Box and Fiddle
Year 03 No 06
February 1980
Price 15p
8 pages
8 month subscription £2
Editor – Ian Smith, 50 Mount Vernon Road, Stranraer Tele 4098
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
Hello folks, pity about the weather at Musselburgh time, not that it did much to dampen the spirits of the day. I’m sure you all enjoyed yourselves before, during and afterwards. Now that its over, what have we to look forward to?
For starters we can listen in on Saturday evenings to Radio Scotland, and other evenings too. We have still a lot of Festivals coming up, the Mull Festival for example, then for those who can manage there’s a good one at Ardee, Southern Ireland, plus the rest of the season for Club nights.
Our Secretary informs me that the new coloured, enameled badges will be on hand shortly.
Next year could see the British National Accordion Competitions being held in a Southern Scotland seaside resort. At this competition there are usually about 600 accordionists taking part, from solo competition to orchestras, some competition! Plus an expected 2,000 accomplices.
Blizzards Sweep Scotland – but Festival went Ahead
by the Editor
Perseverance and dedication is the name of the game. Certainly, after many long hours of practicing, the mere fact that there were blizzards wasn’t going to deter these youngsters from turning up at Musselburgh and having a go.
Despite the dreadful conditions on the day, over 200 youngsters braved the elements to be at the 6th Annual Association Festival on Saturday, 2nd February.
Every single body that day had a story to tell about their journey. Dedication I place with the parents and friends for doing their best for their own and making sure they arrived in time. The Association wishes to express their appreciation to everyone who made it and hope that everyone got back home safely.
The adjudicators were Mickie Ainsworth (classical) and Jimmy Yeaman (fiddles). Sandy MacArthur and Jack Delaney judged the accordions. A special thanks to Jimmy who stood in at the last minute. They agreed that it had been a hard day, but very pleasant as they had heard some fantastic playing.
It is not the policy to single out anyone in particular, but in this case we must mention just a few who made an impact – Leslie Currie, who left Dingwall at 4am for Musselburgh and took home the Senior Fiddle Solo ; four accordionists names to conjure with Liam Currie (Milngavie), Ian Skinner (Blackridge West Lothian), Martin Dobbin (Oakley, Fife) and Neil Copland (Dundee). They played some memorable stuff.
Dundee Club did rather well and Ronnie Cooper of that Club had a smile on his face that got wider as the day wore on.
There was one other family, a trio of boys from Ayr, the Donald Brothers, who took home between them no less than nine awards.
Here are the results :-
Under 12 Trad Accordion Solo
(1) Ian Skinner (Blackridge)
(2) Dianne Armstrong (Armadale)
(3) Ewan Donald (Ayr)
12 and under 16 Trad Solo
(1) Liam Currie (Milngavie)
(2) Edward Galley (Forfar)
(3 eq) Yvonne Mathieson (Blackburn) & Colin Dewar (Kingskettle)
Senior Accordion Solo
(1) Neil Copland (Dundee)
(2) George Carmichael (Dundee)
(3) Graham Geddes (Newmacher)
Trios
(1) Graham Geddes (Newmacher)
(2 eq) Duncan Black (Stanley) & Maureen Rutherford (Keith)
Bands
(1) Robert Black (Stanley)
Classical
Under 12 Accordion Solo
(1) Ian Hutson (Dunbar)
(2) Ewan Donald (Ayr)
(3) Dianne Armstrong (Armadale)
Under 14 Accordion Solo
(1) John Donald (Ayr)
(2) James Grant (Eyemouth)
(3) Bobby Gavin (Whitburn)
Under 16 Accordion Solo
(1) Jim Sharp (Newton St Boswells)
(2) Gordon McPherson (Dundee)
(3) Norma Brodie (Whitburn)
Open Accordion Solo
(1) Martin Dobbin (Oakley)
(2) Gary McLauchlan (Sauchie)
(3) George Carmichael (Dundee)
Junior Duet
(1) Duncan Black & Douglas Davidson (Stanley)
(2) Hugh & John Donald (Ayr)
Under 16 Duet
(1) Norma Brodie & Bobby Gavin (Whitburn)
(2) Ian Skinner & Michael Cassally (West Calder)
(3) Hugh & John Donald (Ayr)
Open Duet
(1) Neil & Alan Copland (Dundee)
(2) Hugh & John Donald (Ayr)
(3) David Russell & Allan Black (Biggar)
Last, but not least, came the youngest competitor, six year old Colin Brown, Penicuik.
Fiddle
Junior Fiddle Solo
(1) Mark Winchester (Keith)
(2) David Morrice (Aberdeen)
(3) Gordon Hutchison (Bonnyrigg)
Senior Fiddle Solo
(1) Leslie Currie (Dingwall)
(2) Gillian Yellop (Haltwistle)
(3) Donald McAllister (Haddington)
Senior Fiddle – Slow Air
(1) Kathleen Smith (Banchory)
(2) Donald McAllister (Haddington)
(3) Leslie Currie (Dingwall)
The competition was compered by Alex Little, Dumfries, in his usual efficient manner and he was very ably assisted by his Committee, especially two unseen heroes who had the unenviable job of getting the competitors to their proper place and in order – thanks to Dougie Welsh, Bonchester Bridge and Alex Williamson, Dumfries.
Even before the competitions had finished there were people queuing up for the concert. One at the front of the queue said that last years concert was so entertaining he made sure that this year he was going to get a front seat.
The hall was filled to capacity and they got off to a great start with the Graham Geddes Trio, followed by the winners of the day, Kathleen Smith (fiddle), Duncan Black and David Davidson. Then the play-off for the Junior Championship. This was accordion playing at its best and the best was Liam Curie of Milngavie. Thunderous applause erupted as the results were announced. Liam was a very popular winner. He has tried hard over recent years.
A Trio of Neil and Alan Copland and Leslie Currie was very much appreciated, as was Leslie’s solo spot. Ian Skinner was next on and was followed by fiddler Jimmy Yeaman from Balloch. Jimmy went to an approved school near Dundee where he turned out to be one of the best fiddlers to come from that airt.
Alex Little made his usual thanking remarks to everyone concerned and invited everyone back next year.
Finally, the stramash at the end with Robert Black and an eight-piece band. This virile and lively group ended another great concert.
The day’s events ended later with a dance, which again was very well attended and the band was one of the best on the Scottish scene – the Sandy MacArthur Scottish Dance Band.
Sandy, who was one of the adjudicators, remarked that this was the hardest day’s work he had had in five years. But he enjoyed every minute as some of the competitors were world class and one or two were out of this world. This about sums up the competition.
The perseverance of all these youngsters and their determination to get to Musselburgh no matter how much snow there was. To their parents for giving them their chance. Finally, to all those who adjourned to the ceilidh, I wish I had been there. I heard it was quite something.
The Reel Radio
by Derek Hamilton
Well, the new series has started and it looks like shaping up into great programme.
Robbie Shepherd’s interview in Week 1 with Andrew Nairn, Secretary of the N.A.A.F.C., was very good indeed. Perhaps it didn’t go into the depth one would have liked, but then this is never possible in such a magazine programme. At least Andrew was asked for his ‘gripes’ and gave them, echoing, I’m sure, the thoughts of many ardent listeners of ‘Take the Floor’.
I didn’t wholly agree with Robbie’s review of Iain MacPhail’s new record ‘The Pride of Edinburgh’ but I’m glad he made his criticism. It shows at least that Robbie is being allowed to make fair comment, whether good or bad, about the records he reviews.
The Scottish Dance music session by Lindsay Ross (held over because of industrial action earlier in the series) was a real disappointment for me. The ‘velvet’ sound of the Lindsay Ross Band just wasn’t there. It’s quite some time since this band did their last broadcast and I’m afraid this one didn’t come off as well as I had hoped.
Praise must go however to two of the band personnel whose playing was excellent. Ron Gonella, who is a first-class solo fiddler, has never appealed to me as a band player. However, his contribution to the Lindsay Ross Band proved me wrong. His playing was immaculate.
Young Malcolm Ross too deserves a mention for his drumming. His crisp style appealed to me greatly.
Highspot of the broadcast was undoubtedly Lindsay’s own composition ‘Out at the Meadowbank Inn’. A very catchy two-step which will no doubt grow in popularity. It may even take over from ‘Donald Iain Rankine’ if played enough by other bands.
Week 2 of the series (Saturday, January 12th) saw the welcome return of John Ellis and his Highland Country Band. While I am not a real fan of the ‘Ranco’ accordion sound, I must say that John Ellis’s front line is one of the tidiest sounds around. One thing you can always depend on from this band is a great choice of tunes. There is always something new and different and they have the happy knack of ‘marrying’ tunes to each other. Not the best of recordings either, but then the live sessions never are.
The new series of band sessions started proper on Saturday, January 19th, with a studio session by John Huband and the Tayside Sound recorded at the BBC’s Aberdeen studio.
There’s no doubt that the studio gives a much better sound production than the live takes. John’s band got off to a wee bit of a shaky start, but soon settled down and gave a well balanced programme of good music.
I felt the planner at the Beeb might have done better. After all, it’s only three weeks since John did his first broadcast.
The sound quality was excellent but for the lead box being a bit ‘shrill’. At least everything was there. And the stereo image was better than it’s been for some time. They had also managed to get a bit of echo to make the sound more alive.
The band suffers a little from having two leaders – John himself on lead accordion and Angus Cameron on fiddle. Being one of the top fiddlers on the scene today, Angus Cameron’s playing is first-class, but I just felt all the way through that he was ‘edging’ just a little bit.
I was most interested to hear Bill Black’s comments re the difference in sound achieved on record and as recorded by the BBC. There is no doubt in my mind that the bandleader himself should have a say in the balance of the band. I am certain this would eventually lead to better broadcasts by all bands appearing on ‘Take the Floor’.
I say ‘eventually’ because there are problems attached to this. No one is ever satisfied when they hear their own work immediately after it is taped and as anyone who has heard their work will know, it tends to get worse the more you hear it!
Apart from that leading to unnecessary criticism of the band leader’s own performance, there’s also the difficulty of the ‘untrained’ ear judging a sound played back through what can only be described as ‘highly critical’ equipment. The amplification and speakers used in recording studio control rooms never produce the sound you would hear on domestic equipment.
And there’s the playback levels to be overcome. This is notoriously high in control rooms. It has to be to allow the sound engineer o make the decision he has to make about the recording he is making.
Then there is the terminology barrier. Musicians, particularly semi-professionals, talk a different language from the recording engineer. It is often very difficult to describe what is actually wrong with the recording in words which can be translated into movements of the level, equalization, pan, or other controls of the mixing desk.
Once you’ve done this a few times it comes more easily but it does take time.
I strongly believe that the real answer lies on the other side of the fence. A recording engineer who is actually knowledgeable about the music he is recording is the key. This is most difficult to achieve as the BBC employees so many engineers and the producer may work with up to say 15 or so different lads. The costs associated with having specialists are just not on, but, nevertheless, the ideal would be to have a specialist in Scottish Dance Music.
I have used professional recording equipment on many occasions and was asked at one time to produce a record for the local youth brass band. Needless to say, I have only passing interest in brass bands, but the challenge was too great to opt out.
Having done some test recordings at the band’s rehearsals I played them back to one of their prominent members. His immediate reaction was that it sounded nothing like the band! I had been very pleased with the result.
Only after brainwashing myself with LPs of the top brass bands for six weeks was I able to produce a sound which pleased the band members.
Now, a couple of years later, I am sure I would have difficulty again, purely because I’m not really interested in that type of music.
I believe this is the real problem at the BBC.
Added to that there are other reasons, of course, that the bands on Scottish Dance Music don’t get the best sound possible. Not least of these is the fact that the recording engineer and, for that matter, the producer, tends to think of it as a once only affair. The record producer on the other hand has to acknowledge that his end product will be played and played and, hopefully, played again.
Another factor, which I know to be a real one, is the quality of the instruments used by players.
Over the years accordions have improved dramatically and they, at least on the broadcasting scene, come in for lesser criticism. However, the same is nor true of pianos, basses and drums.
Very often on the ‘out and about’ programmes the piano in the hall where the broadcast is recorded is of a less than acceptable standard.
Drums, too, vary in quality of sound produced. And, let’s face it, there’s only so much that a good recording engineer can do. A good metal shell snare drum set up properly can give far better sound results than an old battered (however faithful) wooden drum. Hi-hats too are a problem. The engineer, through the ability of the mixing desk, can extract only frequencies necessary to give that clean, crisp hi-hat off-beat so popular nowadays. But even the widest of equalization control has difficulty if the cymbals only produce a dull ‘clank’ in the first place!
How many musicians have heard their instruments from out front anyway? The sound is totally different there from that heard over the top of the thing at the playing position.
I know Chris Worrall gets a lot of criticism for the quality of recordings, but perhaps he would be justified in leveling some back at the musicians themselves.
Bill Black – you’ve started something now!!
Bands coming up with sessions are Iain MacPhail, Kenny Thomson, his first with Ian Muir taking over the lead from Ronnie Easton, and Bill Douglas who appears for the first time on February 16th.
Although they’ve made at least five LPs they’ve not had the chance till now to do a spot for the BBC.
Recorded in Aberdeen, the band features Bill on fiddle with Tommy Newcomen on lead box, Bill Morgan on bass and David Duncan on drums. Angela Newcomen, married to Tommy in October last year, is on piano and Hamilton Scott, who used to play with the Martin Hayes Broadcasting Band, is on second box. Gary Mair, regular second box player with the band, was studying hard for exams when the broadcast was recorded in December.
Following the comments by Andrew Nairn and Bill Black on what I call ‘rent-a-band’, this broadcast will no doubt please them and many more besides.
Other bands coming up are Lindsay Ross, the Lothian and Robert Whitehead.
I must say I did enjoy Bill black’s first broadcast on January 26th. I wouldn’t over-enthuse about it, mind you. While the sound was good it wasn’t highly exciting. Making up for this were some of the tunes Bill chose to play. He made a grand job of some heavy stuff.
I think he must eat his words a bit with regard to the sound. I thought the BBC did a very good job of this one. Perhaps a little short of fiddle and piano, but that’s just a matter of taste.
In Robbie’s section the interview with James Hunter was most enjoyable. I thought Robbie might have delved into Mr Hunter’s days as producer of Scottish Dance Music, but that was not to be. Perhaps this is something to be borne in mind for some future date.
Well, that’s been my listening this month. It certainly prompted me to write plenty. I hope you wrote to the BBC with your views.
Happy listening till next month.
P.S. – My laugh of the month was the woman on Gerry MacKenzie’s Tartan Terror Show who guessed that the record of Arthur Spink was Jim Johnstone and his band. Oh well – keep taking the tartan tablets hen!
Record Review
by Derek Hamilton
The Pride of Edinburgh – Iain MacPhail and his Band – Emerald Gem GES.
The Whitehead Brothers – Robert & Jon Whitehead – Artisan KART 301 (the Artisan label was created by Andrew Rankine)
Scottish Accordion & Fiddle Jamboree – NAAFC’s Musselburgh Festival – Emerald Gem GES 1209
Letters to the Editor
Sir – Over the past four years I have presented competitors for the Scottish Traditional Junior sections at various accordion festivals.
I am dismayed at the current trend towards feelingless, mechanical playing which, despite being breathtaking at times, does not depict any characteristics of Traditional Scottish music.
The point I would like to make is, that tunes are now deliberately being written by certain individuals which contain complexities solely for the purposes of winning or gaining advantage in competitions. This must surely be unfair. After all, it is the competitors’ ability which, to a large extent, is being judged, not the tune.
To illustrate the point : a tune which is introduced at an event via the competitor, takes approximately a year to filter through to the remaining close competitors. By this time another manufactured ‘trick’ tune has appeared and so the ‘followers’ who, incidentally, are quite capable of playing these tunes, are once again one step behind the ‘leaders’.
This, to my mind, has only one effect – to dishearten and thus destroy the interest in Scottish Traditional music we are all striving to promote.
My personal opinion, which I put forward as constructive criticism, is that tunes be limited to published pieces only. This would then stimulate the individual’s musical interpretation and above all, restore some feeling of music which appears to be suffering from the ‘robot’ approach.
Perth Accordion Festival has recognised the importance of encouraging new compositions and rightly provides a separate section for these.
Finally, it is the adjudicators at these competitions who hold the key to the future of our traditional music. They alone can encourage the return of colour to the music by refusing to be blinded by flashing fingering of what is just another tune.
Bert Pozzi, 29 Culean Crescent, Newliston, Kirkcaldy
BBC Take the Floor
Starting on Saturday 23rd February, in addition to the ‘goodies’ on offer, there will be a ‘phone-in’. This is to let the listeners have their on-the-spot chance to air their views, ask questions or start a discussion, etc. In the chair that night will be Robert Whitehead, Alnwick.
Here are a few more dates for you diary :-
These are dance and live shows :
March 2nd, a Wednesday, in the Victoria Hall, Selkirk, with Ian Holmes and Bill Back.
March 13th, a Thursday, Airport Hotel, Pontielan, Newcastle with Robert Whitehead and Jim MacLeod.
March 25th, a Tuesday, in the Devondale Hotel, Tillicoutry with Rob Gordon and Bobby Crowe
And if the world doesn’t end it’s hoped to have ‘Take the Floor’ from the Stranraer Club in May.
Radio Forth
Every Friday night at 8.30pm Robin Brock is doing his ‘Robin’s Round-up’. We would like to thank Robin for his comments on forthcoming events at the Musselburgh Festival. Robin seems to be quite something, has been around and played with most of the top names, like Jimmy Shand. So he knows what he’s talking about.
Yehudi Strikes Again
by Yehudi McEwan (i.e. Jimmy Yeaman)
People ask “Where is Fintry?” There is no such place! Like the mythical Brigadoon it appears out of the mist at 8 o’clock on the fourth Monday of each month to disappear again on the stroke of midnight as quickly as a bottle of whisky within gargling distance of its own Ceilidh Band.
For their opening night on January 28th the reformed Club chose as their guest artistes fiddler Jimmy Yeaman – the poor man’s Ron Gonella (he is half the price, twice as loud and can duck and ruin faster when the situation begins to cut up rough). He was billed as a Trio but turned up with four players, which proves he can’t even count. Backing him were accordionist Bob Lillie, pianist Rae Hislop and drummer Hugh Ferguson.
Fully recovered
Their support was appreciated, especially on their way out at the end of the night. Bob was fully recovered form his recent illness and is leading a life of virtue. He no longer gambles, drinks or smokes, and has even started to make his own frocks. Electric pianist Rae played without legs. She was also pretty legless herself at the finish as someone had slipped her a cup of tea by mistake. She was however able to drive the get-away car which is her prime function in the group. It was noticed that Rae played only on the black notes all night. This was token of respect as her pet budgie had died that day.
Drummer Hugh Ferguson was in top form. Big Shuggie is a bouncer at the Mothercare Shop during the day and at night, in the dark, it is rumoured that he is a ‘Hit’ man for the Brownies.
Fiddler Jimmy informed the Committee that he didn’t mind people getting up and walking out in the middle of the act. But what he didn’t like was people getting up in the of the act and walking towards him. That’s when the panic sets in and could even be the start of World War Three.
Ninety percent of the audience at the Fintry Inn was made up of the guest artistes relatives. They were there because each had been promised an apple and an orange and a balloon on the end of a stick. The other ten were professional musicians who wanted to ‘get away’ from their work for a while.
Amplification, make up and dresses were supplied by baby face killer Alec Fitzsimmons. Alec was out of jail on the pretence that he was to marry his psychiatrist which confirms the belief that he is a bit kinky. He was arrested for attempting to murder his mother-in-law. The judge, an anti-feminist, admonished him and said he should get a second chance.
Real musicians
Local musicians, who completely outshone the guest artistes were accordionists Alec Fitzsimmons, Donald Burns, Alf McConnachie, Wilson Rough, Graham Binnie, Charlotte Gibb, Kirsty Bissett and Sandy Kilpatrick. Morag McAskill played the piano and Jimmy McFarlane rattled his bones. The last-named brought along his father, Sam, as it was his 80th birthday. What a rotten birthday present!
The newly formed Committee consists of Chairman and compere Frank Farquharson ; Vice Chairman Andrew Morrison ; Treasurer Sandy Shearlaw ; Mary Bruce and Margaret Gibb. They took great pains to let the audience know that future guest artistes would be real musicians and not to be frightened off by tonight’s lunatics.
Other Club Secretaries please note : Don’t bother trying to book Jimmy Yeaman (Alexandria 52115), he is fed up with everyone shouting at him and is packing it all in. At the moment he is taking religious orders and expects to join the priesthood by Hogmanay this year. Failing that he will be committed to a silent order of nuns at a convent over the wall from Ballantines Distillery, Dumbarton.
CLUB DIARY
Aberdeen (Queen’s Hotel) – 26th Feb 80 Black Family, 25th Mar Currie Brothers
Alnwick (Nag’s Head) – members only
Balloch (Loch Lomond Hotel) – 17th Feb 80 Archie Duncan
Banchory (Burnett Arms Hotel) – 26th Feb Bill Brian, 26th Mar Black Family
Banff (Royal Oak Hotel) – 28th Feb 80 Elgin S&R Society
Beith (Anderson Hotel) – 17th March 80 Black Family
Biggar (Clydesdale Hotel) – 10th March 80 Tommy Pringle Trio
Buchan (Buchaness Hotel) –
Coupar Angus (Royal Hotel)
Cumbria (Huntsman Inn – Penton) – 19th Mar 80 Currie Brothers
Cumnock (Tup Inn) –
Derwentside (Royal British Legion, Consett) closed till March 80
Dumfries (Oughton’s)
Dunblane (Hydro) –
Dundee (Royal Central Hotel) –
Dunfermline (Kinema Ballroom) – 4th Mar 80 Wallochmore Ceilidh Band
Falkirk (Park Hotel) –
Forres (Brig Motel) –
Galston (Parakeet, Hurlford)
Glendale (Black Bull Hotel – Wooler) – members only
Highland/ Inverness (Drumossie Hotel)
Kelso (Queen’s Head Hotel) – 27th Feb 80 Roger Dobson Band
Kintore (Crown Hotel) –
Langholm (Crown Hotel)
Livingston (Cameron Ironworks Social Club)
Lockerbie (Queen’s Hotel) – 26th Feb 80 Bob Christie & Lex Keith
M.A.F.I.A. (Black Bull, Milngavie) –
Monklands (Georgian Hotel, Coatbridge) – 3rd Mar 80
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) – 25th Feb 80 Currie Brothers
Newton St Boswells (Railway Hotel)
North East (Seafield Arms, Keith) – 4th Mar 80 Davie Stewart
Oban (Park Hotel) –
Perth (Salutation Hotel) – 18th Mar 80 Angus Fitchet & Frank Thompson
Renfrew (Glynhill Hotel)
Rothbury (Queen’s Head Hotel)
Shetland (venue?)
Stranraer (Buck’s Head Hotel) – 3rd Mar 80 Dixon Trio
Torthorwald (Torr House Hotel)
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Balloch
3. Banchory
4. Beith
5. Biggar
6. Buchan
7. Cumnock
8. Dunblane & District
9. Dunfermline & District
10. Falkirk
11. Forres
12. Galston
13. Glendale-Wooller
14. Highland
15. Kintore
16. Lockerbie
17. M.A.F.I.A.
18. Newtongrange
19. North Cumbria
20. North East
21. Oban
22. Perth
23. Stranraer
24. Wick
CLUB DIRECTORY (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. Balloch A&F Club (Sept 1971)
4. Banchory A&F Club (1978)
5. Banff & District A&F Club (Oct 1973)
6. Beith & District A&F Club (Sept 1971)
7. Biggar A&F Club (Oct 1974)
8. Buchan A&F Club
9. Coquetdale
10. Coupar Angus A&F Club
11. Cumnock A&F Club
12. Derwentside A&F Club
13. Dingwall & District (Aug 1979)
14. Dumfries Accordion Club (Oughton’s) (April 1965)
15. Dunblane & District A&F Club (1971)
16. Dundee & District A&F Club
17. Dunfermline & District A&F Club
18. Falkirk A&F Club
19. Forres A&F Club (Jan 1978)
20. Galston A&F Club
21. Glendale Accordion Club (Jan 1973)
22. Greenhead Accordion Club (Hexham)
23. Highland A&F Club (Inverness)
24. Kelso A&F Club (May 1976)
25. Kintore A&F Club
26. Langholm A&F Club (Oct 1967)
27. Livingston A&F Club (Sept 1973)
28. Lockerbie A&F Club (Nov 1973)
29. M.A.F.I.A.
30. Monklands A&F Club
31. Newcastleton Accordion Club
32. New Cumnock A&F Club
33. Newtongrange A&F Club (Oct 1977)
34. Newton St Boswells Accordion Club
35. North Cumbria
36. North East A&F Club aka Keith A&FC (Sept 1971)
37. Oban A&F Club (Nov 1975)
38. Ormiston Miners’ Welfare Society A&F Club
39. Perth & District A&F Club (Aug 1970)
40. Rothbury Accordion Club (Feb 1974)
41. Shetland A&F Club (Sept 1978)
42. Stranraer & District Accordion Club
43. Torthorwald A&F Club (near Dumfries)
44. Wick A&F Club (Oct 1975)
Not on official list (closed, did not renew membership or omitted in error?)
45. Bonchester Accordion Club (Closed?)
46. Club Accord
47. Dunbar Cement Works A&F Club (Closed?)
48. Fintry A&F Club
49. Gretna (June 1966)
50. Renfrew A&F Club
51. Straiton Accordion Club (opened? 3rd club to open – closed March 1979)
52. Wellbank A&F Club
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
Hello folks, pity about the weather at Musselburgh time, not that it did much to dampen the spirits of the day. I’m sure you all enjoyed yourselves before, during and afterwards. Now that its over, what have we to look forward to?
For starters we can listen in on Saturday evenings to Radio Scotland, and other evenings too. We have still a lot of Festivals coming up, the Mull Festival for example, then for those who can manage there’s a good one at Ardee, Southern Ireland, plus the rest of the season for Club nights.
Our Secretary informs me that the new coloured, enameled badges will be on hand shortly.
Next year could see the British National Accordion Competitions being held in a Southern Scotland seaside resort. At this competition there are usually about 600 accordionists taking part, from solo competition to orchestras, some competition! Plus an expected 2,000 accomplices.
Blizzards Sweep Scotland – but Festival went Ahead
by the Editor
Perseverance and dedication is the name of the game. Certainly, after many long hours of practicing, the mere fact that there were blizzards wasn’t going to deter these youngsters from turning up at Musselburgh and having a go.
Despite the dreadful conditions on the day, over 200 youngsters braved the elements to be at the 6th Annual Association Festival on Saturday, 2nd February.
Every single body that day had a story to tell about their journey. Dedication I place with the parents and friends for doing their best for their own and making sure they arrived in time. The Association wishes to express their appreciation to everyone who made it and hope that everyone got back home safely.
The adjudicators were Mickie Ainsworth (classical) and Jimmy Yeaman (fiddles). Sandy MacArthur and Jack Delaney judged the accordions. A special thanks to Jimmy who stood in at the last minute. They agreed that it had been a hard day, but very pleasant as they had heard some fantastic playing.
It is not the policy to single out anyone in particular, but in this case we must mention just a few who made an impact – Leslie Currie, who left Dingwall at 4am for Musselburgh and took home the Senior Fiddle Solo ; four accordionists names to conjure with Liam Currie (Milngavie), Ian Skinner (Blackridge West Lothian), Martin Dobbin (Oakley, Fife) and Neil Copland (Dundee). They played some memorable stuff.
Dundee Club did rather well and Ronnie Cooper of that Club had a smile on his face that got wider as the day wore on.
There was one other family, a trio of boys from Ayr, the Donald Brothers, who took home between them no less than nine awards.
Here are the results :-
Under 12 Trad Accordion Solo
(1) Ian Skinner (Blackridge)
(2) Dianne Armstrong (Armadale)
(3) Ewan Donald (Ayr)
12 and under 16 Trad Solo
(1) Liam Currie (Milngavie)
(2) Edward Galley (Forfar)
(3 eq) Yvonne Mathieson (Blackburn) & Colin Dewar (Kingskettle)
Senior Accordion Solo
(1) Neil Copland (Dundee)
(2) George Carmichael (Dundee)
(3) Graham Geddes (Newmacher)
Trios
(1) Graham Geddes (Newmacher)
(2 eq) Duncan Black (Stanley) & Maureen Rutherford (Keith)
Bands
(1) Robert Black (Stanley)
Classical
Under 12 Accordion Solo
(1) Ian Hutson (Dunbar)
(2) Ewan Donald (Ayr)
(3) Dianne Armstrong (Armadale)
Under 14 Accordion Solo
(1) John Donald (Ayr)
(2) James Grant (Eyemouth)
(3) Bobby Gavin (Whitburn)
Under 16 Accordion Solo
(1) Jim Sharp (Newton St Boswells)
(2) Gordon McPherson (Dundee)
(3) Norma Brodie (Whitburn)
Open Accordion Solo
(1) Martin Dobbin (Oakley)
(2) Gary McLauchlan (Sauchie)
(3) George Carmichael (Dundee)
Junior Duet
(1) Duncan Black & Douglas Davidson (Stanley)
(2) Hugh & John Donald (Ayr)
Under 16 Duet
(1) Norma Brodie & Bobby Gavin (Whitburn)
(2) Ian Skinner & Michael Cassally (West Calder)
(3) Hugh & John Donald (Ayr)
Open Duet
(1) Neil & Alan Copland (Dundee)
(2) Hugh & John Donald (Ayr)
(3) David Russell & Allan Black (Biggar)
Last, but not least, came the youngest competitor, six year old Colin Brown, Penicuik.
Fiddle
Junior Fiddle Solo
(1) Mark Winchester (Keith)
(2) David Morrice (Aberdeen)
(3) Gordon Hutchison (Bonnyrigg)
Senior Fiddle Solo
(1) Leslie Currie (Dingwall)
(2) Gillian Yellop (Haltwistle)
(3) Donald McAllister (Haddington)
Senior Fiddle – Slow Air
(1) Kathleen Smith (Banchory)
(2) Donald McAllister (Haddington)
(3) Leslie Currie (Dingwall)
The competition was compered by Alex Little, Dumfries, in his usual efficient manner and he was very ably assisted by his Committee, especially two unseen heroes who had the unenviable job of getting the competitors to their proper place and in order – thanks to Dougie Welsh, Bonchester Bridge and Alex Williamson, Dumfries.
Even before the competitions had finished there were people queuing up for the concert. One at the front of the queue said that last years concert was so entertaining he made sure that this year he was going to get a front seat.
The hall was filled to capacity and they got off to a great start with the Graham Geddes Trio, followed by the winners of the day, Kathleen Smith (fiddle), Duncan Black and David Davidson. Then the play-off for the Junior Championship. This was accordion playing at its best and the best was Liam Curie of Milngavie. Thunderous applause erupted as the results were announced. Liam was a very popular winner. He has tried hard over recent years.
A Trio of Neil and Alan Copland and Leslie Currie was very much appreciated, as was Leslie’s solo spot. Ian Skinner was next on and was followed by fiddler Jimmy Yeaman from Balloch. Jimmy went to an approved school near Dundee where he turned out to be one of the best fiddlers to come from that airt.
Alex Little made his usual thanking remarks to everyone concerned and invited everyone back next year.
Finally, the stramash at the end with Robert Black and an eight-piece band. This virile and lively group ended another great concert.
The day’s events ended later with a dance, which again was very well attended and the band was one of the best on the Scottish scene – the Sandy MacArthur Scottish Dance Band.
Sandy, who was one of the adjudicators, remarked that this was the hardest day’s work he had had in five years. But he enjoyed every minute as some of the competitors were world class and one or two were out of this world. This about sums up the competition.
The perseverance of all these youngsters and their determination to get to Musselburgh no matter how much snow there was. To their parents for giving them their chance. Finally, to all those who adjourned to the ceilidh, I wish I had been there. I heard it was quite something.
The Reel Radio
by Derek Hamilton
Well, the new series has started and it looks like shaping up into great programme.
Robbie Shepherd’s interview in Week 1 with Andrew Nairn, Secretary of the N.A.A.F.C., was very good indeed. Perhaps it didn’t go into the depth one would have liked, but then this is never possible in such a magazine programme. At least Andrew was asked for his ‘gripes’ and gave them, echoing, I’m sure, the thoughts of many ardent listeners of ‘Take the Floor’.
I didn’t wholly agree with Robbie’s review of Iain MacPhail’s new record ‘The Pride of Edinburgh’ but I’m glad he made his criticism. It shows at least that Robbie is being allowed to make fair comment, whether good or bad, about the records he reviews.
The Scottish Dance music session by Lindsay Ross (held over because of industrial action earlier in the series) was a real disappointment for me. The ‘velvet’ sound of the Lindsay Ross Band just wasn’t there. It’s quite some time since this band did their last broadcast and I’m afraid this one didn’t come off as well as I had hoped.
Praise must go however to two of the band personnel whose playing was excellent. Ron Gonella, who is a first-class solo fiddler, has never appealed to me as a band player. However, his contribution to the Lindsay Ross Band proved me wrong. His playing was immaculate.
Young Malcolm Ross too deserves a mention for his drumming. His crisp style appealed to me greatly.
Highspot of the broadcast was undoubtedly Lindsay’s own composition ‘Out at the Meadowbank Inn’. A very catchy two-step which will no doubt grow in popularity. It may even take over from ‘Donald Iain Rankine’ if played enough by other bands.
Week 2 of the series (Saturday, January 12th) saw the welcome return of John Ellis and his Highland Country Band. While I am not a real fan of the ‘Ranco’ accordion sound, I must say that John Ellis’s front line is one of the tidiest sounds around. One thing you can always depend on from this band is a great choice of tunes. There is always something new and different and they have the happy knack of ‘marrying’ tunes to each other. Not the best of recordings either, but then the live sessions never are.
The new series of band sessions started proper on Saturday, January 19th, with a studio session by John Huband and the Tayside Sound recorded at the BBC’s Aberdeen studio.
There’s no doubt that the studio gives a much better sound production than the live takes. John’s band got off to a wee bit of a shaky start, but soon settled down and gave a well balanced programme of good music.
I felt the planner at the Beeb might have done better. After all, it’s only three weeks since John did his first broadcast.
The sound quality was excellent but for the lead box being a bit ‘shrill’. At least everything was there. And the stereo image was better than it’s been for some time. They had also managed to get a bit of echo to make the sound more alive.
The band suffers a little from having two leaders – John himself on lead accordion and Angus Cameron on fiddle. Being one of the top fiddlers on the scene today, Angus Cameron’s playing is first-class, but I just felt all the way through that he was ‘edging’ just a little bit.
I was most interested to hear Bill Black’s comments re the difference in sound achieved on record and as recorded by the BBC. There is no doubt in my mind that the bandleader himself should have a say in the balance of the band. I am certain this would eventually lead to better broadcasts by all bands appearing on ‘Take the Floor’.
I say ‘eventually’ because there are problems attached to this. No one is ever satisfied when they hear their own work immediately after it is taped and as anyone who has heard their work will know, it tends to get worse the more you hear it!
Apart from that leading to unnecessary criticism of the band leader’s own performance, there’s also the difficulty of the ‘untrained’ ear judging a sound played back through what can only be described as ‘highly critical’ equipment. The amplification and speakers used in recording studio control rooms never produce the sound you would hear on domestic equipment.
And there’s the playback levels to be overcome. This is notoriously high in control rooms. It has to be to allow the sound engineer o make the decision he has to make about the recording he is making.
Then there is the terminology barrier. Musicians, particularly semi-professionals, talk a different language from the recording engineer. It is often very difficult to describe what is actually wrong with the recording in words which can be translated into movements of the level, equalization, pan, or other controls of the mixing desk.
Once you’ve done this a few times it comes more easily but it does take time.
I strongly believe that the real answer lies on the other side of the fence. A recording engineer who is actually knowledgeable about the music he is recording is the key. This is most difficult to achieve as the BBC employees so many engineers and the producer may work with up to say 15 or so different lads. The costs associated with having specialists are just not on, but, nevertheless, the ideal would be to have a specialist in Scottish Dance Music.
I have used professional recording equipment on many occasions and was asked at one time to produce a record for the local youth brass band. Needless to say, I have only passing interest in brass bands, but the challenge was too great to opt out.
Having done some test recordings at the band’s rehearsals I played them back to one of their prominent members. His immediate reaction was that it sounded nothing like the band! I had been very pleased with the result.
Only after brainwashing myself with LPs of the top brass bands for six weeks was I able to produce a sound which pleased the band members.
Now, a couple of years later, I am sure I would have difficulty again, purely because I’m not really interested in that type of music.
I believe this is the real problem at the BBC.
Added to that there are other reasons, of course, that the bands on Scottish Dance Music don’t get the best sound possible. Not least of these is the fact that the recording engineer and, for that matter, the producer, tends to think of it as a once only affair. The record producer on the other hand has to acknowledge that his end product will be played and played and, hopefully, played again.
Another factor, which I know to be a real one, is the quality of the instruments used by players.
Over the years accordions have improved dramatically and they, at least on the broadcasting scene, come in for lesser criticism. However, the same is nor true of pianos, basses and drums.
Very often on the ‘out and about’ programmes the piano in the hall where the broadcast is recorded is of a less than acceptable standard.
Drums, too, vary in quality of sound produced. And, let’s face it, there’s only so much that a good recording engineer can do. A good metal shell snare drum set up properly can give far better sound results than an old battered (however faithful) wooden drum. Hi-hats too are a problem. The engineer, through the ability of the mixing desk, can extract only frequencies necessary to give that clean, crisp hi-hat off-beat so popular nowadays. But even the widest of equalization control has difficulty if the cymbals only produce a dull ‘clank’ in the first place!
How many musicians have heard their instruments from out front anyway? The sound is totally different there from that heard over the top of the thing at the playing position.
I know Chris Worrall gets a lot of criticism for the quality of recordings, but perhaps he would be justified in leveling some back at the musicians themselves.
Bill Black – you’ve started something now!!
Bands coming up with sessions are Iain MacPhail, Kenny Thomson, his first with Ian Muir taking over the lead from Ronnie Easton, and Bill Douglas who appears for the first time on February 16th.
Although they’ve made at least five LPs they’ve not had the chance till now to do a spot for the BBC.
Recorded in Aberdeen, the band features Bill on fiddle with Tommy Newcomen on lead box, Bill Morgan on bass and David Duncan on drums. Angela Newcomen, married to Tommy in October last year, is on piano and Hamilton Scott, who used to play with the Martin Hayes Broadcasting Band, is on second box. Gary Mair, regular second box player with the band, was studying hard for exams when the broadcast was recorded in December.
Following the comments by Andrew Nairn and Bill Black on what I call ‘rent-a-band’, this broadcast will no doubt please them and many more besides.
Other bands coming up are Lindsay Ross, the Lothian and Robert Whitehead.
I must say I did enjoy Bill black’s first broadcast on January 26th. I wouldn’t over-enthuse about it, mind you. While the sound was good it wasn’t highly exciting. Making up for this were some of the tunes Bill chose to play. He made a grand job of some heavy stuff.
I think he must eat his words a bit with regard to the sound. I thought the BBC did a very good job of this one. Perhaps a little short of fiddle and piano, but that’s just a matter of taste.
In Robbie’s section the interview with James Hunter was most enjoyable. I thought Robbie might have delved into Mr Hunter’s days as producer of Scottish Dance Music, but that was not to be. Perhaps this is something to be borne in mind for some future date.
Well, that’s been my listening this month. It certainly prompted me to write plenty. I hope you wrote to the BBC with your views.
Happy listening till next month.
P.S. – My laugh of the month was the woman on Gerry MacKenzie’s Tartan Terror Show who guessed that the record of Arthur Spink was Jim Johnstone and his band. Oh well – keep taking the tartan tablets hen!
Record Review
by Derek Hamilton
The Pride of Edinburgh – Iain MacPhail and his Band – Emerald Gem GES.
The Whitehead Brothers – Robert & Jon Whitehead – Artisan KART 301 (the Artisan label was created by Andrew Rankine)
Scottish Accordion & Fiddle Jamboree – NAAFC’s Musselburgh Festival – Emerald Gem GES 1209
Letters to the Editor
Sir – Over the past four years I have presented competitors for the Scottish Traditional Junior sections at various accordion festivals.
I am dismayed at the current trend towards feelingless, mechanical playing which, despite being breathtaking at times, does not depict any characteristics of Traditional Scottish music.
The point I would like to make is, that tunes are now deliberately being written by certain individuals which contain complexities solely for the purposes of winning or gaining advantage in competitions. This must surely be unfair. After all, it is the competitors’ ability which, to a large extent, is being judged, not the tune.
To illustrate the point : a tune which is introduced at an event via the competitor, takes approximately a year to filter through to the remaining close competitors. By this time another manufactured ‘trick’ tune has appeared and so the ‘followers’ who, incidentally, are quite capable of playing these tunes, are once again one step behind the ‘leaders’.
This, to my mind, has only one effect – to dishearten and thus destroy the interest in Scottish Traditional music we are all striving to promote.
My personal opinion, which I put forward as constructive criticism, is that tunes be limited to published pieces only. This would then stimulate the individual’s musical interpretation and above all, restore some feeling of music which appears to be suffering from the ‘robot’ approach.
Perth Accordion Festival has recognised the importance of encouraging new compositions and rightly provides a separate section for these.
Finally, it is the adjudicators at these competitions who hold the key to the future of our traditional music. They alone can encourage the return of colour to the music by refusing to be blinded by flashing fingering of what is just another tune.
Bert Pozzi, 29 Culean Crescent, Newliston, Kirkcaldy
BBC Take the Floor
Starting on Saturday 23rd February, in addition to the ‘goodies’ on offer, there will be a ‘phone-in’. This is to let the listeners have their on-the-spot chance to air their views, ask questions or start a discussion, etc. In the chair that night will be Robert Whitehead, Alnwick.
Here are a few more dates for you diary :-
These are dance and live shows :
March 2nd, a Wednesday, in the Victoria Hall, Selkirk, with Ian Holmes and Bill Back.
March 13th, a Thursday, Airport Hotel, Pontielan, Newcastle with Robert Whitehead and Jim MacLeod.
March 25th, a Tuesday, in the Devondale Hotel, Tillicoutry with Rob Gordon and Bobby Crowe
And if the world doesn’t end it’s hoped to have ‘Take the Floor’ from the Stranraer Club in May.
Radio Forth
Every Friday night at 8.30pm Robin Brock is doing his ‘Robin’s Round-up’. We would like to thank Robin for his comments on forthcoming events at the Musselburgh Festival. Robin seems to be quite something, has been around and played with most of the top names, like Jimmy Shand. So he knows what he’s talking about.
Yehudi Strikes Again
by Yehudi McEwan (i.e. Jimmy Yeaman)
People ask “Where is Fintry?” There is no such place! Like the mythical Brigadoon it appears out of the mist at 8 o’clock on the fourth Monday of each month to disappear again on the stroke of midnight as quickly as a bottle of whisky within gargling distance of its own Ceilidh Band.
For their opening night on January 28th the reformed Club chose as their guest artistes fiddler Jimmy Yeaman – the poor man’s Ron Gonella (he is half the price, twice as loud and can duck and ruin faster when the situation begins to cut up rough). He was billed as a Trio but turned up with four players, which proves he can’t even count. Backing him were accordionist Bob Lillie, pianist Rae Hislop and drummer Hugh Ferguson.
Fully recovered
Their support was appreciated, especially on their way out at the end of the night. Bob was fully recovered form his recent illness and is leading a life of virtue. He no longer gambles, drinks or smokes, and has even started to make his own frocks. Electric pianist Rae played without legs. She was also pretty legless herself at the finish as someone had slipped her a cup of tea by mistake. She was however able to drive the get-away car which is her prime function in the group. It was noticed that Rae played only on the black notes all night. This was token of respect as her pet budgie had died that day.
Drummer Hugh Ferguson was in top form. Big Shuggie is a bouncer at the Mothercare Shop during the day and at night, in the dark, it is rumoured that he is a ‘Hit’ man for the Brownies.
Fiddler Jimmy informed the Committee that he didn’t mind people getting up and walking out in the middle of the act. But what he didn’t like was people getting up in the of the act and walking towards him. That’s when the panic sets in and could even be the start of World War Three.
Ninety percent of the audience at the Fintry Inn was made up of the guest artistes relatives. They were there because each had been promised an apple and an orange and a balloon on the end of a stick. The other ten were professional musicians who wanted to ‘get away’ from their work for a while.
Amplification, make up and dresses were supplied by baby face killer Alec Fitzsimmons. Alec was out of jail on the pretence that he was to marry his psychiatrist which confirms the belief that he is a bit kinky. He was arrested for attempting to murder his mother-in-law. The judge, an anti-feminist, admonished him and said he should get a second chance.
Real musicians
Local musicians, who completely outshone the guest artistes were accordionists Alec Fitzsimmons, Donald Burns, Alf McConnachie, Wilson Rough, Graham Binnie, Charlotte Gibb, Kirsty Bissett and Sandy Kilpatrick. Morag McAskill played the piano and Jimmy McFarlane rattled his bones. The last-named brought along his father, Sam, as it was his 80th birthday. What a rotten birthday present!
The newly formed Committee consists of Chairman and compere Frank Farquharson ; Vice Chairman Andrew Morrison ; Treasurer Sandy Shearlaw ; Mary Bruce and Margaret Gibb. They took great pains to let the audience know that future guest artistes would be real musicians and not to be frightened off by tonight’s lunatics.
Other Club Secretaries please note : Don’t bother trying to book Jimmy Yeaman (Alexandria 52115), he is fed up with everyone shouting at him and is packing it all in. At the moment he is taking religious orders and expects to join the priesthood by Hogmanay this year. Failing that he will be committed to a silent order of nuns at a convent over the wall from Ballantines Distillery, Dumbarton.
CLUB DIARY
Aberdeen (Queen’s Hotel) – 26th Feb 80 Black Family, 25th Mar Currie Brothers
Alnwick (Nag’s Head) – members only
Balloch (Loch Lomond Hotel) – 17th Feb 80 Archie Duncan
Banchory (Burnett Arms Hotel) – 26th Feb Bill Brian, 26th Mar Black Family
Banff (Royal Oak Hotel) – 28th Feb 80 Elgin S&R Society
Beith (Anderson Hotel) – 17th March 80 Black Family
Biggar (Clydesdale Hotel) – 10th March 80 Tommy Pringle Trio
Buchan (Buchaness Hotel) –
Coupar Angus (Royal Hotel)
Cumbria (Huntsman Inn – Penton) – 19th Mar 80 Currie Brothers
Cumnock (Tup Inn) –
Derwentside (Royal British Legion, Consett) closed till March 80
Dumfries (Oughton’s)
Dunblane (Hydro) –
Dundee (Royal Central Hotel) –
Dunfermline (Kinema Ballroom) – 4th Mar 80 Wallochmore Ceilidh Band
Falkirk (Park Hotel) –
Forres (Brig Motel) –
Galston (Parakeet, Hurlford)
Glendale (Black Bull Hotel – Wooler) – members only
Highland/ Inverness (Drumossie Hotel)
Kelso (Queen’s Head Hotel) – 27th Feb 80 Roger Dobson Band
Kintore (Crown Hotel) –
Langholm (Crown Hotel)
Livingston (Cameron Ironworks Social Club)
Lockerbie (Queen’s Hotel) – 26th Feb 80 Bob Christie & Lex Keith
M.A.F.I.A. (Black Bull, Milngavie) –
Monklands (Georgian Hotel, Coatbridge) – 3rd Mar 80
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) – 25th Feb 80 Currie Brothers
Newton St Boswells (Railway Hotel)
North East (Seafield Arms, Keith) – 4th Mar 80 Davie Stewart
Oban (Park Hotel) –
Perth (Salutation Hotel) – 18th Mar 80 Angus Fitchet & Frank Thompson
Renfrew (Glynhill Hotel)
Rothbury (Queen’s Head Hotel)
Shetland (venue?)
Stranraer (Buck’s Head Hotel) – 3rd Mar 80 Dixon Trio
Torthorwald (Torr House Hotel)
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Balloch
3. Banchory
4. Beith
5. Biggar
6. Buchan
7. Cumnock
8. Dunblane & District
9. Dunfermline & District
10. Falkirk
11. Forres
12. Galston
13. Glendale-Wooller
14. Highland
15. Kintore
16. Lockerbie
17. M.A.F.I.A.
18. Newtongrange
19. North Cumbria
20. North East
21. Oban
22. Perth
23. Stranraer
24. Wick
CLUB DIRECTORY (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. Balloch A&F Club (Sept 1971)
4. Banchory A&F Club (1978)
5. Banff & District A&F Club (Oct 1973)
6. Beith & District A&F Club (Sept 1971)
7. Biggar A&F Club (Oct 1974)
8. Buchan A&F Club
9. Coquetdale
10. Coupar Angus A&F Club
11. Cumnock A&F Club
12. Derwentside A&F Club
13. Dingwall & District (Aug 1979)
14. Dumfries Accordion Club (Oughton’s) (April 1965)
15. Dunblane & District A&F Club (1971)
16. Dundee & District A&F Club
17. Dunfermline & District A&F Club
18. Falkirk A&F Club
19. Forres A&F Club (Jan 1978)
20. Galston A&F Club
21. Glendale Accordion Club (Jan 1973)
22. Greenhead Accordion Club (Hexham)
23. Highland A&F Club (Inverness)
24. Kelso A&F Club (May 1976)
25. Kintore A&F Club
26. Langholm A&F Club (Oct 1967)
27. Livingston A&F Club (Sept 1973)
28. Lockerbie A&F Club (Nov 1973)
29. M.A.F.I.A.
30. Monklands A&F Club
31. Newcastleton Accordion Club
32. New Cumnock A&F Club
33. Newtongrange A&F Club (Oct 1977)
34. Newton St Boswells Accordion Club
35. North Cumbria
36. North East A&F Club aka Keith A&FC (Sept 1971)
37. Oban A&F Club (Nov 1975)
38. Ormiston Miners’ Welfare Society A&F Club
39. Perth & District A&F Club (Aug 1970)
40. Rothbury Accordion Club (Feb 1974)
41. Shetland A&F Club (Sept 1978)
42. Stranraer & District Accordion Club
43. Torthorwald A&F Club (near Dumfries)
44. Wick A&F Club (Oct 1975)
Not on official list (closed, did not renew membership or omitted in error?)
45. Bonchester Accordion Club (Closed?)
46. Club Accord
47. Dunbar Cement Works A&F Club (Closed?)
48. Fintry A&F Club
49. Gretna (June 1966)
50. Renfrew A&F Club
51. Straiton Accordion Club (opened? 3rd club to open – closed March 1979)
52. Wellbank A&F Club