Pye Label. They were named ‘Starr with a Kick’, ‘Starrtyme’ and ‘Will Starr, the Daddy of Them All’. Technically, these recordings are the best he made.
But I still listen to his old 78 records. The solo recordings without frills. His talent and his genius comes through with every note he plays. I have 12 of these records, original 78s, rare recordings of Will Starr.
Will Starr was a different breed of accordion player compared to our abundant wealth of young players today. I hope the influence of Will Starr will be passed on to these young players from their parents and grandparents who knew and admired the man.
Will Starr died from cancer on Saturday, 6th March, 1976. He was buried in Kilsyth Cemetery on Tuesday, 9th March.
I wrote this epitaph when he died :
“The flashing fingers now at rest
The hands that won him fame
His music our inheritance
We will not see his like again”.
To conclude with words from one of our great new accordion talents said on stage at the 1982 Accordions Galore Show :
“Thank God for Will Starr, he paved the way for people like me to earn a living playing the accordion”. – Paddy Neary
Musselburgh 84 Thanks
By Norrie Y. Williams
Musselburgh ’84 dawned a fine, bright spring morning and this set the pattern for the rest of the day. We were spared the hiccups which plagued us last year and all agreed that this had been one of the best yet.
But a day like this does not run itself and the Festival Committee wish to express warmest thanks to the hoards of folk who contributed to its success. Firstly to Jim johnstone and his Brunton Halls staff for once again having this excellent complex shipshape for our use and for unstinting help given throughout the day. One just had to ask – tables, screens, pianos etc and it all happened.
Because the size of the Festival demands additional accommodation the local Congregational Church Board put their hall at our disposal and the Church Officer had it spick and span and gave us every assistance.
All the needs of the inner man, both solid and liquid, were met for over 13 hours by the excellent caterers from Edinburgh. The standard of the refreshments and the courtesy of the staff just could not be faulted.
An increase in the number of trade stands this year created just the right atmosphere on the ground floor and set the mood for the day. At times the foyer was fairly jumping with small impromptu ceilidh bands doing their own thing. We are most grateful to all exhibitors for their support and hope they will join us again. Those displaying were :
Bell Accordions (Edinburgh)
Charnwood Music (Leicester)
Clinkscale Accordions (Melrose)
Owen Murray (Edinburgh) and
Gordon Simpson (Edinburgh)
Mr Malcolm Gee (Kidderminster) the Chairman of Club Accord, although unable to attend had sent on literature of interest to accordionists for display and distribution.
Details of a new Festival to be held in Oban on May 12th ‘The Highlands and Islands Music and Dance Festival’ were being shown by Mr James Cooper, the organizer. We wish him good luck in this venture.
In contrast to 1983 the general staffing position this year was good thanks to the cooperation of members from the following Clubs :-
Beith, Dundee, Dunfermline, East Kilbride, Fintry, Galston, Lesmahagow, Lockerbie, Milngavie, Monklands, Newtongrange, Newton St Boswells and Perth. Invaluable help was also forthcoming from a member of Glasgow S&R Society and from non-club members from Bannockburn.
All these folk carried out a multitude of tasks as stewards, marshals, on reception, door admission, as runners, announcers, adjudication secretaries and so on. You name it, they did it, with never a murmer. The Festival Secretary, Mrs Sheila Williams, and the Chief Steward Mr Willie Wilson wish to pass on their personal thanks to this valiant band in particular, as the group with which they were most closely associated.
It goes without saying that an adjudicator’s task when properly fulfilled is very demanding, at times rewarding, but also unenviable. This year’s team varied out their duties impeccably and with great credit.
The Committee congratulates them one and all. The new faces, Miss Rosemary Wright, Messrs Bobby Coghill, Gordon Pattullo and Gordon Simpson (Bearsden) came up trumps and received the stamp of approval from the senior adjudicators (who shall be nameless because we all know they were Angus Fitchet and Jimmy Blue!)
It may not be generally known that Jack Cooper of Dundee also sits in during the Band competition each year to evaluate the rhythm section.
And someone else who is somewhat taken for granted, but has a very important role – Joan Blue. Joan is the official accompanist for any of the fiddle players requiring this service and she carries out the duties with great sensitivity. Her pleasant, calm approach (music or no music) has a very soothing effect on the competitors.
Mention of Rosemary Wright brings to mind the British College of Accordionists. We gratefully acknowledge their assistance in selecting the test pieces for the classical section.
Mention has already been made of Alex Little. In cracking form he both organized and compered the evening concert as only he can. It really is great to be able to leave the whole thing entirely in his hands and didn’t he look well.
The Festival relies on good advance publicity and this was given in full measure by a local Musselburgh newspaper, by the ‘Fife Leader’, ‘Dunfermline Free Press’ and, of course, by our own ‘B&F’.
A number of radio stations went to considerable lengths to spread the gospel on our behalf. Robin Brock (assisted on one occasion by Jim Johnstone) on Radio forth, John Carmichael on West Sound, Norma Gamble of Radio Tay and of course BBC’s ‘Take the Floor’.
We owe a great debt to the team from this programme both for the pre-festival airings and for the two excellent recorded features of Festival highlights, produced by Jill Kinnaird. This BBC group is a pleasure to work with because to be a bit Irish, you literally don’t know they are there.
Their patience is something to wonder at and how Jill and the irrepressible Robbie Shepherd ever manage to catch a few folk for interview beats me.
This year for the first time a Junior Fiddle Slow Air Class was included in the schedule. The cup for this section (donated by Newton St Boswells Club) being the Dougie Welsh Memorial Trophy.
Under what must have been difficult circumstances, Mrs Welsh came along to present this award to the first winner. We all thank her most sincerely for this gracious gesture.
Last of all to those who are the Festival, the competitors, the audience and the dancers. Without you the Brunton Halls would have been a desert, an empty shell. As before, you generated every emotion in the book and made it a day to remember, a day which finished with one of the liveliest dances I have ever attended. In the words of one of the caretakers as we approached the hall on the evening “it’s just heaving in there”. Well over 500 people were completely sent by the tremendous music from the Wallochmor Ceilidh Band. They had brought 15 ½ tons of their own amplification and it paid off. The sound was the best yet in that big hall. Thank you Sandy Coghill and your colleagues for a fitting climax. Welcome back to Gus Millar, like old times.
And finally with one exception (die to family illness) the main Executive Committee were out in force and working like beavers. We really did appreciate their support. My own personal thanks go to my dedicated Festival Committee. Through thick and thin, fair weather and foul, their enthusiasm never flags, they are a great boost to me and, I say this with sincerety, a real pleasure to work with. They are Joan Blue, Eddie MacDonald, Anne and Bob Scott, Willie Wilson and the organizing Secretary Sheila Williams.
And, my goodness, I almost forgot to acknowledge the raffle prizes donated by Beith, Dundee, Milngave and Perth Clubs. For these, many thanks – we had a very successful raffle indeed. The Secretary would have killed me if I’d missed that out – in fact, she is standing over me now!
Looking Forward - Musselburgh ‘85
by Norrie Y. Williams
A Model ‘D’ Case tractor, London’s Porchester Hall, The Brunton Halls, Musselburgh, 2nd March, 1985. What have they got in common?
“The man’s gibbering” you say, just raving – the heady music of the Fraser McGlynn Trio and the J. Blue/I. Powrie Quartet at the ‘Sally’ in Perth at the after Festival dance must have affected the puir cratur.
No way, just think for a moment. Who has a basic Model D (albeit still in the Antipodes?) – who received a standing ovation at the Porchester Hall in the 60s? – and who is judging the fiddle classes at the 11th NAAFC Championships at Musselburgh next year? Simple – Ian Powrie – no need to elaborate further. His reputation and current playing say it all.
The Festival Committee extends a warm welcome as he joins our adjudicating panel. By a strange coincidence, and it truly is a coincidence, the other new face on our team always was and still is an ardent fan of the Powrie Band and he himself also received a standing ovation at the Porchester a few months ago when he took his band to London for the first time.
In a very short time this particular bandleader has earned a great reputation for sheer musical quality and excellent traditional country dance playing. A stickler for perfection – from Cumnock in Ayrshire – Kenny Thomson (Wardlaw Band).
Kenny will be joined by one of the old hands (less of the old I’ll no doubt be told !) an experienced adjudicator and leading exponent of the three-row accordion, Jimmy Lindsay, from Glenalmond.
This duo will jointly be sorting out the Senior and 12-16 Traditional March, Strathspey and Reel Classes and, of course, will be involved with the group competitions.
It is hoped that the Pipe Music sections (accordion) will be in the capable hands of the master of the idiom – Bobby MacLeod of Tobermory.
In this particular instance details have still to be finalized because at the time of writing Bobby has had a wee setback healthwise, so this one will be played by ear. All members of the NAAFC and Festival Committee wish Bobby a speedy recovery.
Last, but no least (except in size, a pocket edition if ever I saw one) our panel will be completed by Miss Rosemary Wright , Principal of the British College of Accordionists, making a most welcome return visit to judge all our six classical sections. We are most grateful that Rosemary has agreed to come back again. Leicester to Musselburgh is a fair step.
Now back to the fiddle sections. At this year’s Festival we had a most gratifying turn-out in the junior classes, but we were a bit light in the senior department. The standard of the competitors who did enter was high, but an increased response would add to the enjoyment of all concerned, competitors and audience alike, not to mention the adjudicator.
As has been pointed out before in this context, one of the aims of the Association is to encourage the playing of traditional music on accordion and fiddle.
Because the fiddle is rather more exclusive, in that it is a more difficult instrument with which to achieve pleasing results (Williams is crawling again !) one accepts that the entry will not be as high as with the accordion, but there are quite a number of you out there (known to me personally) whom we would really like to see at the Brunton Halls. I am well aware of the unique atmosphere at Kirriemuir, but Musselburgh also has a great feeling about it and I am sure you would not regret it id you came along and had a go. What’s more, we want to get our money’s worth out of the adjudicator.
The timetable for the 15-hour day will be as before ; competitions from 9am to around 5.30pm., followed by a Concert from 6.30pm to 8.30pm., featuring many of the class winners and incorporating the Senior Accordion finals (the Pipe Music this time).
Then to round off in ‘relaxed’ (you must be joking) mood, the Festival Dance, 9pm to midnight to the music of what must surely be one of the best bands in the business – Jim Johnstone’s. A big welcome back to this consistently excellent group.
Anything new since the last Festival? Yes. Firstly, after much consultation and discussion, we have reverted back to ‘own choice’ for the Open Classical Solo.
Secondly, the award of two new trophies for 1985. We hope these will give added encouragement and pleasure to the Senior Solo Traditional competitions in both the fiddle and accordion classes. Over the years at Festivals of this type there has always been an indefinable tacit acceptance that in the fiddle sections, the March, Strathspey and Reel award has carried more prestige than that for the Slow Air and likewise in the case of the accordion the highly technical ‘traditional’ MSR Championship has rated higher than its Pipe Music counterpart.
Arguments and counter-arguments have raged round this last area for years. Whatever one’s personal taste it is generally acknowledged nowadays that there is a need for competition tunes of sufficient difficulty to stretch to the full the technique and expertise of today’s highly trained young players.
However, it is also reasonable to expect that a true Scottish traditional champion player should be capable of interpreting and expressing the technically simpler tunes fully, from the heart as well as the head.
With this in mind and after lengthy and intensive deliberations over a period of two years the Festival Committee have decided that two additional trophies will be awarded at the 1985 event.
They will go to the player who aggregate the highest marks in their particular disciplines as follows :
Senior Fiddle : Slow Air and MSR
Senior Accordion : MSR (Traditional) and MSR (Pipe Music)
Of course, a competitor need still enter only one class if so desired, but this means that he/she will not be eligible for the overall championship award.
The practice of aggregating the marks to assess performance is common in many competitive pursuits and makes good sense, as well as keeping everyone on tenderhooks for that bit longer.
Let’s hope this has whetted the appetites a wee bit more and on behalf of the Festival Committee may I extend a very warm invitation to players and enthusiasts to join us on 2nd March, 1985.
Accordions Galore at Motherwell
by Peter Paterson
Once again the Accordions Galore Show has come and gone. As usual it was a great night. I would, if I may, give you a summary of the event.
Accordions Galore, 1984, took over the stage of the Civic Centre Concert Hall, Motherwell, on Saturday, 10th November. This was the sixth consecutive year of the concert in memory of Will Starr.
The curtains opened to the Young Accordion Band from Slamannan, headed by ace accordionist John Morgan.
John certainly deserves the title ace accordionist as he has proved his talent many times during the show.
Leading his band, he sailed through his spot. He also showed his versatility when he backed his own personal compere Grace Douglas when she sang her rendition of ‘The Dark Island’.
Next on the programme was the now firmly-established Will Starr Memorial Shield Contest.
Gordon Pattullo, our top-of-the-bill artiste, and John Morgan joined forces behind stage with pens and paper at the ready to judge the contest.
First on was young David Martin ; he created a fine impression with the selections he chose to play. In the glare of the stage lights his accordion gleamed as his fingers raced over the keyboards.
After David completed his spot it was now time for a duo, a young lass and lad from Tillicoutry – Fiona Cousin and James Dawson. Standing side by side in front of the centre mike , they broke into the familiar ‘Whistling Rufus’. Later they ended their spot with a selection of toe tappers in the Scottish style.
The next artiste walked on to surprised applause, carrying his wee, two-row box under his arm. This was a fine young gentleman, 82 year old John Russell from Larkhall. After the appropriate introductions, John started into the intro of ‘The Lass o’ Bon Accord’. I think he was a bit over-awed playing in such a big hall. He hesitated. He started again and after that it was a revelation ; the sound of the fifty-one year-old accordion echoed round the hall. John’s playing and arrangements certainly enthused the audience and they showed their appreciation.
Last, and I have said before, not least, was Scott Sneddon. Scott’s style and technique came over well as he entertained the crowd with his own choice of music. Scott proved a very competent young accordionist.
Meanwhile, during all of this, Gordon and John were busy listening and deliberating.
After the contest, a re-shuffle of the programme went on ; this was to allow John Morgan to move his solo spot forward.
John had another engagement at 9pm so he now took the stage a little earlier to let him away.
As usual, John had the audience sitting up to take notice, as he romped through his act, covering a varied style of musical selections, John gets better every time I hear him. I rate him with the best left-hand in the business.
After John it was the turn of out top-of-the-bill – the black curtains opened to reveal the pleasing presence of the red-headed young farmer, Gordon Pattullo.
It was the first time I had seen and heard Gordon live and he did impress me with his adaptations of the music he played. He also had a good relationship with his audience and he enjoys his profession.
At the end of this short spot, Gordon, like the true professional, left the stage with the audience asking for more. This closed the first half of the show.
SECOND HALF
The second half of the show started with another brilliant young lad, Sandy Watson. Sandy was the winner of the 1983 Will Starr Shield Contest.
The accordion playing of this young lad was much appreciated. Time and constant practice has paid off for Sandy ; it certainly could be seen and heard in his performance. Sorry Sandy I had to place you in front of the house curtains.
When Sandy left the stage the house curtains opened to reveal the fine-looking orchestra of The Jean Brown School of Music.
The tall figure of Ronnie Brown raised his baton to start the flow of the unique accordion sound which captured everyone’s attention. Ronnie led them through a couple of selections, then handed over to the lady herself. Jean Brown can be justly proud of the sound she has created in her young players.
Accordion music can be harsh at times, but I can only describe this particular orchestra as having a velvet touch.
The highlight of their session for me was their Glen Miller selection. Brilliant. Absolutely brilliant.
Jean, many thanks to you and the orchestra for your sound.
After Jean and her young folk, by the way she could have taken an encore, was the presentation of the 1984 trophies for the Will Starr Shield contest. Gordon Pattullo handed me the results.
He was much impressed by all of the contestants, but he finally decided on John Russell. He said Scott Sneddon was a very close second. Scott, being a young lad, has many trophies to win over the years and, by the way, he could compete again for the Will Starr contest.
So this finally swung his vote to John Russell. John being one of the last of the old school accordionists.
Third was the duo, Fiona Cousin and James Dawson. Gordon thought it nice to have a lad and a lass act and their music together should take them a long way.
Last was David Martin. David should not take this to heart. He did very well and has a pleasing stage presence. He has plenty of time and many years for contests ahead of him.
The presentation of the Shield and prizes was carried out by Will Starr’s sister, Margaret.
Gordon Pattullo, once again came on stage to delight everyone with his own particular style and playing. He paid his own tribute to Will Starr by playing a couple of compositions Will wrote ‘The Jacqueline Waltz’ and of course ‘The Heather Polka’.
Gordon also stated Will Starr was his idol and he thought it an honour to be doing the show. Finally Gordon and I got together when I sang the usual ‘We’re no awa’ tae bode awa’’
I would like to add, during the interval Will Starr was with us on video. He played to the many people who attended the show. To many it brought the memories flooding back. To the younger generation who saw and heard him for the first time the magic and the artistry of the legendary Will Starr was there to be seen and heard.
John Russell’s words sum up the night and the event “I can die happy now, I can have my name on the Will Starr Memorial Shield”.
Livingston Accordion & Fiddle Club – Tenth Anniversary
by Murdo McLeod
Our first featured personality this season quite appropriately focuses on a remarkable young musician by the name of Colin Douglas Brown, who has reached the ripe young age of 11 years, seven of those having been profitably spent in pursuit of accordion music.
Colin, the son of Eric and Pauline Brown, comes from Balerno where dad is an important man in the provision of water for the city, being in charge of Harlaw Reservoir. But it is to Colin we now turn as he brings fame and recognition to the Brown household.
Many people were thrilled to hear Colin won the Under 16 Junior Pipe Music competition at Perth at the recent Perth Accordion Festival and against stiff opposition! Before that, in 1982, in the Under 12 Traditional at Musselburgh, Colin came first. So we are surely going to be hearing more about this fine young musician.
Taught by Chrissie Leatham, who weaned him on to the five row in order to give Colin more scope, he has made remarkable progress in the short time since he put the piano box aside. Playing a ‘Pigini’, an instrument which is chosen by one of Scotland’s great classical accordionists Owen Murray, we hear very snappy and precise music which has delighted audience at Livingston A&F Club for some time now.
The Brown household is a musical one, Mum being also a dab hand on the box and this, along with Dad, makes for a musical trio devoted to good Scottish music.
Who does young Colin look to in the musical world? With an eye on a possible stage career, the Currie Brothers, not surprisingly, are his idols, and if he carries on at the present pace, we shall be having a new name to add for the circuit. It will be a pleasure to hear Colin take his place beside the other talented young Scottish musicians. Well done and thanks for your music.
Stanley Ceilidh
by Bill Black
The ‘Stanley Ceilidh’ once again has come and gone and as in years gone by words just can’t describe the qua;ity of the playing on stage at the Tayside Hotel.
They traveled from Isle of Skye and from as far south as Glanton in Northumberland and from virtually every district in between.
We also had four strapping lads from Lerwick with their own special brand of comedy which had to be seen to be believed.
One man missing this year was our regular compere, yes, the ‘Dunecht Loon’ himself, but he assures me he’ll be back next year.
In Robbie’s absence our own staunch faithful compere Jim Webster kept the evening’s proceedings going with a swing.
One surprising thing this year was the shortage of drummers ; in fact, we only had one – David Scott from Kelso. He backed nearly everybody on stage all night and to him I would like to express my sincere thanks.
Also many thanks to Ken Scott who assisted Jim Webster with our usual collection for charity and which this year raised £150 for the local village hall.
I would also like to thank the new proprietors of the Tayside Hotel, Mr and Mrs Bywater, for the service given to us by them and their staff, be it basket suppers or maybe a small drop of ‘mountain dew’.
Players that night were as follows :-
On accordion Douglas McDonald, Jim Berry, Bruce Quirrie, Ian McDonald from Skye, Kevin Clark, Tom clark, Graeme Mitchell, Gordon Duguid, John Crawford, Jacqueline Dick, Jennifer Forrest, Neil Caul, Robert & Duncan Black, Dougie Davidson, Edward Galley, who had come direct from the Lerwick Accordion Club where he was guest artiste on the previous evening. I also managed a wee tune myself in the earlier part of the evening.
Looking through that list of players I think I can pick out at least seven Senior Scottish Accordion Champions, past and present.
We had four fiddle players at the ceilidh, but although the number were small the quality was enormous. They are four of the top young players in Scotland today. Names like Judith Davidson from Banchory, Charlie McKerron, noe with the White Heather Club, Stella Wilkie from Freuchie, making a great name for herself on the Scottish Dance band scene and last, but not least, Alison Smith from Milngavie.
On piano we had Graham Berry from Newburgh, Kathleen Black, Anne Black and Betty McKinnon. They were assisted on piano by those versatile box players Graeme Mitchell and Robert and Duncan Black.
May I once again thank all the players and enthusiasts who gave their support this year and helped to make the ‘Stanley Ceilidh’ one of the most enjoyable nights in the Scottish music calendar.
The date of next year’s ceilidh is Friday, 1st November, so get it in your diary now.
The dates I have arranged to feature young bands next year are :
29th March - The Oakbank Sound
17th May – Robert Black
30th August – Colin Finlayson
18th October – Jim Johnstone
6th December – Graeme Mitchell
Until we meet again, happy music making to one and all.
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Nag’s Head) – members only
Armadale (Masonic Arms Hotel) – 23rd Jan 85 Club Night
Ayr (Aftongrange Hotel) – 6th Jan 85 Ian Powrie, Jimmy & Joan Blue
Balloch (Griffin Hotel, Alexandria) – 20th Jan 85
Banchory (Burnett Arms Hotel) – 31st Jan 85 Graeme Mitchell SDB
Banff (Royal Oak Hotel) –
Beith (Anderson Hotel) –
Belford (Community Club) – 28th Feb 85 John Leslie
Biggar (Clydesdale Hotel) –
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Callendar (Glengarry Hotel) – 10th Jan 85 Colin Finlayson SDB
Campbeltown (Royal Hotel) –
Castle Douglas (Ernespie Hotel) –
Cleland (Dalrymple House) – 18th Feb 85 Club Night
Coupar Angus (Royal Hotel) –
Crieff & District (Arduthie Hotel) –
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (venue? ) –
Dunblane (Hydro) – 8th Jan 85 Jim MacLeod SDB
Dundee (Queen’s Hotel, Nethergate) –
Dunfermline (Northern Roadhouse) – 8th Jan 85 Club Night
East Kilbride (King’s Park Hotel, Rutherglen) – 31st Jan 85 Raymond Chuchuk
Edinburgh (Abbey Suite, Abbey Lane) – 6th Feb 85 Currie Brothers
Ellon (Ladbroke Hotel) –
Falkirk (Park Hotel) –
Fintry (Clachan Hotel) –
Forres (Brig Motel) – 9th Jan 85 Bill Brian
Fort William (Caol Community Club) –
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) – members only – 17th Jan 85 Oakbank Sound
Gorebridge (Rangers FC Social Club) –
Highland (Drumossie Hotel) –
Islesteps (Cargenholm Hotel) –
Kelso (Ednam House Hotel) –
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 10th Jan 85 Allan Smith SDB
Livingston (Golden Hind, Blackburn) – 17th Jan 85 Jim Cleland Sound
Lockerbie (Bluebell Hotel) – 15th Feb 85 Annual Dance Jack Delaney SDB
M.A.F.I.A. (Black Bull, Milngavie) –
Morecambe (Yorkshire Hotel, Lancaster) -
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) – 29th Jan 85 Jim Johnstone SDB
Newton St Boswells (Railway Hotel) – 15th Jan 85 Robert Black SDB
North Cumbria (Howard Arms) (prev called Gretna Club) –
North East (Royal Hotel, Keith) –
Oban (Park Hotel) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Ex-Servicemen’s Club) – 31st Jan 85 Sandy Nixon SDB
Perth (Salutation Hotel) –
Premier NI (Wilson’s of Crumlin) -
Renfrew (Masonic Hall) – 8th Jan 85 Club Night
Rothbury (Queen’s Head Hotel)
Shetland (venue?) -
Stranraer (Buck’s Head Hotel) –
Thornhill (?)
Thurso (McKay’s Hotel) – 7th Jan 85 Mike Clark
Turriff (Royal Oak Hotel) – 3rd Jan 85 Club Night
Tynedale (The Royal Hotel, Hexham) –
Walmer (Bridge of Allan) –
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Alnwick
2. Armadale
3. Ayr
4. Balloch
5. Banchory
6. Banff & District
7. Belford
8. Callander & District
9. Castle Douglas
10. Cleland
11. Dalriada
12. Derwentside
13. Dingwall
14. Dunblane & District
15. Dunfermline & District
16. East Kilbride
17. Edinburgh
18. Forres
19. Fort William
20. Highland
21. Islesteps
22. Kelso
23. Kintore
24. Lesmahagow
25. Livingston
26. Lockerbie
27. M.A.F.I.A.
28. Newtongrange
29. Newton St Boswells
30. North East
31. Ormiston
32. Shetland
33. Thurso
34. Tynedale
CLUB DIRECTORY AS AT SEPT 1984 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Alnwick A&F Club (Sept 1976)
3. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
4. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Buchan A&F Club
12. Callander A&F Club (
13. Campbeltown & District A&F Club (c Dec 1980)
14. Castle Douglas A&F Club (c Sept 1980)
15. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
16. Crieff A&F Club (cSept 1981)
17. Dalriada A&F Club (Feb 1981)
18. Derwentside A&F Club
19. Dingwall & District (May 1979 – per first report)
20. Dunblane & District A&F Club (1971)
21. Dundee & District A&F Club
22. Dunfermline & District A&F Club (1974 – per first edition)
23. East Kilbride A&F Club (Sept 1980)
24. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
25. Ellon A&F Club (
26. Falkirk A&F Club (Sept 1978 - )
27. Fintry A&F Club
28. Forres A&F Club (Jan 1978)
29. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
30. Galashiels A&F Club (joined Sept 1982)
31. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
32. Glendale Accordion Club (Jan 1973)
33. Highland A&F Club (Inverness)
34. Islesteps A&F Club (Jan 1981)
35. Isle of Skye A&F Club (
36. Kelso A&F Club (May 1976)
37. Kintore A&F Club
38. Langholm A&F Club (Oct 1967)
39. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
40. Livingston A&F Club (Sept 1973 – per first edition)
41. Lockerbie A&F Club (Nov 1973)
42. M.A.F.I.A. (early)
43. Montrose A&F Club (joined Sept 1982)
44. Morecambe A&F Club (joined Sept 1982)
45. Newtongrange A&F Club (joined Sept 1979)
46. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
47. North East A&F Club aka Keith A&FC (Sept 1971)
48. Oban A&F Club (Nov 1975)
49. Orkney A&F Club (Mar 1978)
50. Ormiston Miners’ Welfare Society A&F Club
51. Peebles A&F Club (26 Nov 1981)
52. Perth & District A&F Club (Aug 1970)
53. Premier A&F Club NI (cNov 1980)
54. Rothbury Accordion Club (1987??)
55. Shetland A&F Club (Sept 1978)
56. Stranraer & District Accordion Club (1974 – per first edition)
57. Sutherland A&F Club (
58. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
59. Thurso A&F Club (cSept 1981)
60. Turriff A&F Club (March 1982)
61. Tynedale A&F Club (Nov 1980)
62. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
63. Bonchester Accordion Club (Closed?)
64. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
65. Club Accord
66. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
67. Coupar Angus A&F Club (cSept 1978 - ?)
68. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
69. Denny & Dunipace A&F Club (Feb 1981)
70. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
71. Dunbar Cement Works A&F Club (Closed?)
72. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
73. Gretna A&F Club (June 1966)
74. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
75. Kinlochsheil A&F Club (
76. Kirriemuir A&F Club (cSept 1981)
77. Monklands A&F Club (Nov 1978 – closed cApril 1983)
78. Newcastleton Accordion Club
79. New Cumnock A&F Club (cMarch 1979)
80. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
81. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
82. Straiton Accordion Club (c1968 – closed March 1979)
83. Torthorwald A&F Club (near Dumfries)
84. Wellbank A&F Club
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Full Page - £70
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B&F Treasurer – Mrs Cathy Andrew, 22 Lochinver Crescent, Foxbar, Paisley Tele 2824
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
A new address for that fine player Robert Whitehead, 274 Wellbeck Terrace, Pegswood, Morpeth. Tele 06709-511-127
On going through the guest artistes list. One finds a lot of discrepancies. It is time once again to update it. But our Secretary Andrew Nairn cannot do it alone. Please let him know the various changes, it’s to your own advantage to do so.
This is the time of the year when the Clubs find it hard to attract the customers, with so much else going on and there is less money around, thanks to a certain Iron Lady in London. Keep going is the message, spring is not that far away.
All that remains to be said now is that we in the Association wish everyone ‘A’ the best for 1985’.
Evening of Surprises
by
The Masonic Hall at Renfrew (just behind the Fire Station) was certainly a good place
Born a Starr (Final Part)
by Peter Paterson
Meeting Robert Wilson was the start of the name of Will Starr coming to the forefront in the world of Scottish showbusiness. This was around the middle 1940s.
From then on and for around 18 years Robert Wilson and Will Starr were the first names thought of when news of a White Heather Group concert was mentioned.
The late 40s was also the first time I heard of the White Heather Group. It came about this way. I had been very much interested in the country life and as a young lad of 11 I was daft, as the saying goes, on tractors.
I became acquainted with a local farmer who rented the farm Carnbroe Mains, near Bellshill. This farm had two tractors, so I was nearly always at the farm at weekends and any holiday times helping out and hoping for a go on the tractors.
Good Friends
At that particular time the ploughman on the farm was a young man called Bill Patrick. We became good friends. Bill taught me to drive that old standard Fordson tractor and also the new tractor at the time, the petrol/paraffin Fordson Major.
In those days the art of conversation was strong. Bill and I had many talks on various subjects whilst we cairted dung, shawed neeps or carried out the variety of jobs that were plentiful on the farm.
Bill always came back to the same subject – Scottish music and in particular about the new Scottish tenor Robert Wilson. He knew I was interested in Scottish music and he said he would get me a ticket for the next White Heather Group concert the next time it was in our area.
I do not know exactly the year, 46 or 47, but as good as his word Bill produced a ticket for me for the concert in Hamilton Town Hall.
He had managed to get three tickets for the Saturday night show – the White Heather Group in Hamilton. I had never been to a professional show before, so I did not know what to expect.
Saturday at last came round. Bill, his pal, and I headed for Hamilton by bus. In those days cars were not so numerous on the road and none of my friends had one, so public transport was the only way to travel.
On arriving at Hamilton Town Hall, the surrounding area was jam-packed with people heading for the hall. A long queue had formed, so we joined it. This was exciting to me as this was my first experience of a live show and all that went with it.
Whilst waiting to go in I remember seeing a van parked in front of the entrance. On its side was pained a sprig of white heather and, of course, the name White Heather Group.
Seated in the hall after quite a wait the atmosphere was different to anything I had experienced. The hall was full to capacity and I did not know what to expect next.
The house lights dimmed and on stage came a dark-haired young man dressed in a white tuxedo with his three row button box, a very broad accordion with Franchetti printed down the front of it.
As soon as I heard those first notes of ‘The Atholl Highlanders’ I knew this was a new sound. The arrangement and the delivery was unique. This, topped with the stage presence of that young man, has stuck with me over the years.
That night was the first of many enjoyable evenings watching and listening to the sheer magic of Will Starr.
During that concert he never spoke a word. He was shy in those days ; he just played from selection to selection, just acknowledging the applause with a smile.
Same effect
The highlight of this performance was his dedication to the 51st Highland Division ; his arrangement of the Last Post.
I heard him play this at many venues in later years. It always had the same effect. You could hear a pin drop in the silence he commanded as the last notes of the bugle impersonation died away.
After an encore or two, Will Starr concluded his act. The show continued to the top of the bill – the voice of Scotland – Robert Wilson. Robert, in those days, was at his peak, resplendent in his Highland dress he sang 12 songs to finish the show. He was accompanied at the piano by Tammas Fisher.
A great credit to Robert Wilson and his voice was the fact he did not use a microphone at that time, just the pure tones of his voice filling the Hamilton Town Hall.
The show went on quite late owing to the response the artistes received doing encore after encore. We missed the last bus and had to walk the five miles or so to Bellshill. That autumn night, I still remember it well. The three of us trudging along discussing the show and the miles going past without us noticing them. Certainly a night I will always remember.
Will Starr’s success went on steadily in the late 40s. At this time it was the heyday of Scottish music and, of course, Scottish dance bands. Twice a week on the Scottish Home Service they produced programmes of Scottish dance music featuring the prominent bands on the scene. Many times I listened to the master himself, Jimmy Shand, leading his band in strict tempo. These broadcasts were live and I looked forward to each one.
Bobby MacLeod, the master of pipe tunes, was another great bandleader featured. Jim Cameron’s band featured a trumpet player in the line-up. And once I heard a very talented Jimmy Clinkscale and his band on the programme.
Days of the legendary Scottish dance bands are now part of our history and probably the incentive for the younger players of today’s Scottish dance bands.
Radio at that time played a significant part in everyday entertainment. ‘Children’s Hour’ on Scottish radio was the highlight of the day for most children. We had Tammy Troot and a programme called ‘Down at the Mains’. This was a popular show. It was based on a Scottish farming community. The character that came across well was the dominie Archie Grant ; he was a box player. Will Starr played the music for this part and each week his spot was eagerly awaited. Later on, a well known accordionist of today took over that part, Malcolm McLean, a young lad in those days.
The recording career of Will Starr began in the late 40s. His recording company then was Parlophone. His first record was his own composition ‘Jacqueline’. The story goes that Will had just composed this tune and after recording it he was asked what it was called. After discussing the naming of it someone suggested calling it after his girlfriend. So Will’s lass at that time was immortalised forever in music ; her name was Jacqueline.
The young recording engineer on those early 78rpm records was the man who brought The Beatles to fame with their recordings. His name – George Martin.
In those early days the White Heather Group tours of Scotland, England and Ireland kept Will Starr busy, mostly on a one-night stand basis.
This was a very tiring way of making a living in the business, but it certainly was a grounding for learning his stage craft.
Donning the kilt, or occasionally tartan trews, he changed his image to the way most people remember him.
In 1948 the White Heather Group headed out to Canada by cargo passenger ship. They had a booking in Toronto at the Massey Hall. On that tour their party comprised four – Robert Wilson, Tammas Fisher, C. Arthur Mitchell and Will Starr. The Massey Hall was a 700-seater and it was a sell-out.
They took the stage at 8pm and finished at 12.15am. They took encore after encore. The audience just would not let them finish.
That was the only date at that time, but word got around and that led to the regular annual tours of the White Heather Group to Canada and America, tours which are still going to this day.
Will continued his recording career and did quite a lot of recordings for the Canadian market through Robert Wilson’s company Thistle Records. He also did recordings in Canada on the Dominion label.
The halcyon days of the White Heather Group continued into the 60s. Will Starr worked with many Scottish artistes well-known today who owe part of their early success to Robert Wilson and the White Heather Group. Names like Andy Stewart, Sydney Devine, Kenneth McKellar, Ken Swann and McGee to name a few. If you were a Scottish artiste in those days and made the White Heather Group it certainly helped you on your way.
Tradedy struck in 1963 ; Robert Wilson was involved in a car crash and died shortly after ; he was only 53. The WHG continued, headed by other artistes. Will Starr moved on to work with names like Calum Kennedy on his touring shows.
New Media
He then became involved in the new media – television. He did a series or two with Calum Kennedy on a production for Grampian TV called ‘Calum’s Ceilidh’. This was a great success and it brought Will’s music to a wider audience. With the close-ups on the television it showed the fingering and the bellows control he had when playing.
He still continued with his stage performances and still toured Canada, America, South Africa, Hong Kong and as the saying goes – you name it, he’d been there.
He then joined forces with that brilliant artiste Alec Finlay. Alec, with his group The Royal clansmen, built up their own reputation and soon became well known in their own right. They did many tours and did a lot of work in the Aberdeen area.
During this period, Will’s act was taking on a new slant. He was doing feed man to Alec Finlay in comedy routines. Will Starr had a rather unique voice, well suited to comedy. He also had a peculiar singing voice. This was always great for a laugh when he sang with The Clansmen.
Earlier he made a record for Parlophone, singing a song called ‘Croy Hill’. This is an experience not to be missed if you ever get a chance to hear it. This certainly showed another side of Will Starr.
I believed had he lived he would have developed into a great comedian. But who knows?
In the early 70s The Royal Clansmen did a lot of work for Grampian TV. Although only seen in the north it was a great success.
I know of only one video left from Grampian TV featuring Will playing two selections. I saw it recently. In this year’s Accordions Galore Show at Motherwell on 10th November I hope to show this video so the younger generation who never saw Will Starr can get a chance to remedy this and in doing so will see the genius of the man coming through in his performance.
I only knew Will Starr like most of you folks who saw him on stage. I met him about a dozen times over the years in theatre dressing rooms around the country. Will lived a solitary life. He never married. His sister Rose described his way of life as “living out of a suitcase”.
In Canada many years ago this was brought home to me. I had gone to see him in Winnipeg’s Playhouse Theatre. After Will’s first spot on stage he left to a thunderous applause as usual. I went backstage to see him. Jack Radcliff was on the bill and I asked him where Will was. He directed me to a dark corner at the far side of this huge stage. I went over and there, sitting quietly with his own thoughts was the man. Dressed in his kilt and shirt sleeves, smoking a cigarette, no-one else around, he did not see me. He must have had lots of moments like that, proving it’s not all glamour and glitter in showbusiness.
I last saw Will Starr at a concert in Airdrie. It was only a few days before Christmas in 1972. It was only a small hall, the Community Centre. He was there to present certificates to pupils of the James McEwan School of Music. This was their annual concert and presentation night. James McEwan knew Will Starr well and ran a fan club in his honour. Will had come along that night to show his appreciation.
The small hall was filled to bursting point. Will played two half hour spots. He was at his brilliant best. Fortunately I taped the concert. I’m glad I did because it was the last time I was to see and speak to him.
I learned later from Jim McEwan his back gave him a lot of trouble that night.
In 1973 he made his last three LP recordings for the Pye Label. They were named ‘Starr with a Kick’, ‘Starrtyme’ and ‘Will Starr, the Daddy of Them All’. Technically, these recordings are the best he made.
But I still listen to his old 78 records. The solo recordings without frills. His talent and his genius comes through with every note he plays. I have 12 of these records, original 78s, rare recordings of Will Starr.
Will Starr was a different breed of accordion player compared to our abundant wealth of young players today. I hope the influence of Will Starr will be passed on to these young players from their parents and grandparents who knew and admired the man.
Will Starr died from cancer on Saturday, 6th March, 1976. He was buried in Kilsyth Cemetery on Tuesday, 9th March.
I wrote this epitaph when he died :
“The flashing fingers now at rest
The hands that won him fame
His music our inheritance
We will not see his like again”.
To conclude with words from one of our great new accordion talents said on stage at the 1982 Accordions Galore Show :
“Thank God for Will Starr, he paved the way for people like me to earn a living playing the accordion”. – Paddy Neary
Musselburgh 84 Thanks
By Norrie Y. Williams
Musselburgh ’84 dawned a fine, bright spring morning and this set the pattern for the rest of the day. We were spared the hiccups which plagued us last year and all agreed that this had been one of the best yet.
But a day like this does not run itself and the Festival Committee wish to express warmest thanks to the hoards of folk who contributed to its success. Firstly to Jim johnstone and his Brunton Halls staff for once again having this excellent complex shipshape for our use and for unstinting help given throughout the day. One just had to ask – tables, screens, pianos etc and it all happened.
Because the size of the Festival demands additional accommodation the local Congregational Church Board put their hall at our disposal and the Church Officer had it spick and span and gave us every assistance.
All the needs of the inner man, both solid and liquid, were met for over 13 hours by the excellent caterers from Edinburgh. The standard of the refreshments and the courtesy of the staff just could not be faulted.
An increase in the number of trade stands this year created just the right atmosphere on the ground floor and set the mood for the day. At times the foyer was fairly jumping with small impromptu ceilidh bands doing their own thing. We are most grateful to all exhibitors for their support and hope they will join us again. Those displaying were :
Bell Accordions (Edinburgh)
Charnwood Music (Leicester)
Clinkscale Accordions (Melrose)
Owen Murray (Edinburgh) and
Gordon Simpson (Edinburgh)
Mr Malcolm Gee (Kidderminster) the Chairman of Club Accord, although unable to attend had sent on literature of interest to accordionists for display and distribution.
Details of a new Festival to be held in Oban on May 12th ‘The Highlands and Islands Music and Dance Festival’ were being shown by Mr James Cooper, the organizer. We wish him good luck in this venture.
In contrast to 1983 the general staffing position this year was good thanks to the cooperation of members from the following Clubs :-
Beith, Dundee, Dunfermline, East Kilbride, Fintry, Galston, Lesmahagow, Lockerbie, Milngavie, Monklands, Newtongrange, Newton St Boswells and Perth. Invaluable help was also forthcoming from a member of Glasgow S&R Society and from non-club members from Bannockburn.
All these folk carried out a multitude of tasks as stewards, marshals, on reception, door admission, as runners, announcers, adjudication secretaries and so on. You name it, they did it, with never a murmer. The Festival Secretary, Mrs Sheila Williams, and the Chief Steward Mr Willie Wilson wish to pass on their personal thanks to this valiant band in particular, as the group with which they were most closely associated.
It goes without saying that an adjudicator’s task when properly fulfilled is very demanding, at times rewarding, but also unenviable. This year’s team varied out their duties impeccably and with great credit.
The Committee congratulates them one and all. The new faces, Miss Rosemary Wright, Messrs Bobby Coghill, Gordon Pattullo and Gordon Simpson (Bearsden) came up trumps and received the stamp of approval from the senior adjudicators (who shall be nameless because we all know they were Angus Fitchet and Jimmy Blue!)
It may not be generally known that Jack Cooper of Dundee also sits in during the Band competition each year to evaluate the rhythm section.
And someone else who is somewhat taken for granted, but has a very important role – Joan Blue. Joan is the official accompanist for any of the fiddle players requiring this service and she carries out the duties with great sensitivity. Her pleasant, calm approach (music or no music) has a very soothing effect on the competitors.
Mention of Rosemary Wright brings to mind the British College of Accordionists. We gratefully acknowledge their assistance in selecting the test pieces for the classical section.
Mention has already been made of Alex Little. In cracking form he both organized and compered the evening concert as only he can. It really is great to be able to leave the whole thing entirely in his hands and didn’t he look well.
The Festival relies on good advance publicity and this was given in full measure by a local Musselburgh newspaper, by the ‘Fife Leader’, ‘Dunfermline Free Press’ and, of course, by our own ‘B&F’.
A number of radio stations went to considerable lengths to spread the gospel on our behalf. Robin Brock (assisted on one occasion by Jim Johnstone) on Radio forth, John Carmichael on West Sound, Norma Gamble of Radio Tay and of course BBC’s ‘Take the Floor’.
We owe a great debt to the team from this programme both for the pre-festival airings and for the two excellent recorded features of Festival highlights, produced by Jill Kinnaird. This BBC group is a pleasure to work with because to be a bit Irish, you literally don’t know they are there.
Their patience is something to wonder at and how Jill and the irrepressible Robbie Shepherd ever manage to catch a few folk for interview beats me.
This year for the first time a Junior Fiddle Slow Air Class was included in the schedule. The cup for this section (donated by Newton St Boswells Club) being the Dougie Welsh Memorial Trophy.
Under what must have been difficult circumstances, Mrs Welsh came along to present this award to the first winner. We all thank her most sincerely for this gracious gesture.
Last of all to those who are the Festival, the competitors, the audience and the dancers. Without you the Brunton Halls would have been a desert, an empty shell. As before, you generated every emotion in the book and made it a day to remember, a day which finished with one of the liveliest dances I have ever attended. In the words of one of the caretakers as we approached the hall on the evening “it’s just heaving in there”. Well over 500 people were completely sent by the tremendous music from the Wallochmor Ceilidh Band. They had brought 15 ½ tons of their own amplification and it paid off. The sound was the best yet in that big hall. Thank you Sandy Coghill and your colleagues for a fitting climax. Welcome back to Gus Millar, like old times.
And finally with one exception (die to family illness) the main Executive Committee were out in force and working like beavers. We really did appreciate their support. My own personal thanks go to my dedicated Festival Committee. Through thick and thin, fair weather and foul, their enthusiasm never flags, they are a great boost to me and, I say this with sincerety, a real pleasure to work with. They are Joan Blue, Eddie MacDonald, Anne and Bob Scott, Willie Wilson and the organizing Secretary Sheila Williams.
And, my goodness, I almost forgot to acknowledge the raffle prizes donated by Beith, Dundee, Milngave and Perth Clubs. For these, many thanks – we had a very successful raffle indeed. The Secretary would have killed me if I’d missed that out – in fact, she is standing over me now!
Looking Forward - Musselburgh ‘85
by Norrie Y. Williams
A Model ‘D’ Case tractor, London’s Porchester Hall, The Brunton Halls, Musselburgh, 2nd March, 1985. What have they got in common?
“The man’s gibbering” you say, just raving – the heady music of the Fraser McGlynn Trio and the J. Blue/I. Powrie Quartet at the ‘Sally’ in Perth at the after Festival dance must have affected the puir cratur.
No way, just think for a moment. Who has a basic Model D (albeit still in the Antipodes?) – who received a standing ovation at the Porchester Hall in the 60s? – and who is judging the fiddle classes at the 11th NAAFC Championships at Musselburgh next year? Simple – Ian Powrie – no need to elaborate further. His reputation and current playing say it all.
The Festival Committee extends a warm welcome as he joins our adjudicating panel. By a strange coincidence, and it truly is a coincidence, the other new face on our team always was and still is an ardent fan of the Powrie Band and he himself also received a standing ovation at the Porchester a few months ago when he took his band to London for the first time.
In a very short time this particular bandleader has earned a great reputation for sheer musical quality and excellent traditional country dance playing. A stickler for perfection – from Cumnock in Ayrshire – Kenny Thomson (Wardlaw Band).
Kenny will be joined by one of the old hands (less of the old I’ll no doubt be told !) an experienced adjudicator and leading exponent of the three-row accordion, Jimmy Lindsay, from Glenalmond.
This duo will jointly be sorting out the Senior and 12-16 Traditional March, Strathspey and Reel Classes and, of course, will be involved with the group competitions.
It is hoped that the Pipe Music sections (accordion) will be in the capable hands of the master of the idiom – Bobby MacLeod of Tobermory.
In this particular instance details have still to be finalized because at the time of writing Bobby has had a wee setback healthwise, so this one will be played by ear. All members of the NAAFC and Festival Committee wish Bobby a speedy recovery.
Last, but no least (except in size, a pocket edition if ever I saw one) our panel will be completed by Miss Rosemary Wright , Principal of the British College of Accordionists, making a most welcome return visit to judge all our six classical sections. We are most grateful that Rosemary has agreed to come back again. Leicester to Musselburgh is a fair step.
Now back to the fiddle sections. At this year’s Festival we had a most gratifying turn-out in the junior classes, but we were a bit light in the senior department. The standard of the competitors who did enter was high, but an increased response would add to the enjoyment of all concerned, competitors and audience alike, not to mention the adjudicator.
As has been pointed out before in this context, one of the aims of the Association is to encourage the playing of traditional music on accordion and fiddle.
Because the fiddle is rather more exclusive, in that it is a more difficult instrument with which to achieve pleasing results (Williams is crawling again !) one accepts that the entry will not be as high as with the accordion, but there are quite a number of you out there (known to me personally) whom we would really like to see at the Brunton Halls. I am well aware of the unique atmosphere at Kirriemuir, but Musselburgh also has a great feeling about it and I am sure you would not regret it id you came along and had a go. What’s more, we want to get our money’s worth out of the adjudicator.
The timetable for the 15-hour day will be as before ; competitions from 9am to around 5.30pm., followed by a Concert from 6.30pm to 8.30pm., featuring many of the class winners and incorporating the Senior Accordion finals (the Pipe Music this time).
Then to round off in ‘relaxed’ (you must be joking) mood, the Festival Dance, 9pm to midnight to the music of what must surely be one of the best bands in the business – Jim Johnstone’s. A big welcome back to this consistently excellent group.
Anything new since the last Festival? Yes. Firstly, after much consultation and discussion, we have reverted back to ‘own choice’ for the Open Classical Solo.
Secondly, the award of two new trophies for 1985. We hope these will give added encouragement and pleasure to the Senior Solo Traditional competitions in both the fiddle and accordion classes. Over the years at Festivals of this type there has always been an indefinable tacit acceptance that in the fiddle sections, the March, Strathspey and Reel award has carried more prestige than that for the Slow Air and likewise in the case of the accordion the highly technical ‘traditional’ MSR Championship has rated higher than its Pipe Music counterpart.
Arguments and counter-arguments have raged round this last area for years. Whatever one’s personal taste it is generally acknowledged nowadays that there is a need for competition tunes of sufficient difficulty to stretch to the full the technique and expertise of today’s highly trained young players.
However, it is also reasonable to expect that a true Scottish traditional champion player should be capable of interpreting and expressing the technically simpler tunes fully, from the heart as well as the head.
With this in mind and after lengthy and intensive deliberations over a period of two years the Festival Committee have decided that two additional trophies will be awarded at the 1985 event.
They will go to the player who aggregate the highest marks in their particular disciplines as follows :
Senior Fiddle : Slow Air and MSR
Senior Accordion : MSR (Traditional) and MSR (Pipe Music)
Of course, a competitor need still enter only one class if so desired, but this means that he/she will not be eligible for the overall championship award.
The practice of aggregating the marks to assess performance is common in many competitive pursuits and makes good sense, as well as keeping everyone on tenderhooks for that bit longer.
Let’s hope this has whetted the appetites a wee bit more and on behalf of the Festival Committee may I extend a very warm invitation to players and enthusiasts to join us on 2nd March, 1985.
Accordions Galore at Motherwell
by Peter Paterson
Once again the Accordions Galore Show has come and gone. As usual it was a great night. I would, if I may, give you a summary of the event.
Accordions Galore, 1984, took over the stage of the Civic Centre Concert Hall, Motherwell, on Saturday, 10th November. This was the sixth consecutive year of the concert in memory of Will Starr.
The curtains opened to the Young Accordion Band from Slamannan, headed by ace accordionist John Morgan.
John certainly deserves the title ace accordionist as he has proved his talent many times during the show.
Leading his band, he sailed through his spot. He also showed his versatility when he backed his own personal compere Grace Douglas when she sang her rendition of ‘The Dark Island’.
Next on the programme was the now firmly-established Will Starr Memorial Shield Contest.
Gordon Pattullo, our top-of-the-bill artiste, and John Morgan joined forces behind stage with pens and paper at the ready to judge the contest.
First on was young David Martin ; he created a fine impression with the selections he chose to play. In the glare of the stage lights his accordion gleamed as his fingers raced over the keyboards.
After David completed his spot it was now time for a duo, a young lass and lad from Tillicoutry – Fiona Cousin and James Dawson. Standing side by side in front of the centre mike , they broke into the familiar ‘Whistling Rufus’. Later they ended their spot with a selection of toe tappers in the Scottish style.
The next artiste walked on to surprised applause, carrying his wee, two-row box under his arm. This was a fine young gentleman, 82 year old John Russell from Larkhall. After the appropriate introductions, John started into the intro of ‘The Lass o’ Bon Accord’. I think he was a bit over-awed playing in such a big hall. He hesitated. He started again and after that it was a revelation ; the sound of the fifty-one year-old accordion echoed round the hall. John’s playing and arrangements certainly enthused the audience and they showed their appreciation.
Last, and I have said before, not least, was Scott Sneddon. Scott’s style and technique came over well as he entertained the crowd with his own choice of music. Scott proved a very competent young accordionist.
Meanwhile, during all of this, Gordon and John were busy listening and deliberating.
After the contest, a re-shuffle of the programme went on ; this was to allow John Morgan to move his solo spot forward.
John had another engagement at 9pm so he now took the stage a little earlier to let him away.
As usual, John had the audience sitting up to take notice, as he romped through his act, covering a varied style of musical selections, John gets better every time I hear him. I rate him with the best left-hand in the business.
After John it was the turn of out top-of-the-bill – the black curtains opened to reveal the pleasing presence of the red-headed young farmer, Gordon Pattullo.
It was the first time I had seen and heard Gordon live and he did impress me with his adaptations of the music he played. He also had a good relationship with his audience and he enjoys his profession.
At the end of this short spot, Gordon, like the true professional, left the stage with the audience asking for more. This closed the first half of the show.
SECOND HALF
The second half of the show started with another brilliant young lad, Sandy Watson. Sandy was the winner of the 1983 Will Starr Shield Contest.
The accordion playing of this young lad was much appreciated. Time and constant practice has paid off for Sandy ; it certainly could be seen and heard in his performance. Sorry Sandy I had to place you in front of the house curtains.
When Sandy left the stage the house curtains opened to reveal the fine-looking orchestra of The Jean Brown School of Music.
The tall figure of Ronnie Brown raised his baton to start the flow of the unique accordion sound which captured everyone’s attention. Ronnie led them through a couple of selections, then handed over to the lady herself. Jean Brown can be justly proud of the sound she has created in her young players.
Accordion music can be harsh at times, but I can only describe this particular orchestra as having a velvet touch.
The highlight of their session for me was their Glen Miller selection. Brilliant. Absolutely brilliant.
Jean, many thanks to you and the orchestra for your sound.
After Jean and her young folk, by the way she could have taken an encore, was the presentation of the 1984 trophies for the Will Starr Shield contest. Gordon Pattullo handed me the results.
He was much impressed by all of the contestants, but he finally decided on John Russell. He said Scott Sneddon was a very close second. Scott, being a young lad, has many trophies to win over the years and, by the way, he could compete again for the Will Starr contest.
So this finally swung his vote to John Russell. John being one of the last of the old school accordionists.
Third was the duo, Fiona Cousin and James Dawson. Gordon thought it nice to have a lad and a lass act and their music together should take them a long way.
Last was David Martin. David should not take this to heart. He did very well and has a pleasing stage presence. He has plenty of time and many years for contests ahead of him.
The presentation of the Shield and prizes was carried out by Will Starr’s sister, Margaret.
Gordon Pattullo, once again came on stage to delight everyone with his own particular style and playing. He paid his own tribute to Will Starr by playing a couple of compositions Will wrote ‘The Jacqueline Waltz’ and of course ‘The Heather Polka’.
Gordon also stated Will Starr was his idol and he thought it an honour to be doing the show. Finally Gordon and I got together when I sang the usual ‘We’re no awa’ tae bode awa’’
I would like to add, during the interval Will Starr was with us on video. He played to the many people who attended the show. To many it brought the memories flooding back. To the younger generation who saw and heard him for the first time the magic and the artistry of the legendary Will Starr was there to be seen and heard.
John Russell’s words sum up the night and the event “I can die happy now, I can have my name on the Will Starr Memorial Shield”.
Livingston Accordion & Fiddle Club – Tenth Anniversary
by Murdo McLeod
Our first featured personality this season quite appropriately focuses on a remarkable young musician by the name of Colin Douglas Brown, who has reached the ripe young age of 11 years, seven of those having been profitably spent in pursuit of accordion music.
Colin, the son of Eric and Pauline Brown, comes from Balerno where dad is an important man in the provision of water for the city, being in charge of Harlaw Reservoir. But it is to Colin we now turn as he brings fame and recognition to the Brown household.
Many people were thrilled to hear Colin won the Under 16 Junior Pipe Music competition at Perth at the recent Perth Accordion Festival and against stiff opposition! Before that, in 1982, in the Under 12 Traditional at Musselburgh, Colin came first. So we are surely going to be hearing more about this fine young musician.
Taught by Chrissie Leatham, who weaned him on to the five row in order to give Colin more scope, he has made remarkable progress in the short time since he put the piano box aside. Playing a ‘Pigini’, an instrument which is chosen by one of Scotland’s great classical accordionists Owen Murray, we hear very snappy and precise music which has delighted audience at Livingston A&F Club for some time now.
The Brown household is a musical one, Mum being also a dab hand on the box and this, along with Dad, makes for a musical trio devoted to good Scottish music.
Who does young Colin look to in the musical world? With an eye on a possible stage career, the Currie Brothers, not surprisingly, are his idols, and if he carries on at the present pace, we shall be having a new name to add for the circuit. It will be a pleasure to hear Colin take his place beside the other talented young Scottish musicians. Well done and thanks for your music.
Stanley Ceilidh
by Bill Black
The ‘Stanley Ceilidh’ once again has come and gone and as in years gone by words just can’t describe the qua;ity of the playing on stage at the Tayside Hotel.
They traveled from Isle of Skye and from as far south as Glanton in Northumberland and from virtually every district in between.
We also had four strapping lads from Lerwick with their own special brand of comedy which had to be seen to be believed.
One man missing this year was our regular compere, yes, the ‘Dunecht Loon’ himself, but he assures me he’ll be back next year.
In Robbie’s absence our own staunch faithful compere Jim Webster kept the evening’s proceedings going with a swing.
One surprising thing this year was the shortage of drummers ; in fact, we only had one – David Scott from Kelso. He backed nearly everybody on stage all night and to him I would like to express my sincere thanks.
Also many thanks to Ken Scott who assisted Jim Webster with our usual collection for charity and which this year raised £150 for the local village hall.
I would also like to thank the new proprietors of the Tayside Hotel, Mr and Mrs Bywater, for the service given to us by them and their staff, be it basket suppers or maybe a small drop of ‘mountain dew’.
Players that night were as follows :-
On accordion Douglas McDonald, Jim Berry, Bruce Quirrie, Ian McDonald from Skye, Kevin Clark, Tom clark, Graeme Mitchell, Gordon Duguid, John Crawford, Jacqueline Dick, Jennifer Forrest, Neil Caul, Robert & Duncan Black, Dougie Davidson, Edward Galley, who had come direct from the Lerwick Accordion Club where he was guest artiste on the previous evening. I also managed a wee tune myself in the earlier part of the evening.
Looking through that list of players I think I can pick out at least seven Senior Scottish Accordion Champions, past and present.
We had four fiddle players at the ceilidh, but although the number were small the quality was enormous. They are four of the top young players in Scotland today. Names like Judith Davidson from Banchory, Charlie McKerron, noe with the White Heather Club, Stella Wilkie from Freuchie, making a great name for herself on the Scottish Dance band scene and last, but not least, Alison Smith from Milngavie.
On piano we had Graham Berry from Newburgh, Kathleen Black, Anne Black and Betty McKinnon. They were assisted on piano by those versatile box players Graeme Mitchell and Robert and Duncan Black.
May I once again thank all the players and enthusiasts who gave their support this year and helped to make the ‘Stanley Ceilidh’ one of the most enjoyable nights in the Scottish music calendar.
The date of next year’s ceilidh is Friday, 1st November, so get it in your diary now.
The dates I have arranged to feature young bands next year are :
29th March - The Oakbank Sound
17th May – Robert Black
30th August – Colin Finlayson
18th October – Jim Johnstone
6th December – Graeme Mitchell
Until we meet again, happy music making to one and all.
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Nag’s Head) – members only
Armadale (Masonic Arms Hotel) – 23rd Jan 85 Club Night
Ayr (Aftongrange Hotel) – 6th Jan 85 Ian Powrie, Jimmy & Joan Blue
Balloch (Griffin Hotel, Alexandria) – 20th Jan 85
Banchory (Burnett Arms Hotel) – 31st Jan 85 Graeme Mitchell SDB
Banff (Royal Oak Hotel) –
Beith (Anderson Hotel) –
Belford (Community Club) – 28th Feb 85 John Leslie
Biggar (Clydesdale Hotel) –
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Callendar (Glengarry Hotel) – 10th Jan 85 Colin Finlayson SDB
Campbeltown (Royal Hotel) –
Castle Douglas (Ernespie Hotel) –
Cleland (Dalrymple House) – 18th Feb 85 Club Night
Coupar Angus (Royal Hotel) –
Crieff & District (Arduthie Hotel) –
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (venue? ) –
Dunblane (Hydro) – 8th Jan 85 Jim MacLeod SDB
Dundee (Queen’s Hotel, Nethergate) –
Dunfermline (Northern Roadhouse) – 8th Jan 85 Club Night
East Kilbride (King’s Park Hotel, Rutherglen) – 31st Jan 85 Raymond Chuchuk
Edinburgh (Abbey Suite, Abbey Lane) – 6th Feb 85 Currie Brothers
Ellon (Ladbroke Hotel) –
Falkirk (Park Hotel) –
Fintry (Clachan Hotel) –
Forres (Brig Motel) – 9th Jan 85 Bill Brian
Fort William (Caol Community Club) –
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) – members only – 17th Jan 85 Oakbank Sound
Gorebridge (Rangers FC Social Club) –
Highland (Drumossie Hotel) –
Islesteps (Cargenholm Hotel) –
Kelso (Ednam House Hotel) –
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 10th Jan 85 Allan Smith SDB
Livingston (Golden Hind, Blackburn) – 17th Jan 85 Jim Cleland Sound
Lockerbie (Bluebell Hotel) – 15th Feb 85 Annual Dance Jack Delaney SDB
M.A.F.I.A. (Black Bull, Milngavie) –
Morecambe (Yorkshire Hotel, Lancaster) -
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) – 29th Jan 85 Jim Johnstone SDB
Newton St Boswells (Railway Hotel) – 15th Jan 85 Robert Black SDB
North Cumbria (Howard Arms) (prev called Gretna Club) –
North East (Royal Hotel, Keith) –
Oban (Park Hotel) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Ex-Servicemen’s Club) – 31st Jan 85 Sandy Nixon SDB
Perth (Salutation Hotel) –
Premier NI (Wilson’s of Crumlin) -
Renfrew (Masonic Hall) – 8th Jan 85 Club Night
Rothbury (Queen’s Head Hotel)
Shetland (venue?) -
Stranraer (Buck’s Head Hotel) –
Thornhill (?)
Thurso (McKay’s Hotel) – 7th Jan 85 Mike Clark
Turriff (Royal Oak Hotel) – 3rd Jan 85 Club Night
Tynedale (The Royal Hotel, Hexham) –
Walmer (Bridge of Allan) –
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Alnwick
2. Armadale
3. Ayr
4. Balloch
5. Banchory
6. Banff & District
7. Belford
8. Callander & District
9. Castle Douglas
10. Cleland
11. Dalriada
12. Derwentside
13. Dingwall
14. Dunblane & District
15. Dunfermline & District
16. East Kilbride
17. Edinburgh
18. Forres
19. Fort William
20. Highland
21. Islesteps
22. Kelso
23. Kintore
24. Lesmahagow
25. Livingston
26. Lockerbie
27. M.A.F.I.A.
28. Newtongrange
29. Newton St Boswells
30. North East
31. Ormiston
32. Shetland
33. Thurso
34. Tynedale
CLUB DIRECTORY AS AT SEPT 1984 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Alnwick A&F Club (Sept 1976)
3. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
4. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Buchan A&F Club
12. Callander A&F Club (
13. Campbeltown & District A&F Club (c Dec 1980)
14. Castle Douglas A&F Club (c Sept 1980)
15. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
16. Crieff A&F Club (cSept 1981)
17. Dalriada A&F Club (Feb 1981)
18. Derwentside A&F Club
19. Dingwall & District (May 1979 – per first report)
20. Dunblane & District A&F Club (1971)
21. Dundee & District A&F Club
22. Dunfermline & District A&F Club (1974 – per first edition)
23. East Kilbride A&F Club (Sept 1980)
24. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
25. Ellon A&F Club (
26. Falkirk A&F Club (Sept 1978 - )
27. Fintry A&F Club
28. Forres A&F Club (Jan 1978)
29. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
30. Galashiels A&F Club (joined Sept 1982)
31. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
32. Glendale Accordion Club (Jan 1973)
33. Highland A&F Club (Inverness)
34. Islesteps A&F Club (Jan 1981)
35. Isle of Skye A&F Club (
36. Kelso A&F Club (May 1976)
37. Kintore A&F Club
38. Langholm A&F Club (Oct 1967)
39. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
40. Livingston A&F Club (Sept 1973 – per first edition)
41. Lockerbie A&F Club (Nov 1973)
42. M.A.F.I.A. (early)
43. Montrose A&F Club (joined Sept 1982)
44. Morecambe A&F Club (joined Sept 1982)
45. Newtongrange A&F Club (joined Sept 1979)
46. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
47. North East A&F Club aka Keith A&FC (Sept 1971)
48. Oban A&F Club (Nov 1975)
49. Orkney A&F Club (Mar 1978)
50. Ormiston Miners’ Welfare Society A&F Club
51. Peebles A&F Club (26 Nov 1981)
52. Perth & District A&F Club (Aug 1970)
53. Premier A&F Club NI (cNov 1980)
54. Rothbury Accordion Club (1987??)
55. Shetland A&F Club (Sept 1978)
56. Stranraer & District Accordion Club (1974 – per first edition)
57. Sutherland A&F Club (
58. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
59. Thurso A&F Club (cSept 1981)
60. Turriff A&F Club (March 1982)
61. Tynedale A&F Club (Nov 1980)
62. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
63. Bonchester Accordion Club (Closed?)
64. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
65. Club Accord
66. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
67. Coupar Angus A&F Club (cSept 1978 - ?)
68. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
69. Denny & Dunipace A&F Club (Feb 1981)
70. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
71. Dunbar Cement Works A&F Club (Closed?)
72. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
73. Gretna A&F Club (June 1966)
74. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
75. Kinlochsheil A&F Club (
76. Kirriemuir A&F Club (cSept 1981)
77. Monklands A&F Club (Nov 1978 – closed cApril 1983)
78. Newcastleton Accordion Club
79. New Cumnock A&F Club (cMarch 1979)
80. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
81. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
82. Straiton Accordion Club (c1968 – closed March 1979)
83. Torthorwald A&F Club (near Dumfries)
84. Wellbank A&F Club
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