Box and Fiddle
Year 16 No 04
December 1992/January 1993
Price 60p
12 pages
7 month subscription £7.00
Editor – Editor – Doug Adamson, 22 Westfield Drive, Forfar, Angus, DD8 1EQ
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
As we come to the end of 1992, we look back on a year with mixed feelings. On the plus side we have at least two Clubs who were struggling last season, namely Perth and North East, drawing in good crowds. However, many of our Clubs are still struggling to interest players and spectators alike and it is hoped 1993 will provide better fortunes for these Clubs.
While at the Perth Festival last month, I popped in on the Under 16 Polka Competition and in spite of the adjudicators comments I was very disappointed with the overall standard of playing. I attribute this mainly to the very nervous state of many of the competitors and I wonder just how many of these kids ever faced an audience at one of our Clubs?
Also being involved in the classical scene where there are literally no Clubs as we know them to provide a stage to gain confidence, it really brought home to me how important it is to keep the Clubs going to provide this platform for future generations.
Equally, I feel it is very important for parents to make use of these facilities for all the reasons already mentioned. Only by playing regularly to an audience will the competitor gain enough confidence to tackle the competition scene properly.
As you already know, there will not be another ‘B&F’ until February, so it just remains for me to wish you all ‘A Very Merry Christmas’ and ‘A Happy and Prosperous New Year’ from Margaret, Jeanette and myself.
Doug Adamson
Billy Thom - “I’m No’ Very Good But I’m Loud”
by Charlie Todd
For Billy Thom, 1992 marks the anniversary of a remarkable drumming career which now spans 40 years. With over 150 LPs, excluding those made anonymously as a session musician, and innumerable radio and TV broadcasts to his credit, his expertise has bridged the gap between traditional music and the “Big Band” sound and has provided inspiration for many up and coming young players.
The musical story is based in the picturesque Stirlingshire town of Dunblane and starts in 1945 when 8-year-old Billy finally persuaded neighbour Willie Gemmell, leading drummer with the Dunblane City Pipe Band, to start him as a learner. With a natural feeling for rhythm and tempo and lots of hard practice, his progress was rapid and after two years he was competing regularly with the band and winning prizes in Grade 3 competition.
Where did the interest stem from? Well, there was no history of music in the family. Mum, “The Duchess” now 83, could get a tune out of a mouth organ and an accordion, but his late father was “tone deaf”. Dad did however organise dances in the local Victoria Hall, with all the top bands of the day, and it was there that Billy became fascinated by the sound and swing of Scottish dance music.
It was dance music that was to cut short Billy’s pipe band career, but not before he had moved briefly to the world famous “Red Hackle” Pipe Band which was based in Glasgow. Although increasing commitments were to rule out future participation in the band scene, recordings and major functions in later years were to bring him into contact with many leading exponents in that field. Billy particularly remembers Alex Connell, recently retired from the Strathclyde Police Pipe Band, and Bert Barr and the late Alex Duthart of Shotts and Dykehead. Even today he attends “drum clinics” organised by another friend, Joe Noble, in his Sauchiehall Street premises.
After school, Billy worked as a message boy for local grocers D. & J. McEwan and it was during his rounds one evening that he was approached by Jim MacLeod who asked if he was interested in playing at a dance as part of the “Arthur MacLeod Quartet”. He still remembers that first band engagement for Mrs Kemp who ran the Cambusbarron Country Dance Club. Having played to the other group members’ satisfaction he became their regular drummer.
Billy is unreserved in his praise for Jim MacLeod and the late Alex MacArthur. Enthusiastic and dedicated, they gave him the chance to do his first radio broadcast that same year, 1952, at the age of only 15. One of Billy’s comments during that conversation mirrored Alex MacArthur’s, “Mistakes go for nothing so long as it swings.” Regular radio work was to follow on “Down at the Mains” and “Children’s Hour”.
This was to last up until 1957 when he was called up to do his National Service in the R.A.F. “But I must have been good,” he quips, “because Jim asked me back to do a video – in 1992!”
Based at R.A.F. St. Athan in South Wales, Billy was soon co-opted into the Regional Band of the R.A.F. and it was here that the next phase of his career began. Surrounded by professional “Big Band” musicians doing their stint, and sent for kit lessons from Les Thomas in Cardiff, he soon discovered a fascinating new side to drumming.
Demobbed in 1959, Billy was approached by Andrew Rankine who was putting a full-time band on the road. The following two years were spent in the company of Andrew, Ian Holmes, Ron Gonella, Tom McTague and Robert Campbell. “You’re only as good as the people around you,” commented Billy and throughout his playing career he considers himself fortunate to have had the opportunity to play with many of the finest around.
Incidentally, Billy considers himself a “brush” player as opposed to a “stick” player and this brought to memory a story I heard some time ago and which Billy confirmed. It was while he was doing live radio broadcasts with Andrew’s band that the producer received many complaints from listeners about a background “hiss” during transmissions. Technical equipment was thoroughly checked but the cause was finally tracked down to “the stir” in Billy’s powerful brush work on his finely tuned snare drum.
In 1961 he left Andrew to join a “swing outfit”, The Jimmy Watson Quintet, in The Rob Roy Motel in Aberfoyle. Indeed, in conversation with Billy it soon becomes obvious that his career has always had two component parts, namely Scottish and “Big Band” running in parallel, with one taking precedence for a while and then assuming a lesser role as the other comes to the forefront.
During his five years with Jimmy Watson, Billy was also appearing in “The White Heather Club” with Bobby MacLeod and Andy Stewart, and making records with Max Houliston (including, he says, an all time classic of continental music At the Piazza).
For two years from 1966, he formed his own jazz quartet as resident band at the Inchyra Grange Hotel at Polmont. This consisted of Bill Hendry (Falkirk) on piano, Alan Saddler on bass and Drew McRobert, “A marvellous modern accordionist from Dunblane.”
In 1968, it was time for another move, this time to Jim Johnstone’s full-time band with Ron Kerr, Tommy Lees (later John Carmichael), Billy Craib and Pam Brough. Billy remembers Tommy Lees, now residing in London, as an outstanding second box player with a unique style, especially in jigs. “Just listen to A Measure of Scotch to hear how a band should swing.” Once again life was hectic with The White Heather Club on tour and at the height of its popularity.
1971 saw a move back to the cabaret scene in the successful but ill fated Rangers Social Club. Initially playing with The Alan Cameron Quintet and later The Dave Mason Big Band, their time was spent backing nationally known names such as Matt Munro, Vince Hill and many others, several of whom are still personal friends.
From there it was a sideways move in 1976 to The Bob Stevenson Quintet in The Adam Smith Theatre in Kirkcaldy and then in 1980 to The Gleneagles Hotel with Ray Fierstone of The Entertainment Co., again backing cabaret artistes.
Around that time, Billy also started playing occasionally with the band of a colleague from earlier days, namely John Carmichael, and this has gradually snowballed into an almost full-time commitment. Mention here of another favourite LP, Tear Up The Tartan. Billy thoroughly enjoys the swing and lift the band sound has developed over the years and an added bonus is, “John’s patter – unbeatable”. Inevitably he still finds time to play with The Peggy O’Keefe Trio and make records with Gordon Pattullo, the latest being All The Best – another cracker.
“Who along the way particularly inspired you?” I asked. Two names instantly sprang to mind in the Scottish idiom, Arthur Easson, “Tremendous lift and swing,” and Ian McDougall from Bobby MacLeod’s band, “A wonderful modern player as well”. On the Big Band scene, session drummer Roy Sneddon is, “Outstanding – Scotland’s top session man”.
The foregoing are just some of Billy’s activities in what has been a very full career. Somewhere along the way he also “had the privilege” of making two LPs with Jimmy Shand, Dancing Through Scotland and Gateway to the Forth and EPs with the band and Ivy Carey, Jimmy’s singer. Another highlight was accompanying Bobby MacLeod, indeed that led to the only “two piece” broadcast on “Take the Floor” that has ever been done. Listen to The Man from Tobermory Billy advises, for the real MacLeod magic.
Advice to young drummers, “Get good tuition, take keyboard lessons and practise like mad.” Billy himself recalls practising six hours a day, six days a week, while he was involved in theatre pit work. “And remember, as a drummer you’re not playing for yourself, you’re accompanying a band.” The mention of keyboard lessons surprised me at first, but Billy stresses the importance of being able to read and understand any music score, not just drum scores.
To conclude therefore I would like to thank Billy for his time and hospitality and wish him many more years of enjoyment in his chosen profession.
43rd Perth Festival Results 1992
Senior Scottish Traditional
1) James Coutts (Kirkcaldy)
2) Liam Howitt (Glasgow)
3) William Bradley (Balloch)
Senior Scottish Pipe Music
1) Mhairi Coutts (Kirkcaldy)
2) Pauline Laverie (Dumfries)
3) Iain Cathcart (West Kilbride)
All Scotland Senior Amateur
1) Elizabeth Flannigan (Galashiels)
2) Fiona Pollock (Tullibody)
3) Ian Roxburgh (Airdrie)
Veterans’ Section
1) Charles Murdie (Bridge of Earn)
2) Hector Henderson (Fort William)
3) Alan Tasker (Kincardine)
Scottish Traditional (Under 12)
1) Jannette Morrison (Glenlivet)
2) Jill Blackburn (Hexham)
3) Bruce Gibb (Balbeggie)
Junior Scottish Traditional (Under 16)
1) Scott Gordon (Galston)
2) Ian Shepherd (Dalkeith)
3) Karl Sandeman (Killearn)
Junior Solo Pipe Music (Under 16)
1) Scott Gordon (Galston)
2) Andrew Gordon (Dumbarton)
2) Wendy Godfrey (Perth)
Senior Ladies Scottish Trad
1) Fiona Gilfillan (Perth)
2) Lindsay Weir (Dingwall)
3) Lynn Christie
Junior Girls Scottish Traditional (Under 16)
1) Wendy Godfrey (Perth)
2) Heather Reid (Eyemouth)
3) Jill Blackburn (Hexham)
Own Composition
1) Eileen Blackie (Edinburgh)
2) Liam Howitt (Glasgow)
3) Fraser McLellan (Beith)
Trios
1) Iain Cathcart (West Kilbride)
2) Lynn Gould (Huntly)
3) Lindsay Weir (Dingwall)
Senior Scottish Country Dance Band
1) Iain Cathcart (West Kilbride)
2) Alistair MaLeod
3) Davis Oswald
Junior Scottish Country Dance Band
1) Sandra Hutchison (Thornhill)
2) Sma’ Glen Toe Tappers (Crieff)
3) Ian Anderson
FIDDLE CLASSES
Junior Fiddle Under 12
1) Jean Beaumont (Crieff)
2)
3)
Junior Fiddle Under 16
1) Susan McIntosh (Aberdeen)
2) Karl Sandeman (Killearn)
3) Alistair Mitchell (Oban)
Senior Fiddle
1) Mhairi Skinner (Currie)
2) Celia McIntyre (Edinburgh)
3) Keith McWhan (Dumfries)
CLASSICAL CLASSES
7 Years and Under
1)
2)
3)
9 Years and Under
1) Graeme Richmond (Inchinnan)
2) Fraser Burke (Dundee)
3) Alistair Laing (Paisley)
11 Years and Under
1) Fraser Sim (Renfrew)
2) Jill Douglas (Hexham)
3) David Nisbet (Earlston)
13 Years and Under
1) Eileen Harkness (Paisley)
2) Angus Lyon (Lamington)
3) Gerrard Burns (Paisley)
15 Years and Under
1) Kirstin Lyon (Lamington)
2) Maire Leonard (Dunfermline)
3) Ross Lothian (Melrose)
John Leslie Championship
1)
2)
Area Junior Championship
1) l
2)
3)
Preparatory Solo
1) Blair Gardiner (Libberton)
2) Alison Carswell (Symington)
3) Jane Waddell (Eyemouth)
Elementary Solo
1) Belinda Treble (Arran)
2) Robin Hamilton (Haddington)
3) Jill Craig (Haddington)
Higher Elementary Solo
1) Joanne Lindsay (Wishaw)
2) Heather Reid (Eyemouth)
3) Lauren McFarlane (Melrose)
Intermediate Solo
1) Elaine Guthrie (Blackford)
2) Lynn Aitchison (Thankerton)
3) Grant Law (Newmains)
Higher Intermediate Solo
1) James Flood (Rait)
2) Colin Train (Carluke)
3) Kirsty Benton (Carluke)
Advanced Solo Championship
1) Aileen Smith (Kinross)
2) Michael Craig (Rosyth)
3)
Open Solo
1) Michael Paton (Dunfermline)
2) Colin McNeil (Carluke)
3) Stephen McWhan (Dumfries)
Polka (Under 16)
1) Gerard Burns (Paisley)
2) Ross Lowthian (Melrose)
3) Colin Train (Carluke)
Senior Polka Section (16 and over)
1) Craig Drysdale (Kirkcaldy)
2) Elizabeth Flannigan (Galashiels)
3) Fiona Cuthbertson (Thornhill)
Theme Solo
Elementary Free Bass
1)
Intermediate Free Bass
1)
2)
Open Solo Free Bass
1)
2)
Entertainment
1)
Preparatory Duet
1)
2)
3)
Elementary Duet
1) Alison & David Stewart (Bearsden)
2) Jill & Vicki Craig (Haddington)
3) Alisdair & Margaret McLeod (Helensburgh)
Intermediate Duet
1) Joanne Lindsay & Lyn Stevenson (Wishaw)
2) Leanne Cross & Jillian Fleming (Larkhall)
3) David McCloy & Marcus McCloy (Shotts)
Higher Intermediate Duet
1)
2)
3)
Advanced Duet
1)
2)
Premier Duet
1) Robert Muir & Robert Hutchison (Dunfermline)
Preparatory Orchestra
1) G. B. Lawrie (Paisley)
2) J. R. Brown (Wishaw)
Elementary Orchestra
1) G. B. Lawrie (Paisley)
2)
Intermediate Orchestra
1)
2)
Advanced Orchestra
1) J. R. Brown (Wishaw)
2) G. B. Lawrie (Paisley)
Elementary Group
1) Lawrie Fame Quartet (Paisley)
2) Keith Dickson Group (West Linton)
Intermediate Group
1) Keith Dickson Group (West Linton)
2)
Advanced Group Section
1)
2)
Art Level Group
Kingdom five Group (Rosyth)
John Leslie Championship
1) Angela Small (Crieff)
Bell Trophy Championship
1) Liam Smith (Kinross)
2) Alan Small (Cupar)
3) Barry Howieson (High Valleyfield)
Statement by Bill Wilkie
There has been some concern over the use of screens during competitions and at the same time the adjudicators having a programme of contestants on their table. I would like to stress that there is no secrecy intended by the use of screens except in the Senior Traditional Scottish Final play off.
Screens have been used at the discretion of ourselves and the adjudicators for two reasons. Firstly, some competitors feel additional pressure by visual contact from the adjudicators and secondly, possibly 30 to 40 contestants requires enormous concentration and the screen can reduce greatly visual distraction from the audience. We will make a decision based on what’s in the best interest of the Competitions for the next Festival.
The other problem is the taking of photographs during competitions. This is always difficult to control, but we will again be increasing the awareness of NO PHOTOGRAPHS, RECORDING OR VIDEOS to the spectators during the next Festival.
We look forward to your support at next year’s Accordion Festival.
Musselburgh ‘93
by Norrie Williams
Around 6pm on the fine, clear autumn Sunday evening of 1st November, all was right with the world as Sheila and I walked back to the Blair Castle car park, having just listened to just over 2 hours of truly traditional fiddle music, ‘right off the top’ as Paul Carpenter used to say in the days of the regular Ted Heath broadcasts. All off the top it most certainly had been because the 8 players who had battled it out for the prestigious Glenfiddich Trophy rank among Scotland’s best, and the fact that they all have youth on their side, means that the real winner in the long term is our traditional music.
As we said our various farewells en-route from the antler-studded ballroom back to the car, at least two of the competitors we passed signed off with, “See you soon at Musselburgh”. Musselburgh – it hit us, it was just around the corner, Saturday, March 6th to be precise. So it was straight home and into this scribble.
This will be the 19th Festival and as always will be held in the excellent Brunton Halls complex with the first competitors kicking off at 9am.
We welcome no less that four new faces on the team of adjudicators this time round. For the fiddle classes, two young ladies, both from the North East, and both of whom have made their names in the dance band and competition scenes – Judith Nicolson (nee Davidson) and Angie smith, originally hailing from Banchory and Ireland respectively.
In the traditional accordion classes, and teaming up with N.A.A.F.C. Chairman Jimmy Blue and John Crawford, will be Dennis Morrison of ‘Glenmor SDB’ fame. Dennis comes from Newmachar in Aberdeenshire.
For the first time the classical sections will be split between two adjudicators, our regular, Mr Cyril Pasby, and making his Musselburgh debut, Mr Peter Farnan, who is best known for his virtuoso Scottish compositions. About eighteen months ago, Peter gave invaluable assistance to the N.A.A.F.C. when a restructuring of the marking system for the Scottish ‘traditional’ classes was under review.
In answer to requests and recommendations, one new Classical section has been introduced viz. Under 13 Classical Duet.
As last year, could we once again make an impassioned plea for support in the Button Key (British Chromatic) and Fiddle Group classes. Both have great audience appeal – but both are crying out for more competitor support.
To wind up the proceedings, we have continued our policy of annually alternating between bands with young and not quite so young bandleaders, so it’s back to youth with Nicol McLaren and his ‘Glencraig SDB’.
If I may finish with a quote by one of our greatest supporters….”Be lookin’ for you”.
The 5th Shetland Accordion & Fiddle Festival
15th to 19th October, 1992
The organizing Committee’s anxieties over whether the loss……………
Introducing the Clubs
No 12 Galston
by Davy Ross
On the second Monday of October, 1969, the first meeting of the Glaston Club was held in the Black Bull Hotel, Galston. The guest artiste was Bert Shorthouse from Dunfermline and around 36 people attended plus 8 players. The original Committee was Billy Stewart, Bill Rodie and David Ross. Bill Rodie, due to working abroad, had to stand down and his place was taken by Derek Hamilton. Otherwise the same members still run the Club.
We had to move from the Black Bull after 8 years due to the Fire Regulations being enforced and restricting the numbers to 80 people, at the time we were averaging around 100, so we didn’t have a choice.
We moved to the ‘Parakeet’ in Hurlford, which had a function suite that could accommodate (at a squeeze) 200 people, and this gave us the opportunity in the mid-seventies to feature some of the big names like Dermot O’Brien and Tom Alexander. Also we could feature dance bands. We did have many enjoyable nights at the Parakeet, but due to managerial changes, we were informed that in future Mondays would be a dance night featuring local jazz musicians.
We then shifted out meeting place back to Galston to a lounge suite called ‘Wales Place’. The Club carried on in the same manner, but we didn’t feel that the atmosphere could be generated no matter how we tried or who we had as our guest. We did however give the decision to move there a fair try and although the management and the Club supporters stood by us, we had mixed feelings of the Club losing its popularity.
On being informed that the premises were ‘on the market’ we had to protect our interests, and after discussion with the Committee of the Barr Castle Social Club decided that Galston Accordion Club would be presented by the said Club. We have excellent facilities, can hold over 100 and have easy access. We don’t have a membership as such, but enjoy a regular support.
There are four Clubs in Ayrshire and we all visit each other and also have formed A.S.M.A. ‘Ayrshire Scottish Music Association’.
Over the 23 years we have been functioning, we have seen young players grow up, get married, and now their families are coming along.
We award a Shield each year to the most improved player and every year at Christmas the money drawn in at our December meeting raffle we donate to a local charity.
The general idea in our eyes of an Accordion Club is to promote the music and the instruments. We at Galston have managed to do that by having some fine guest artistes and also some enthusiastic players and supporters. We owe a big thanks to everybody who comes along and to be in a position to say that makes it all worthwhile.
Your Letters
After a rather heated discussion with a prominent musician, I find I must put pen to paper on the subject of fees for guest artistes. In the past year or two I have been quoted prices for both solo artistes and bands which were hair raising to say the least. They have on occasion caused discomfort and embarrassment on both sides, as we refuse and in fact, cannot afford to pay them.
My musician friend thinks fellow musicians should charge what they think they are worth, and his argument is that tradesmen charge similar fees. He also quoted changes in the lost of living, and in fact, that musicians sometimes spend thousands of pounds on their instruments. While there may be a case for full-time of professional musicians charging such fees, or for playing at dances etc., I cannot accept this argument as in my opinion it defeats the whole purpose of A&F Clubs. The purpose of Clubs is surely to get players together and to bring experienced musicians to play alongside beginners.
I must exclude some of out top musicians from this argument as several have opted for the “we will see what the crowd is like” option – this must suit everyone.
In some places however, I am sure that music takes second place to monetary gain.
Could the Association not give some guidelines to Clubs and musicians?
I await with interest the views of fellow Club Committee members and also musicians on the subject.
Dave Sutherland
Chairman Blairgowrie A&F Club
Afraid this is a free market, Dave. The Association cannot lay down guidelines for fees for guest artistes any more than they can decide what Clubs should charge at the door. - Ed
I am sure most musicians and enthusiasts alike would agree that one of the highlights in the year as far as the Scottish music is concerned is the Perth Festival, but unfortunately this year after attending I feel this letter is necessary.
During the Senior Accordion Pipe Section competition I was rather dismayed to discover that although the adjudicator was situated behind a screen, the competitor order of play programme was on full display on the table where the adjudicator was sitting.
At this point I would like to make it perfectly clear that this is NOT a criticism of the adjudicator personally. My reason for submitting this letter is not to question how this occurred, by why.
The argument on whether to have screens or not has most probably been exhausted over the years and I do not intend to delve into this subject at any great length. My main concern is for the competitors.
Many people, both spectators and competitors, found it rather discouraging that if the adjudicator so wished, at a glance, he could identify immediately the competitor on the stage. On would logically assumer the reason for screens would be the opposite reason – a fair, unbiased judgement on how the player performed on the day and not as it could have turned out, on how established the player is or an unfair knowledge of exactly what the player is capable of when under less pressure.
Surely even the most experienced adjudicator, battling to place equally capable players, would find it tempting to take into consideration previous knowledge or previous performances of players.
In conclusion, my main reason for writing to you on this subject is hopefully an explanation for the aforementioned situation or other points of view on the subject.
Suzanne Gray
Alloa
I write with regard to the Senior Pipe Section at the Perth Festival.
The point of having a screen in front of the adjudicator is to separate the judge from the competitator, hence making the entrant anonymous to the judge, but each entrant having a number. Surely, therefore, it was wrong of Mr Blue and his scribe Mrs Copeland, to have in front of them, an open programme having the names of each competitor, when in fact, they should only be known by their number. Several people noticed this and many commented – all unfavourably I may add. This included both entrants and spectators.
To comment openly on the tone of a box, because he liked it, was very unprofessional, indeed as not all entrants can afford the box of their, or the judges, choice. In fairness to all competitors, this should not come into the adjudicator’s judging at all. The accuracy of the playing on the day, the choice of tune, providing it is from the proper selection, is really what counts.
Name and address supplied.
This has been brought to the attention of the organizers – see Page 6 - Ed
Record Review
Repeat Prescription – Sandy Nixon SDB – GCD921
Moving Tradition – Ian Muir Sound – AYRC135
Take the Floor
5th Dec 92 – David Cunningham Jnr SDB
12th Dec 92 – Graham Geddes SDB
19th Dec 92 – Dennis Morrison and the Glenmor SDB
26th Dec 92 – Ian Muir SDB
2nd Jan 1993 – Robert Black and the ‘All Star’ SDB
CLUB DIARY
Aberdeen (Dee Motel) – 29th Dec 92 – Social Night with The Garioch Blend
Alnwick (Golden Fleece) – members only 9th Dec 92 – Christmas Party
Arbroath (Viewfield Hotel) - 6th Dec 92 – Club night
Armadale (Masonic Hall) –
Ayr (Gartferry Hotel) – 6th Dec 92 – Jimmy Lindsay Trio 20th Dec Dance to John Carmichael SDB
Balloch (St. Kessog’s Hall) –
Banchory (Burnett Arms Hotel) –
Banff & District (Knowes Hotel, Macduff) –
Beith & District (Hotel de Croft, Dalry) – 21st Dec 92 – Iain MacPhail SDB
Belford (Community Club) – 4th Dec 92 – Dance to Lothian SDB
Biggar (Municipal Hall) – 13th Dec 92 – Glencraig SDB
Blairgowrie (Moorfield Hotel) - 8th Dec 92 – Ian Robertson Band (Bristol)
Bridge of Allan (Walmer Hotel) -
Brigmill (Guardbridge Sports & Social Club)
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Urr Valley Hotel) – 15th Dec 92 – Blackthorn Dance Band 11th Dance to Craigowl SDB
Coalburn (Miners’ Welfare) - 17th Dec 92 – Deirdre Adamson
Crieff & District (Drummond Arms Hotel)
Dalriada (Argyll Arms Hotel, Lochgilphead)
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 2nd Dec 92 – Karen Leitch
Dunblane (Westlands Hotel) – 16th Dec 92 – Jim Cleland SDB
Dundee (Invercarse Hotel) – 3rd Dec 92 – Glencraig SDB
Dunfermline (Jubilee House) – 8th Dec 92 – James Coutts
Dunoon & Cowal (McColl’s Hotel) 11th/12th Dec 92 – John Renton SDB / Gary Blair
East Kilbride (Sweepers, Cambuslang) –
Ellon (Ladbroke Hotel) –
Ettrick & Yarrow (The Gordon Arms) - 16th Dec 92 – Club night
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) -
Forres (Brig Motel) – 9th Dec 92 – Paddy Neary
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel – Wooler) – 17th Dec 92 – Willie McGuire
Gretna (Halcrow Stadium) - 16th Dec 92 – Eric Goodfellow SDB
Highland (Drumossie Hotel) – 21st Dec 92 – Ronnie Shaw
Inveraray (Loch Fyne Hotel) - 1st Dec 92 – Ian Powrie
Isle of Skye -
Islesteps (Mabie House Hotel) –
Kelso (Ednam House Hotel) – 16th Dec 92 – The Shepherds
Kinlochshiel (Strathcarron Hotel) -
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 10th Dec 92 – Ballochmyle Band
Livingston (Golden Circle Hotel, Bathgate) 15th Dec 92 – Club Night
Lockerbie (Bluebell Hotel) -
Mauchline (The Jean Armour Function Suite)
M.A.F.I.A. (Masonic Hall, Milngavie) –
Montrose (Park Hotel) – 2nd Dec 92 – Deirdre Adamson
Newtongrange (Dean Tavern) –
North Cumbria (Golden Fleece, Ruleholme) (prev called Gretna Club) –
North East (Royal British Legion, Keith) – 1st Dec 92 – Lynn Gould SDB
Oban (Harbour Lights Restaurant) – 3rd Dec 92 – Michael Philip SDB
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Green Tree Hotel) –
Perth (Salutation Hotel) –
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 8th Dec 92 – Joe & Scott Gordon
Rothbury (Queen’s Head) -
Shetland (venue?) -
Stirling (Terraces Hotel) - 6th Dec 92 – Duncan Black SDB
Thornhill (?)
Thurso (Pentland Hotel) – 14th Dec 92 – Deirdre Adamson
Turriff (Royal Oak Hotel) –
Tynedale (Hexham Ex Service Club) –
Wick (McKay’s Hotel) –
Wooler ( ) -
THERE WERE CLUB REPORTS FROM :-
1. Alnwick
2. Arbroath
3. Ayr
4. Banff
5. Belford
6. Biggar
7. Brigmill
8. Castle Douglas
9. Coalburn
10. Dunblane
11. Dundee
12. Dunfermline
13. East Kilbride
14. Forfar
15. Glendale
16. Gretna
17. Highland
18. Kelso
19. Kinlochshiel
20. Livingston
21. Lockerbie
22. Mauchline
23. Newtongrange
24. North East
25. Oban
26. Renfrew
27. Rothbury
28. Stirling
29. Thurso
CLUB DIRECTORY AS AT SEPT 1991 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Sept 1976 – present)
3. Arbroath A&F Club (1991? – present)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
5. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Brigmill A&F Club (Oct 1990) Closed
14. Button Key A&F Club (
15. Castle Douglas A&F Club (c Sept 1980 – present)
16. Coalburn A&F Club (
17. Crieff A&F Club (cSept 1981)
18. Dalriada A&F Club (Feb 1981)
19. Derwentside A&F Club
20. Dingwall & District A&F Club (May 1979 – per first report)
21. Dunblane & District A&F Club (1971 – present)
22. Dundee & District A&F Club (1970? -
23. Dunfermline & District A&F Club (1974 – per first edition)
24. Dunoon & Cowal A&F Club (
25. East Kilbride A&F Club (Sept 1980)
26. Ellon A&F Club (
27. Etterick & Yarrow (Jan 1989 -
28. Fintry A&F Club (
29. Forfar A&F Club (
30. Forres A&F Club (Jan 1978)
31. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
32. Galashiels A&F Club (joined Sept 1982 - present)
33. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
34. Glendale Accordion Club (Jan 1973)
35. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
36. Highland A&F Club (Inverness)
37. Inveraray A&F Club (Oct 1991)
38. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
39. Isle of Skye A&F Club (
40. Kelso A&F Club (May 1976 – present)
41. Kintore A&F Club (
42. Langholm A&F Club (Oct 1967 - present)
43. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
44. Livingston A&F Club (Sept 1973 – present)
45. Lockerbie A&F Club (Nov 1973 - present)
46. M.A.F.I.A. (early)
47. Mauchline A&F Club (first mention 1986? - present)
48. Montrose A&F Club (joined Sept 1982 - present)
49. Mull A&F Club
50. Newtongrange A&F Club (joined Sept 1977 - present)
51. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
52. North East A&F Club aka Keith A&FC (Sept 1971 - present)
53. Oban A&F Club (Nov 1975 - present)
54. Orkney A&F Club (Mar 1978 - present)
55. Peebles A&F Club (26 Nov 1981 - present)
56. Perth & District A&F Club (Aug 1970 - present)
57. Premier A&F Club NI (April 1980)
58. Rothbury Accordion Club (1987??)
59. Shetland A&F Club (Sept 1978 - present)
60. Stirling A&F Club (Oct 1991 - )
61. Sutherland A&F Club (
62. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
63. Thurso A&F Club (cSept 1981 - present)
64. Turriff A&F Club (March 1982 - present)
65. Tynedale A&F Club (Nov 1980 - present)
66. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
67. Acharacle & District A&F Club (cMay 1988)
68. Bonchester Accordion Club (Closed?)
69. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
70. Buchan A&F Club
71. Callander A&F Club (
72. Campbeltown & District A&F Club (c Dec 1980)
73. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
74. Club Accord
75. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
76. Coupar Angus A&F Club (cSept 1978 - ?)
77. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
78. Denny & Dunipace A&F Club (Feb 1981)
79. Dornoch A&F Club (first mention in directory 1986)
80. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
81. Dunbar Cement Works A&F Club (Closed?)
82. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
83. Falkirk A&F Club (Sept 1978 - )
84. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
85. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
86. Kinlochsheil A&F Club (
87. Kirriemuir A&F Club (cSept 1981)
88. Monklands A&F Club (Nov 1978 – closed cApril 1983)
89. Morecambe A&F Club (joined Sept 1982)
90. Newcastleton Accordion Club
91. New Cumnock A&F Club (cMarch 1979)
92. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
93. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
94. Straiton Accordion Club (c1968 – closed March 1979)
95. Stranraer & District Accordion Club (1974 – per first edition)
96. Torthorwald A&F Club (near Dumfries)
97. Walmer (Bridge of Allan) A&F Club
98. Wellbank A&F Club
Advertising rates
Full Page - £92
Half Page - £46
Quarter Page - £23
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
As we come to the end of 1992, we look back on a year with mixed feelings. On the plus side we have at least two Clubs who were struggling last season, namely Perth and North East, drawing in good crowds. However, many of our Clubs are still struggling to interest players and spectators alike and it is hoped 1993 will provide better fortunes for these Clubs.
While at the Perth Festival last month, I popped in on the Under 16 Polka Competition and in spite of the adjudicators comments I was very disappointed with the overall standard of playing. I attribute this mainly to the very nervous state of many of the competitors and I wonder just how many of these kids ever faced an audience at one of our Clubs?
Also being involved in the classical scene where there are literally no Clubs as we know them to provide a stage to gain confidence, it really brought home to me how important it is to keep the Clubs going to provide this platform for future generations.
Equally, I feel it is very important for parents to make use of these facilities for all the reasons already mentioned. Only by playing regularly to an audience will the competitor gain enough confidence to tackle the competition scene properly.
As you already know, there will not be another ‘B&F’ until February, so it just remains for me to wish you all ‘A Very Merry Christmas’ and ‘A Happy and Prosperous New Year’ from Margaret, Jeanette and myself.
Doug Adamson
Billy Thom - “I’m No’ Very Good But I’m Loud”
by Charlie Todd
For Billy Thom, 1992 marks the anniversary of a remarkable drumming career which now spans 40 years. With over 150 LPs, excluding those made anonymously as a session musician, and innumerable radio and TV broadcasts to his credit, his expertise has bridged the gap between traditional music and the “Big Band” sound and has provided inspiration for many up and coming young players.
The musical story is based in the picturesque Stirlingshire town of Dunblane and starts in 1945 when 8-year-old Billy finally persuaded neighbour Willie Gemmell, leading drummer with the Dunblane City Pipe Band, to start him as a learner. With a natural feeling for rhythm and tempo and lots of hard practice, his progress was rapid and after two years he was competing regularly with the band and winning prizes in Grade 3 competition.
Where did the interest stem from? Well, there was no history of music in the family. Mum, “The Duchess” now 83, could get a tune out of a mouth organ and an accordion, but his late father was “tone deaf”. Dad did however organise dances in the local Victoria Hall, with all the top bands of the day, and it was there that Billy became fascinated by the sound and swing of Scottish dance music.
It was dance music that was to cut short Billy’s pipe band career, but not before he had moved briefly to the world famous “Red Hackle” Pipe Band which was based in Glasgow. Although increasing commitments were to rule out future participation in the band scene, recordings and major functions in later years were to bring him into contact with many leading exponents in that field. Billy particularly remembers Alex Connell, recently retired from the Strathclyde Police Pipe Band, and Bert Barr and the late Alex Duthart of Shotts and Dykehead. Even today he attends “drum clinics” organised by another friend, Joe Noble, in his Sauchiehall Street premises.
After school, Billy worked as a message boy for local grocers D. & J. McEwan and it was during his rounds one evening that he was approached by Jim MacLeod who asked if he was interested in playing at a dance as part of the “Arthur MacLeod Quartet”. He still remembers that first band engagement for Mrs Kemp who ran the Cambusbarron Country Dance Club. Having played to the other group members’ satisfaction he became their regular drummer.
Billy is unreserved in his praise for Jim MacLeod and the late Alex MacArthur. Enthusiastic and dedicated, they gave him the chance to do his first radio broadcast that same year, 1952, at the age of only 15. One of Billy’s comments during that conversation mirrored Alex MacArthur’s, “Mistakes go for nothing so long as it swings.” Regular radio work was to follow on “Down at the Mains” and “Children’s Hour”.
This was to last up until 1957 when he was called up to do his National Service in the R.A.F. “But I must have been good,” he quips, “because Jim asked me back to do a video – in 1992!”
Based at R.A.F. St. Athan in South Wales, Billy was soon co-opted into the Regional Band of the R.A.F. and it was here that the next phase of his career began. Surrounded by professional “Big Band” musicians doing their stint, and sent for kit lessons from Les Thomas in Cardiff, he soon discovered a fascinating new side to drumming.
Demobbed in 1959, Billy was approached by Andrew Rankine who was putting a full-time band on the road. The following two years were spent in the company of Andrew, Ian Holmes, Ron Gonella, Tom McTague and Robert Campbell. “You’re only as good as the people around you,” commented Billy and throughout his playing career he considers himself fortunate to have had the opportunity to play with many of the finest around.
Incidentally, Billy considers himself a “brush” player as opposed to a “stick” player and this brought to memory a story I heard some time ago and which Billy confirmed. It was while he was doing live radio broadcasts with Andrew’s band that the producer received many complaints from listeners about a background “hiss” during transmissions. Technical equipment was thoroughly checked but the cause was finally tracked down to “the stir” in Billy’s powerful brush work on his finely tuned snare drum.
In 1961 he left Andrew to join a “swing outfit”, The Jimmy Watson Quintet, in The Rob Roy Motel in Aberfoyle. Indeed, in conversation with Billy it soon becomes obvious that his career has always had two component parts, namely Scottish and “Big Band” running in parallel, with one taking precedence for a while and then assuming a lesser role as the other comes to the forefront.
During his five years with Jimmy Watson, Billy was also appearing in “The White Heather Club” with Bobby MacLeod and Andy Stewart, and making records with Max Houliston (including, he says, an all time classic of continental music At the Piazza).
For two years from 1966, he formed his own jazz quartet as resident band at the Inchyra Grange Hotel at Polmont. This consisted of Bill Hendry (Falkirk) on piano, Alan Saddler on bass and Drew McRobert, “A marvellous modern accordionist from Dunblane.”
In 1968, it was time for another move, this time to Jim Johnstone’s full-time band with Ron Kerr, Tommy Lees (later John Carmichael), Billy Craib and Pam Brough. Billy remembers Tommy Lees, now residing in London, as an outstanding second box player with a unique style, especially in jigs. “Just listen to A Measure of Scotch to hear how a band should swing.” Once again life was hectic with The White Heather Club on tour and at the height of its popularity.
1971 saw a move back to the cabaret scene in the successful but ill fated Rangers Social Club. Initially playing with The Alan Cameron Quintet and later The Dave Mason Big Band, their time was spent backing nationally known names such as Matt Munro, Vince Hill and many others, several of whom are still personal friends.
From there it was a sideways move in 1976 to The Bob Stevenson Quintet in The Adam Smith Theatre in Kirkcaldy and then in 1980 to The Gleneagles Hotel with Ray Fierstone of The Entertainment Co., again backing cabaret artistes.
Around that time, Billy also started playing occasionally with the band of a colleague from earlier days, namely John Carmichael, and this has gradually snowballed into an almost full-time commitment. Mention here of another favourite LP, Tear Up The Tartan. Billy thoroughly enjoys the swing and lift the band sound has developed over the years and an added bonus is, “John’s patter – unbeatable”. Inevitably he still finds time to play with The Peggy O’Keefe Trio and make records with Gordon Pattullo, the latest being All The Best – another cracker.
“Who along the way particularly inspired you?” I asked. Two names instantly sprang to mind in the Scottish idiom, Arthur Easson, “Tremendous lift and swing,” and Ian McDougall from Bobby MacLeod’s band, “A wonderful modern player as well”. On the Big Band scene, session drummer Roy Sneddon is, “Outstanding – Scotland’s top session man”.
The foregoing are just some of Billy’s activities in what has been a very full career. Somewhere along the way he also “had the privilege” of making two LPs with Jimmy Shand, Dancing Through Scotland and Gateway to the Forth and EPs with the band and Ivy Carey, Jimmy’s singer. Another highlight was accompanying Bobby MacLeod, indeed that led to the only “two piece” broadcast on “Take the Floor” that has ever been done. Listen to The Man from Tobermory Billy advises, for the real MacLeod magic.
Advice to young drummers, “Get good tuition, take keyboard lessons and practise like mad.” Billy himself recalls practising six hours a day, six days a week, while he was involved in theatre pit work. “And remember, as a drummer you’re not playing for yourself, you’re accompanying a band.” The mention of keyboard lessons surprised me at first, but Billy stresses the importance of being able to read and understand any music score, not just drum scores.
To conclude therefore I would like to thank Billy for his time and hospitality and wish him many more years of enjoyment in his chosen profession.
43rd Perth Festival Results 1992
Senior Scottish Traditional
1) James Coutts (Kirkcaldy)
2) Liam Howitt (Glasgow)
3) William Bradley (Balloch)
Senior Scottish Pipe Music
1) Mhairi Coutts (Kirkcaldy)
2) Pauline Laverie (Dumfries)
3) Iain Cathcart (West Kilbride)
All Scotland Senior Amateur
1) Elizabeth Flannigan (Galashiels)
2) Fiona Pollock (Tullibody)
3) Ian Roxburgh (Airdrie)
Veterans’ Section
1) Charles Murdie (Bridge of Earn)
2) Hector Henderson (Fort William)
3) Alan Tasker (Kincardine)
Scottish Traditional (Under 12)
1) Jannette Morrison (Glenlivet)
2) Jill Blackburn (Hexham)
3) Bruce Gibb (Balbeggie)
Junior Scottish Traditional (Under 16)
1) Scott Gordon (Galston)
2) Ian Shepherd (Dalkeith)
3) Karl Sandeman (Killearn)
Junior Solo Pipe Music (Under 16)
1) Scott Gordon (Galston)
2) Andrew Gordon (Dumbarton)
2) Wendy Godfrey (Perth)
Senior Ladies Scottish Trad
1) Fiona Gilfillan (Perth)
2) Lindsay Weir (Dingwall)
3) Lynn Christie
Junior Girls Scottish Traditional (Under 16)
1) Wendy Godfrey (Perth)
2) Heather Reid (Eyemouth)
3) Jill Blackburn (Hexham)
Own Composition
1) Eileen Blackie (Edinburgh)
2) Liam Howitt (Glasgow)
3) Fraser McLellan (Beith)
Trios
1) Iain Cathcart (West Kilbride)
2) Lynn Gould (Huntly)
3) Lindsay Weir (Dingwall)
Senior Scottish Country Dance Band
1) Iain Cathcart (West Kilbride)
2) Alistair MaLeod
3) Davis Oswald
Junior Scottish Country Dance Band
1) Sandra Hutchison (Thornhill)
2) Sma’ Glen Toe Tappers (Crieff)
3) Ian Anderson
FIDDLE CLASSES
Junior Fiddle Under 12
1) Jean Beaumont (Crieff)
2)
3)
Junior Fiddle Under 16
1) Susan McIntosh (Aberdeen)
2) Karl Sandeman (Killearn)
3) Alistair Mitchell (Oban)
Senior Fiddle
1) Mhairi Skinner (Currie)
2) Celia McIntyre (Edinburgh)
3) Keith McWhan (Dumfries)
CLASSICAL CLASSES
7 Years and Under
1)
2)
3)
9 Years and Under
1) Graeme Richmond (Inchinnan)
2) Fraser Burke (Dundee)
3) Alistair Laing (Paisley)
11 Years and Under
1) Fraser Sim (Renfrew)
2) Jill Douglas (Hexham)
3) David Nisbet (Earlston)
13 Years and Under
1) Eileen Harkness (Paisley)
2) Angus Lyon (Lamington)
3) Gerrard Burns (Paisley)
15 Years and Under
1) Kirstin Lyon (Lamington)
2) Maire Leonard (Dunfermline)
3) Ross Lothian (Melrose)
John Leslie Championship
1)
2)
Area Junior Championship
1) l
2)
3)
Preparatory Solo
1) Blair Gardiner (Libberton)
2) Alison Carswell (Symington)
3) Jane Waddell (Eyemouth)
Elementary Solo
1) Belinda Treble (Arran)
2) Robin Hamilton (Haddington)
3) Jill Craig (Haddington)
Higher Elementary Solo
1) Joanne Lindsay (Wishaw)
2) Heather Reid (Eyemouth)
3) Lauren McFarlane (Melrose)
Intermediate Solo
1) Elaine Guthrie (Blackford)
2) Lynn Aitchison (Thankerton)
3) Grant Law (Newmains)
Higher Intermediate Solo
1) James Flood (Rait)
2) Colin Train (Carluke)
3) Kirsty Benton (Carluke)
Advanced Solo Championship
1) Aileen Smith (Kinross)
2) Michael Craig (Rosyth)
3)
Open Solo
1) Michael Paton (Dunfermline)
2) Colin McNeil (Carluke)
3) Stephen McWhan (Dumfries)
Polka (Under 16)
1) Gerard Burns (Paisley)
2) Ross Lowthian (Melrose)
3) Colin Train (Carluke)
Senior Polka Section (16 and over)
1) Craig Drysdale (Kirkcaldy)
2) Elizabeth Flannigan (Galashiels)
3) Fiona Cuthbertson (Thornhill)
Theme Solo
Elementary Free Bass
1)
Intermediate Free Bass
1)
2)
Open Solo Free Bass
1)
2)
Entertainment
1)
Preparatory Duet
1)
2)
3)
Elementary Duet
1) Alison & David Stewart (Bearsden)
2) Jill & Vicki Craig (Haddington)
3) Alisdair & Margaret McLeod (Helensburgh)
Intermediate Duet
1) Joanne Lindsay & Lyn Stevenson (Wishaw)
2) Leanne Cross & Jillian Fleming (Larkhall)
3) David McCloy & Marcus McCloy (Shotts)
Higher Intermediate Duet
1)
2)
3)
Advanced Duet
1)
2)
Premier Duet
1) Robert Muir & Robert Hutchison (Dunfermline)
Preparatory Orchestra
1) G. B. Lawrie (Paisley)
2) J. R. Brown (Wishaw)
Elementary Orchestra
1) G. B. Lawrie (Paisley)
2)
Intermediate Orchestra
1)
2)
Advanced Orchestra
1) J. R. Brown (Wishaw)
2) G. B. Lawrie (Paisley)
Elementary Group
1) Lawrie Fame Quartet (Paisley)
2) Keith Dickson Group (West Linton)
Intermediate Group
1) Keith Dickson Group (West Linton)
2)
Advanced Group Section
1)
2)
Art Level Group
Kingdom five Group (Rosyth)
John Leslie Championship
1) Angela Small (Crieff)
Bell Trophy Championship
1) Liam Smith (Kinross)
2) Alan Small (Cupar)
3) Barry Howieson (High Valleyfield)
Statement by Bill Wilkie
There has been some concern over the use of screens during competitions and at the same time the adjudicators having a programme of contestants on their table. I would like to stress that there is no secrecy intended by the use of screens except in the Senior Traditional Scottish Final play off.
Screens have been used at the discretion of ourselves and the adjudicators for two reasons. Firstly, some competitors feel additional pressure by visual contact from the adjudicators and secondly, possibly 30 to 40 contestants requires enormous concentration and the screen can reduce greatly visual distraction from the audience. We will make a decision based on what’s in the best interest of the Competitions for the next Festival.
The other problem is the taking of photographs during competitions. This is always difficult to control, but we will again be increasing the awareness of NO PHOTOGRAPHS, RECORDING OR VIDEOS to the spectators during the next Festival.
We look forward to your support at next year’s Accordion Festival.
Musselburgh ‘93
by Norrie Williams
Around 6pm on the fine, clear autumn Sunday evening of 1st November, all was right with the world as Sheila and I walked back to the Blair Castle car park, having just listened to just over 2 hours of truly traditional fiddle music, ‘right off the top’ as Paul Carpenter used to say in the days of the regular Ted Heath broadcasts. All off the top it most certainly had been because the 8 players who had battled it out for the prestigious Glenfiddich Trophy rank among Scotland’s best, and the fact that they all have youth on their side, means that the real winner in the long term is our traditional music.
As we said our various farewells en-route from the antler-studded ballroom back to the car, at least two of the competitors we passed signed off with, “See you soon at Musselburgh”. Musselburgh – it hit us, it was just around the corner, Saturday, March 6th to be precise. So it was straight home and into this scribble.
This will be the 19th Festival and as always will be held in the excellent Brunton Halls complex with the first competitors kicking off at 9am.
We welcome no less that four new faces on the team of adjudicators this time round. For the fiddle classes, two young ladies, both from the North East, and both of whom have made their names in the dance band and competition scenes – Judith Nicolson (nee Davidson) and Angie smith, originally hailing from Banchory and Ireland respectively.
In the traditional accordion classes, and teaming up with N.A.A.F.C. Chairman Jimmy Blue and John Crawford, will be Dennis Morrison of ‘Glenmor SDB’ fame. Dennis comes from Newmachar in Aberdeenshire.
For the first time the classical sections will be split between two adjudicators, our regular, Mr Cyril Pasby, and making his Musselburgh debut, Mr Peter Farnan, who is best known for his virtuoso Scottish compositions. About eighteen months ago, Peter gave invaluable assistance to the N.A.A.F.C. when a restructuring of the marking system for the Scottish ‘traditional’ classes was under review.
In answer to requests and recommendations, one new Classical section has been introduced viz. Under 13 Classical Duet.
As last year, could we once again make an impassioned plea for support in the Button Key (British Chromatic) and Fiddle Group classes. Both have great audience appeal – but both are crying out for more competitor support.
To wind up the proceedings, we have continued our policy of annually alternating between bands with young and not quite so young bandleaders, so it’s back to youth with Nicol McLaren and his ‘Glencraig SDB’.
If I may finish with a quote by one of our greatest supporters….”Be lookin’ for you”.
The 5th Shetland Accordion & Fiddle Festival
15th to 19th October, 1992
The organizing Committee’s anxieties over whether the loss……………
Introducing the Clubs
No 12 Galston
by Davy Ross
On the second Monday of October, 1969, the first meeting of the Glaston Club was held in the Black Bull Hotel, Galston. The guest artiste was Bert Shorthouse from Dunfermline and around 36 people attended plus 8 players. The original Committee was Billy Stewart, Bill Rodie and David Ross. Bill Rodie, due to working abroad, had to stand down and his place was taken by Derek Hamilton. Otherwise the same members still run the Club.
We had to move from the Black Bull after 8 years due to the Fire Regulations being enforced and restricting the numbers to 80 people, at the time we were averaging around 100, so we didn’t have a choice.
We moved to the ‘Parakeet’ in Hurlford, which had a function suite that could accommodate (at a squeeze) 200 people, and this gave us the opportunity in the mid-seventies to feature some of the big names like Dermot O’Brien and Tom Alexander. Also we could feature dance bands. We did have many enjoyable nights at the Parakeet, but due to managerial changes, we were informed that in future Mondays would be a dance night featuring local jazz musicians.
We then shifted out meeting place back to Galston to a lounge suite called ‘Wales Place’. The Club carried on in the same manner, but we didn’t feel that the atmosphere could be generated no matter how we tried or who we had as our guest. We did however give the decision to move there a fair try and although the management and the Club supporters stood by us, we had mixed feelings of the Club losing its popularity.
On being informed that the premises were ‘on the market’ we had to protect our interests, and after discussion with the Committee of the Barr Castle Social Club decided that Galston Accordion Club would be presented by the said Club. We have excellent facilities, can hold over 100 and have easy access. We don’t have a membership as such, but enjoy a regular support.
There are four Clubs in Ayrshire and we all visit each other and also have formed A.S.M.A. ‘Ayrshire Scottish Music Association’.
Over the 23 years we have been functioning, we have seen young players grow up, get married, and now their families are coming along.
We award a Shield each year to the most improved player and every year at Christmas the money drawn in at our December meeting raffle we donate to a local charity.
The general idea in our eyes of an Accordion Club is to promote the music and the instruments. We at Galston have managed to do that by having some fine guest artistes and also some enthusiastic players and supporters. We owe a big thanks to everybody who comes along and to be in a position to say that makes it all worthwhile.
Your Letters
After a rather heated discussion with a prominent musician, I find I must put pen to paper on the subject of fees for guest artistes. In the past year or two I have been quoted prices for both solo artistes and bands which were hair raising to say the least. They have on occasion caused discomfort and embarrassment on both sides, as we refuse and in fact, cannot afford to pay them.
My musician friend thinks fellow musicians should charge what they think they are worth, and his argument is that tradesmen charge similar fees. He also quoted changes in the lost of living, and in fact, that musicians sometimes spend thousands of pounds on their instruments. While there may be a case for full-time of professional musicians charging such fees, or for playing at dances etc., I cannot accept this argument as in my opinion it defeats the whole purpose of A&F Clubs. The purpose of Clubs is surely to get players together and to bring experienced musicians to play alongside beginners.
I must exclude some of out top musicians from this argument as several have opted for the “we will see what the crowd is like” option – this must suit everyone.
In some places however, I am sure that music takes second place to monetary gain.
Could the Association not give some guidelines to Clubs and musicians?
I await with interest the views of fellow Club Committee members and also musicians on the subject.
Dave Sutherland
Chairman Blairgowrie A&F Club
Afraid this is a free market, Dave. The Association cannot lay down guidelines for fees for guest artistes any more than they can decide what Clubs should charge at the door. - Ed
I am sure most musicians and enthusiasts alike would agree that one of the highlights in the year as far as the Scottish music is concerned is the Perth Festival, but unfortunately this year after attending I feel this letter is necessary.
During the Senior Accordion Pipe Section competition I was rather dismayed to discover that although the adjudicator was situated behind a screen, the competitor order of play programme was on full display on the table where the adjudicator was sitting.
At this point I would like to make it perfectly clear that this is NOT a criticism of the adjudicator personally. My reason for submitting this letter is not to question how this occurred, by why.
The argument on whether to have screens or not has most probably been exhausted over the years and I do not intend to delve into this subject at any great length. My main concern is for the competitors.
Many people, both spectators and competitors, found it rather discouraging that if the adjudicator so wished, at a glance, he could identify immediately the competitor on the stage. On would logically assumer the reason for screens would be the opposite reason – a fair, unbiased judgement on how the player performed on the day and not as it could have turned out, on how established the player is or an unfair knowledge of exactly what the player is capable of when under less pressure.
Surely even the most experienced adjudicator, battling to place equally capable players, would find it tempting to take into consideration previous knowledge or previous performances of players.
In conclusion, my main reason for writing to you on this subject is hopefully an explanation for the aforementioned situation or other points of view on the subject.
Suzanne Gray
Alloa
I write with regard to the Senior Pipe Section at the Perth Festival.
The point of having a screen in front of the adjudicator is to separate the judge from the competitator, hence making the entrant anonymous to the judge, but each entrant having a number. Surely, therefore, it was wrong of Mr Blue and his scribe Mrs Copeland, to have in front of them, an open programme having the names of each competitor, when in fact, they should only be known by their number. Several people noticed this and many commented – all unfavourably I may add. This included both entrants and spectators.
To comment openly on the tone of a box, because he liked it, was very unprofessional, indeed as not all entrants can afford the box of their, or the judges, choice. In fairness to all competitors, this should not come into the adjudicator’s judging at all. The accuracy of the playing on the day, the choice of tune, providing it is from the proper selection, is really what counts.
Name and address supplied.
This has been brought to the attention of the organizers – see Page 6 - Ed
Record Review
Repeat Prescription – Sandy Nixon SDB – GCD921
Moving Tradition – Ian Muir Sound – AYRC135
Take the Floor
5th Dec 92 – David Cunningham Jnr SDB
12th Dec 92 – Graham Geddes SDB
19th Dec 92 – Dennis Morrison and the Glenmor SDB
26th Dec 92 – Ian Muir SDB
2nd Jan 1993 – Robert Black and the ‘All Star’ SDB
CLUB DIARY
Aberdeen (Dee Motel) – 29th Dec 92 – Social Night with The Garioch Blend
Alnwick (Golden Fleece) – members only 9th Dec 92 – Christmas Party
Arbroath (Viewfield Hotel) - 6th Dec 92 – Club night
Armadale (Masonic Hall) –
Ayr (Gartferry Hotel) – 6th Dec 92 – Jimmy Lindsay Trio 20th Dec Dance to John Carmichael SDB
Balloch (St. Kessog’s Hall) –
Banchory (Burnett Arms Hotel) –
Banff & District (Knowes Hotel, Macduff) –
Beith & District (Hotel de Croft, Dalry) – 21st Dec 92 – Iain MacPhail SDB
Belford (Community Club) – 4th Dec 92 – Dance to Lothian SDB
Biggar (Municipal Hall) – 13th Dec 92 – Glencraig SDB
Blairgowrie (Moorfield Hotel) - 8th Dec 92 – Ian Robertson Band (Bristol)
Bridge of Allan (Walmer Hotel) -
Brigmill (Guardbridge Sports & Social Club)
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Urr Valley Hotel) – 15th Dec 92 – Blackthorn Dance Band 11th Dance to Craigowl SDB
Coalburn (Miners’ Welfare) - 17th Dec 92 – Deirdre Adamson
Crieff & District (Drummond Arms Hotel)
Dalriada (Argyll Arms Hotel, Lochgilphead)
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 2nd Dec 92 – Karen Leitch
Dunblane (Westlands Hotel) – 16th Dec 92 – Jim Cleland SDB
Dundee (Invercarse Hotel) – 3rd Dec 92 – Glencraig SDB
Dunfermline (Jubilee House) – 8th Dec 92 – James Coutts
Dunoon & Cowal (McColl’s Hotel) 11th/12th Dec 92 – John Renton SDB / Gary Blair
East Kilbride (Sweepers, Cambuslang) –
Ellon (Ladbroke Hotel) –
Ettrick & Yarrow (The Gordon Arms) - 16th Dec 92 – Club night
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) -
Forres (Brig Motel) – 9th Dec 92 – Paddy Neary
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel – Wooler) – 17th Dec 92 – Willie McGuire
Gretna (Halcrow Stadium) - 16th Dec 92 – Eric Goodfellow SDB
Highland (Drumossie Hotel) – 21st Dec 92 – Ronnie Shaw
Inveraray (Loch Fyne Hotel) - 1st Dec 92 – Ian Powrie
Isle of Skye -
Islesteps (Mabie House Hotel) –
Kelso (Ednam House Hotel) – 16th Dec 92 – The Shepherds
Kinlochshiel (Strathcarron Hotel) -
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 10th Dec 92 – Ballochmyle Band
Livingston (Golden Circle Hotel, Bathgate) 15th Dec 92 – Club Night
Lockerbie (Bluebell Hotel) -
Mauchline (The Jean Armour Function Suite)
M.A.F.I.A. (Masonic Hall, Milngavie) –
Montrose (Park Hotel) – 2nd Dec 92 – Deirdre Adamson
Newtongrange (Dean Tavern) –
North Cumbria (Golden Fleece, Ruleholme) (prev called Gretna Club) –
North East (Royal British Legion, Keith) – 1st Dec 92 – Lynn Gould SDB
Oban (Harbour Lights Restaurant) – 3rd Dec 92 – Michael Philip SDB
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Green Tree Hotel) –
Perth (Salutation Hotel) –
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 8th Dec 92 – Joe & Scott Gordon
Rothbury (Queen’s Head) -
Shetland (venue?) -
Stirling (Terraces Hotel) - 6th Dec 92 – Duncan Black SDB
Thornhill (?)
Thurso (Pentland Hotel) – 14th Dec 92 – Deirdre Adamson
Turriff (Royal Oak Hotel) –
Tynedale (Hexham Ex Service Club) –
Wick (McKay’s Hotel) –
Wooler ( ) -
THERE WERE CLUB REPORTS FROM :-
1. Alnwick
2. Arbroath
3. Ayr
4. Banff
5. Belford
6. Biggar
7. Brigmill
8. Castle Douglas
9. Coalburn
10. Dunblane
11. Dundee
12. Dunfermline
13. East Kilbride
14. Forfar
15. Glendale
16. Gretna
17. Highland
18. Kelso
19. Kinlochshiel
20. Livingston
21. Lockerbie
22. Mauchline
23. Newtongrange
24. North East
25. Oban
26. Renfrew
27. Rothbury
28. Stirling
29. Thurso
CLUB DIRECTORY AS AT SEPT 1991 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Sept 1976 – present)
3. Arbroath A&F Club (1991? – present)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
5. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Brigmill A&F Club (Oct 1990) Closed
14. Button Key A&F Club (
15. Castle Douglas A&F Club (c Sept 1980 – present)
16. Coalburn A&F Club (
17. Crieff A&F Club (cSept 1981)
18. Dalriada A&F Club (Feb 1981)
19. Derwentside A&F Club
20. Dingwall & District A&F Club (May 1979 – per first report)
21. Dunblane & District A&F Club (1971 – present)
22. Dundee & District A&F Club (1970? -
23. Dunfermline & District A&F Club (1974 – per first edition)
24. Dunoon & Cowal A&F Club (
25. East Kilbride A&F Club (Sept 1980)
26. Ellon A&F Club (
27. Etterick & Yarrow (Jan 1989 -
28. Fintry A&F Club (
29. Forfar A&F Club (
30. Forres A&F Club (Jan 1978)
31. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
32. Galashiels A&F Club (joined Sept 1982 - present)
33. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
34. Glendale Accordion Club (Jan 1973)
35. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
36. Highland A&F Club (Inverness)
37. Inveraray A&F Club (Oct 1991)
38. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
39. Isle of Skye A&F Club (
40. Kelso A&F Club (May 1976 – present)
41. Kintore A&F Club (
42. Langholm A&F Club (Oct 1967 - present)
43. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
44. Livingston A&F Club (Sept 1973 – present)
45. Lockerbie A&F Club (Nov 1973 - present)
46. M.A.F.I.A. (early)
47. Mauchline A&F Club (first mention 1986? - present)
48. Montrose A&F Club (joined Sept 1982 - present)
49. Mull A&F Club
50. Newtongrange A&F Club (joined Sept 1977 - present)
51. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
52. North East A&F Club aka Keith A&FC (Sept 1971 - present)
53. Oban A&F Club (Nov 1975 - present)
54. Orkney A&F Club (Mar 1978 - present)
55. Peebles A&F Club (26 Nov 1981 - present)
56. Perth & District A&F Club (Aug 1970 - present)
57. Premier A&F Club NI (April 1980)
58. Rothbury Accordion Club (1987??)
59. Shetland A&F Club (Sept 1978 - present)
60. Stirling A&F Club (Oct 1991 - )
61. Sutherland A&F Club (
62. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
63. Thurso A&F Club (cSept 1981 - present)
64. Turriff A&F Club (March 1982 - present)
65. Tynedale A&F Club (Nov 1980 - present)
66. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
67. Acharacle & District A&F Club (cMay 1988)
68. Bonchester Accordion Club (Closed?)
69. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
70. Buchan A&F Club
71. Callander A&F Club (
72. Campbeltown & District A&F Club (c Dec 1980)
73. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
74. Club Accord
75. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
76. Coupar Angus A&F Club (cSept 1978 - ?)
77. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
78. Denny & Dunipace A&F Club (Feb 1981)
79. Dornoch A&F Club (first mention in directory 1986)
80. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
81. Dunbar Cement Works A&F Club (Closed?)
82. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
83. Falkirk A&F Club (Sept 1978 - )
84. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
85. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
86. Kinlochsheil A&F Club (
87. Kirriemuir A&F Club (cSept 1981)
88. Monklands A&F Club (Nov 1978 – closed cApril 1983)
89. Morecambe A&F Club (joined Sept 1982)
90. Newcastleton Accordion Club
91. New Cumnock A&F Club (cMarch 1979)
92. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
93. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
94. Straiton Accordion Club (c1968 – closed March 1979)
95. Stranraer & District Accordion Club (1974 – per first edition)
96. Torthorwald A&F Club (near Dumfries)
97. Walmer (Bridge of Allan) A&F Club
98. Wellbank A&F Club
Advertising rates
Full Page - £92
Half Page - £46
Quarter Page - £23
