Box and Fiddle
Year 10 No 06
February 1987
Price 30p
12 pages
8 month subscription £3.75
Joint Editors – Tom Clark, 55 Sutherland Crescent, Dundee, DD2 2HP or Douglas Adamson, 22 Westfield Drive, Forfar, DD8 1EQ
B&F Treasurer – Mrs Cathy Andrew, 22 Lochinver Crescent, Foxbar, Paisley Tele 2824
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
Adam Rennie
It has been a very pleasing experience to discover from comments made to me in relation to the front page article in the January issue, just how much Adam Rennie was respected and admired by musicians and listeners alike. After 25 years, there are still many people with memories of the distinctive Rennie sound of the 50’s, having heard it in live performances. Adam’s name, of course, is constantly being heard as his popular tunes get their regular airing on ‘TTF’ and other programmes. For the younger enthusiasts who weren’t around in those days, there is the opportunity to hear the sound on cassette. I am extremely indebted to Ron Stephen who provided the material for the article.
Lar Ek
A visitor to Scotland in the near future will be Lar Ek, a Scandinavian whose interpretation of Frosini’s music has delighted players who enjoy the real authentic accordion sound. He will be touring with his Hot Trio, which should prove exciting. Lars is the founder of the International Frosini Society. He speaks perfect English and should have a successful tour.
Payments to the Box and Fiddle
It would be extremely helpful and save much time if all payments for adverts, subscriptions etc could be made out to ‘The Box and Fiddle’ and sent direct to the Treasurer, Miss Cathy Andrew.
Tom Clark
Backline Man – Neil McMillan
by Tom Clark
In recent years these has been a tremendous growth in the number of talented young fiddlers and accordionists. Many of the bands heard regularly on the air bear witness to this. Graeme Mitchell, Colin Dewar, the Craigowl and Craig McCallum are all examples of the high standard of these youngsters.
So far as the rhythm section is concerned, however, the situation is perhaps not quite as healthy. Although there are young players beginning to appear on the scene, there are a few back-line men who seem to keep popping up all over the place. One of the busiest of these players is a young man called Neil McMillan. Neil’s ability as a pianist and bass player are well known, but I was surprised to discover during our chat that he also plays button key accordion and drums. I have come into contact with Neil on many occasions over the years and always been impressed with his performances. On a recent occasion I managed to corner him for a while. He told me a bit about himself and how it all began.
“My interest in Scottish Dance Music started at the age of 8 due to frequent visits to our house of one of Scotland’s best 3 row accordion players, Duncan McCallum of Drymen, who played at that time with Hamish Menzies’ Scottish Dance Band.
“He was attempting to help my brother Peter to play a small 3 row button accordion (bought out of Graham and Morton’s for just over £1), but unknown to Peter I was playing his accordion when he was dating his lady friends. By this time I would be about 11 and had picked up the skills of playing the accordion by ear, probably due to the fact that I could play the mouth organ from an early age.
“My interest in music grew and Duncan took me with him on several occasions where I heard for myself Hamish Menzies’ SDB, a top band in the early ‘60s. From 11 till about the age of 17 I just listened to many bands on the radio and continued to play the button key accordion.”
“I was nearly 18 when Jack Delaney gave me the opportunity to join the Clachan Ceilidh in Alloa, a group of youngsters he taught. In my case I started off learning to play rhythm on the piano.”
“After a time Jack asked me if I would like to try the double bass in which I had no interest. I adapted to it quite quickly and enjoyed learning to play it.”
“Jack, in the meantime, had taken over from Hamish Menzies and, as the bass player was leaving, it left a gap which Jack asked me to fill. I felt a little apprehensive. After all I had only been playing the bass for about 2 months and Jack’s band was of such a high standard, with Ricci Francie on second accordion, Gus Miller (drums), Graeme Burns (fiddle), Sandy McGilchrist (piano) and Jack himself on lead accordion. The boys made me so welcome and encouraged me greatly, so playing with them was a pleasure.
“Now, playing with Jack’s band was not my first experience. Bill Black, now of Stanley, asked me to play drums for him at a local dance in Balmaha Tea Room when I was about 16. I was thrilled – and even got paid for it.
“After playing with Jack I played with many other bands such as Grace McCleaver, John Renton, Derek Lawrence, Ronnie Easton, Kenny Thomson, the Lothian SDB, Robert Whitehead, Calum Wilson, Iain MacPhail, Robert Black, Bill Black and Colin Findlayson, whom I often play with at the moment, plus the Wallochmore Ceilidh Band , with whom I have appeared on television and made records. I have also made records with some of the bands mentioned. Through the music I have had trips abroad to places like Belgium, Denmark and other parts like the of Scotland like Shetland, Tobermory and Bunessan, Isle of Mull and to Spain with George Fleming’s SDB.
“I enjoy many aspects of the music scene, especially listening to younger players who have a much higher ability through learning music from an early age. My only regret is that I never had music lessons and now find it difficult in some cases to keep up with the younger standards and their ability to read music.
I only hope they get as much satisfaction out of their music as I do with mine. Nothing pleases me more than a good tune in the house with the boys, when everyone is relaxed and playing because they enjoy it.”
Well, as you can see, Neil is a very busy musician indeed, a testimony to the regard in which he is held by his fellow musicians. Neil lives in Balmaha with his wife Fiona, and daughters Sheena (11), Julie (8) and Carol (5).
Charles Duncan, Teacher of Champions
A Tribute
by Bill Wilkie
We knew him as Charlie and the name seemed to suit his gentle, friendly nature. His passing has left a profound sadness in the hearts of colleagues, friends and pupils, sadness which will be long in leaving us.
Teenagers together in the Festival of the thirties, I had a tremendous respect and admiration for Charlie’s immaculate technique and musicianship. This respect had grown over the years as I watched his pupils win Festival after Festival, not just in Perth, Glasgow etc but in the N.A.O. All Britain Festivals. I don’t know how many champions he taught but the number is prodigious.
He was a master musician and without question the pioneer in teaching of the free bass in Scotland. Charlie taught the free bass system almost from its inception.
I will miss our brief but happy meetings at the Perth Festival. Charlie and his wife Nettie were always there to give us their support. Our thoughts are with Nettie at this sad time.
Neil Rowan, former British Champion, was taught by Charlie and is one of Scotland’s most accomplished professional accordionists. While we have players like Neil in the profession Charlie will never be forgotten.
Musselburgh 1987
by Norrie Williams
Saturday, 7th March, is big ‘M’ for Musselburgh Day at the Brunton Halls. How’s this for a bargain – Concert £1, children and senior citizens 50p, dance £1.50 for adults and 75p for under 16. You cannot get much better than that.
The concert will, of course, feature many of the class winners and also the finals of the Senior Accordion Pipe Music Section.
Once again we have a completely fresh team of adjudicators (I nearly wrote a team of fresh adjudicators)!
To cope with the classical, we welcome for the first time Mr Cyril Pasby, a B.C.A. and N.A.O. examiner. Look forward to having his company at Musselburgh. The fiddle competitions will be in the competent hands of Messrs Charlie Cowie from Langholm and Kenny Wilson from Leadhills. The first time we met Charlie he was down south with the Andrew Rankine Band and he stopped the show with his ‘Masons Apron’ plus.
John Carmichael, well known for his leanings to and interpretation of ‘real’ music, will be casting his critical ear over the efforts in the pipe music classes. John’s wife Freena is, of course, a member of the famous piping MacFadyens.
Completing our redoubtable band of judges are three gentlemen who will be permutating around the various traditional accordion competitions and who need no introduction. Jack Delaney, who has judged at Musselburgh on a previous occasion ; newcomer Peter Bruce, who first broke in on the Scottish scene at the Perth Festival when the ‘ten fingers on each hand’ tunes were becoming all the vogue ; and last, but by no means least, the one and only Freeland Barbour – say no more.
And after all the tensions, excitements and inevitable disappointments of the day, what better way to round off than by dancing or listening to the laid-back Colin Dewar Band. Something to look forward to.
Readers Letters
Dear Accordion Fans
Okay, you ‘enthusiasts’, you are all blinkered, you see what you want to see, hear what you want to hear. After reading every B&F printed, and attending A&F clubs for many, many years, my general impression is that if a player can play The Moving Cloud, or some other uninteresting jumble of notes, without a major stumble and at top speed, he is rated a better player than the one who sticks to the standard type tunes like Caddam Woods, The De’il, Bonnie Dundee and the like, and plays the music with a lilt. In my opinion, 95% of players under the age of 25 are all carbon copies of each other and clones of John Huband. Don’t get me wrong – John is a tremendously talented player, but do we need 100 young play-alikes while he is able to supply the real thing?
All too often a player/band comes along reading off music, putting on a programme of computer-like jigs, reels, slow airs with the ‘standard’ chords. Bass, keyboard and heavy second box trying to compete with the fiddle and lead box for loudness (the accompaniment often wins!) When the manuscript expires, the player/band is stuck. A stramash is a struggle with spontaneity out of the window. Come on – throw the music in the drawer once in a while and play from the heart. Feel the music, don’t read it, and do your own thing. A grace note occurs when it is felt – not every first note in every third bar. Give us a smile sometimes and at least look as if you’re enjoying your music.
As a player, I would not and possibly could not learn and perfect a march, strathspey and reel to compete and maybe win at Perth, to be deemed a champion player. Me – I’m happy to play to the general public who like a good lively tune and don’t mind the odd slip.
Robin Waitt
Canonbie
Dear Tom
BARGAINS GALORE
Everyone loves a good bargain and it’s doubtful if one could get better value for money than at the two major Scottish Accordion / Fiddle Festivals – Perth and Musselburgh. Just think of it, the run of all the competitions for a whole day for only 50p – I ask you – less than the price of a cup of coffee and a biscuit.
Perth, of course, has just been and gone, but I cannot let it pass without complimenting two of the participants – Bill and Will.
First, congratulations to Bill Wilkie, not only for his major contribution in organizing the event, but also for his masterly compering of the evening concert. His bustling yet casual disarming approach, coupled with his natural spontaneous humour, is a real tonic. We have only been able to attend the Perth Festival since 1971 after returning from exile south of the ‘mince and tattie line’, but in that time we have seen Bill’s prowess as compere go from strength to strength. His handling of the championship finalists is an optical lesson in itself.
And now to Will – Willie Laurie from Kinlochleven. Congratulations to him on reaching the finals in the first instance and then for his performance in same. Although Willie is 39 and will be eligible for the Veterans’ contest at next years event, he battled it out against five comparative youngsters, playing ‘out of his skin’ to take third place. It took a lot of guts and competence to do that. I was proud of him.
Taling about bargains, one really does get some snips in the box and fiddle scene. Recently we visited the Ayr Club and at the end Sheila said “Where else could you get a full night’s entertainment like that for £1.50 a head?” It really was something else. The guests were a quartet – and what a quartet – back line bass guitar and drums, and front line trumpeter extraordinary John McLeavie (a native of Dundee now resident in London) and the incomparable Jack Emblow. Evergreen standards par excellence and what professionalism – the banter was a knock-out.
And it just happened that in the audience listening to the group’s first spot was one Martin Taylor, an outstanding guitarist who, in his spare time, provides accompaniment for the likes of Stephan Grapelli. However, he wasn’t in the audience for the second spot ( a full hour) but up there in the front line. Some wag called out ‘Gie’s the Dark Island’. There was no indication that this request had registered but later on, without warning, we were treated to an outstanding original guitar arrangement of this popular air. You could have heard the proverbial pin. And whilst driving home from the Club who do you think gave a half-hour guitar recital on the ‘Sounds of Jazz’ programme on the car radio – Martin Taylor. What an evening.
Hopefully this is what you’ll all be saying at midnight on Saturday, 7th March. See you then.
Norrie Williams
Sir – It is at this time of the year, over the Festive Season, and more so at the A&F clubs, that I, for one, think back to old friends and acquaintances that are no longer with us.
May I through your columns furnish you with a poem penned by Tim Douglas of Jedburgh for one such person, i.e. Tam Hughes.
W.B.R.
Tam Hughes
(Border Fiddler)
This grand old world has many sounds
Which pleasantly appeal :
The blackbird’s pipe, the cry of hounds
The Strathspey and the Reel :
The pipes in some grand parade
The laughter of the burn
The rippling strings when Tommy played
‘The Flower o’ the Quern’.
This man could make a fiddle sing
Or ripple like the river
Man’s life is but a passing thing
A tune’s a tune forever
I see a vision, far away
As Saints and Angels kneel
St Andrew calling Tom to play
Another ringing reel
How often has a circle formed
With Tommy in the middle?
With tapping feet, all hearts were warmed
By such a Border fiddle
He never did a thing by half
Whose magic soared on wings
Auld Tam requires no epitaph
But ringing, singing strings.
His family and friends may mourn
And wonder at life’s riddle
Yet thank the Lord that Tom was born
And learned to play the fiddle
We thank the Lord who sent Auld Tom
For grand rememberings
We thank Him that we kent Auld Tom
And heard his ringing strings
TIM DOUGLAS
Sir – It was great to read Mr Drever’s comments on my statement in the October edition. It proves that your paper is being read.
Mr Drever has misunderstood what I really meant. As much as I understand the necessity of amplification, and also the need such as Addie Harper Jnr to use an electronic accordion, and even the great Fraser McGlynn to cut his band to a trio with the use of the electric piano, I still say that the sound, if you still wish to call it the ‘Sound of the Sixties’, which was lead accordion, fiddle, second accordion, basic piano, drums and bass fiddle, still gives the natural sound of Scottish dance music. Amplifiers yes, but without the aid of electronic bass on the accordion, electric bass guitar and electric pianos. All good instruments, but not giving the natural sound.
As Mr Drever quoted, “Gone are the days when the halls had paraffin lamps.” I can recall a country hall back in the sixties where we played regularly at whist and dances and they had the electricity put in. In those days the popular amplifier was the Grampian, a compact box with leads and microphone all in one. The man who came to book me asked me to bring mine along. In the Friday’s advert, in the ‘Dundee Courier’ it stated – ‘Whist and Dance, Ian Redford’s Band, with amplifiers.’ Changed days.
Through the media of your paper may I wish all my associates in the music scene a Godd New Year, and may the B&F continue to go from strength to strength.
Ian Redford
Chairman – Highland A&F Club
Sir – Although there are times when the screen does very little to hide the adjudicators, I am still in favour of them being out of view of the competitor, and vice versa.
From the Scottish accordion viewpoint, why does the adjudicator want to observe technique? The most important thing surely is the end result. If the competitor thinks he or she can improve the performance by playing the piece with the accordion upside down or with gloves on, then that is up to them and it should have no bearing on the marks obtained.
Looking at it from another angle, if the tune is played immaculately as regards technique but the piece chosen is too simple and non-preferred for competition use, then how can comparisons be made in order that fairness is maintained?
All in all, it presents another topic for adjudicators to award marks for and increase the workload on the already overworked and under-appreciated group of people who take on this impossible task year after year.
In my view, consideration should be given more to methods for improving the accuracy of judging as the present system does not cater for the various styles of traditional music which we hear during the competition.
For example, an adjudicator who favours a very simple, straight style of playing to a style containing grace notes, expression and plenty of lift, will tend to mark high on the former. Neither style is wrong – indeed it would become very monotonous if everyone’s style was the same.
However, this situation cries out for at least three or four adjudicators in the big events – Senior and Junior Scottish Accordion – where for a number of years now, good, traditional straight from the heart playing has been smothered by extremely skilful, but pitifully monotonous, contrived garbage.
Not wishing to stifle inventiveness – we all have different likes and dislikes – a panel of adjudicators where each one has a completely different style of playing would present a much fairer system. No one or two people can possibly do justice to an event which attracts so many talented players with such a variety of styles.
For many competitors, the accordion festival is a highlight in the year where they can give their best. They have focused their efforts on the competition and for many, the result is very disappointing. There can only be one winner but I think that organisers and associations owe more in return my improving the adjudication system to cater for more variation in style and be less influenced by the ‘robots’.
I believe teachers would then be more tempted into teaching good traditional tunes. No one can blame them for perpetrating the pseudo-Scottish jazz when this is the style which adjudicators have been influenced by for so long.
So, come on N.A.A.F.C. Festival Committee, identify and get to grips with the real problem of competition and forget about prattling around with vision.
I was interested to read of the marked drop in attendance during the main Scottish events at the October Perth Festival – a trend I have seen increasing over the past few years. Do you think the punters are trying to tell you something?
Bert Pozzi
9 Newliston Drive
Kirkcaldy
Record Review
Echoes in the Glen – Jimmy Shand and his Band – WGR TV1/CWGR TV1
Jim Johnstone and his Band – TP012/C.T.P.023
Highland Spirit Ian H. Cruickshank DACS 8602
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Fleece Inn) – members only – 11th Feb 87 Archie Duncan
Armadale (Masonic Arms Hotel) –
Ayr (Aftongrange Hotel) – 1st Feb 87 Willie Simpson
Balloch (Bell Centre, Dumbarton) – 15th Feb 87 Robert Black SDB
Banchory (Burnett Arms Hotel) –
Banff (Royal Oak Hotel) –
Beith (Anderson Hotel) –
Belford (Community Club) – 26th Feb 87 Alistair Wood’s Band
Biggar (Clydesdale Hotel) –
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) – 7th Feb 87 Anda Campbell
Castle Douglas (Ernespie Hotel) –
Cleland (Dalrymple House) –
Coupar Angus (Royal Hotel) –
Crieff & District (Drummond Arms Hotel) –
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (venue? ) –
Dunblane (Westlands Hotel) – 17th Feb 87 The Currie Brothers
Dundee (Queen’s Hotel, Nethergate) – 5th Feb 87 Open Night. Special appearance of Jimmy shand
Dunfermline (Northern Roadhouse) –
East Kilbride (King’s Park Hotel, Rutherglen) – 26th Feb 87 Jim Johnstone SDB
Edinburgh (Abbey Suite, Abbey Lane) –
Ellon (Ladbroke Hotel) –
Falkirk (Park Hotel) –
Fintry (Clachan Hotel) – 23rd Feb 87 Jim Cleland
Forres (Brig Motel) –
Fort William (Cruchan Hotel) – 9th Feb 87 Mickie Ainsworth
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) – members only -
Gorebridge (Rangers FC Social Club) –
Highland (Drumossie Hotel) – 9th Feb 87 Edward Galley
Islesteps (Cargenholm Hotel) – 3rd Feb 87 Craig McCallum SDB
Kelso (Ednam House Hotel) –
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 12th Feb 87 Alan Gardiner SDB
Livingston (Golden Circle Hotel, Bathgate) –
Lockerbie (Bluebell Hotel) –
Mauchline (The Jean Armour Restaurant) –
M.A.F.I.A. (Black Bull, Milngavie) –
Montrose (Park Hotel) –
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) – 23rd Feb 87 Ian Holmes
Newton St Boswells (Railway Hotel) –
North Cumbria (Howard Arms) (prev called Gretna Club) – 18th Feb 87 Colin Dewar SDB
North East (Seafield Hotel, Keith) – 3rd Feb 87 Bill Brian 3rd Mar 87 Jennifer Forrest SDB
Oban (Park Hotel) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) – 19th Feb 87 Robert Black SDB 19th Mar 87 Gordon Pattullo
Peebles (County Hotel) – 26th Feb 87 Bobby Crowe & Angus Fitchet
Perth (Station Hotel) – 17th Feb 87 Robert Black SDB
Premier NI (Wilson’s of Crumlin) -
Renfrew (Masonic Hall) – 10th Feb 87 Guy Biagi
Rothbury (Queen’s Head Hotel)
Shetland (venue?) -
Stranraer (Railway Club) –
Thornhill (?)
Thurso (McKay’s Hotel) –
Turriff (Royal Oak Hotel) –
Tynedale (The Royal Hotel, Hexham) –
Walmer (Bridge of Allan) – 22nd Fen 87 Dianne Armstrong
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Ayr
3. Balloch
4. Banchory
5. Banff
6. Callander
7. Dingwall & District
8. Dunblane
9. Dundee
10. Fintry
11. Forres
12. Fort William
13. Glendale
14. Highland
15. Islesteps
16. Kinlochsheil
17. Kintore
18. Lesmahagow
19. Livingston
20. M.A.F.I.A.
21. Mauchline
22. Newtongrange
23. North East
24. Ormiston
25. Renfrew
26. Shetland
27. Thurso
28. Turriff & District
29. Wick
CLUB DIRECTORY AS AT SEPT 1986 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Alnwick A&F Club (Sept 1976)
3. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
4. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Buchan A&F Club
12. Callander A&F Club (
13. Campbeltown & District A&F Club (c Dec 1980)
14. Castle Douglas A&F Club (c Sept 1980)
15. Crieff A&F Club (cSept 1981)
16. Dalriada A&F Club (Feb 1981)
17. Derwentside A&F Club
18. Dingwall & District A&F Club (May 1979 – per first report)
19. Dornoch A&F Club (first mention in directory 1986)
20. Dunblane & District A&F Club (1971)
21. Dundee & District A&F Club
22. Dunfermline & District A&F Club (1974 – per first edition)
23. East Kilbride A&F Club (Sept 1980)
24. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
25. Ellon A&F Club (
26. Falkirk A&F Club (Sept 1978 - )
27. Fintry A&F Club
28. Forres A&F Club (Jan 1978)
29. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
30. Galashiels A&F Club (joined Sept 1982)
31. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
32. Glendale Accordion Club (Jan 1973)
33. Highland A&F Club (Inverness)
34. Islesteps A&F Club (Jan 1981)
35. Isle of Skye A&F Club (
36. Kelso A&F Club (May 1976)
37. Kintore A&F Club
38 Langholm A&F Club (Oct 1967)
39 Lesmahagow A&F Club (Nov 1979 – closed May 2005)
40. Livingston A&F Club (Sept 1973 – per first edition)
41 Lockerbie A&F Club (Nov 1973)
42 M.A.F.I.A. (early)
43 Mauchline A&F Club (first mention 1986?)
44. Montrose A&F Club (joined Sept 1982)
45. Newtongrange A&F Club (joined Sept 1979)
46. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
47. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
48. North East A&F Club aka Keith A&FC (Sept 1971)
49. Oban A&F Club (Nov 1975)
50. Orkney A&F Club (Mar 1978)
51. Ormiston Miners’ Welfare Society A&F Club
52. Peebles A&F Club (26 Nov 1981)
53. Perth & District A&F Club (Aug 1970)
54. Premier A&F Club NI (cNov 1980)
55. Rothbury Accordion Club (1987??)
56. Shetland A&F Club (Sept 1978)
57. Stranraer & District Accordion Club (1974 – per first edition)
58. Sutherland A&F Club (
59. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
60. Thurso A&F Club (cSept 1981)
61. Turriff A&F Club (March 1982)
62. Tynedale A&F Club (Nov 1980)
63. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
64. Bonchester Accordion Club (Closed?)
65. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
66. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
67. Club Accord
68. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
69. Coupar Angus A&F Club (cSept 1978 - ?)
70. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
71. Denny & Dunipace A&F Club (Feb 1981)
72. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
73. Dunbar Cement Works A&F Club (Closed?)
74. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
75. Gretna A&F Club (June 1966)
76. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
77. Kinlochsheil A&F Club (
78. Kirriemuir A&F Club (cSept 1981)
79. Monklands A&F Club (Nov 1978 – closed cApril 1983)
80. Morecambe A&F Club (joined Sept 1982)
81. Newcastleton Accordion Club
82. New Cumnock A&F Club (cMarch 1979)
83. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
84. Straiton Accordion Club (c1968 – closed March 1979)
85. Torthorwald A&F Club (near Dumfries)
86. Wellbank A&F Club
Advertising rates
Full Page - £92
Half Page - £46
Quarter Page - £23
B&F Treasurer – Mrs Cathy Andrew, 22 Lochinver Crescent, Foxbar, Paisley Tele 2824
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
Adam Rennie
It has been a very pleasing experience to discover from comments made to me in relation to the front page article in the January issue, just how much Adam Rennie was respected and admired by musicians and listeners alike. After 25 years, there are still many people with memories of the distinctive Rennie sound of the 50’s, having heard it in live performances. Adam’s name, of course, is constantly being heard as his popular tunes get their regular airing on ‘TTF’ and other programmes. For the younger enthusiasts who weren’t around in those days, there is the opportunity to hear the sound on cassette. I am extremely indebted to Ron Stephen who provided the material for the article.
Lar Ek
A visitor to Scotland in the near future will be Lar Ek, a Scandinavian whose interpretation of Frosini’s music has delighted players who enjoy the real authentic accordion sound. He will be touring with his Hot Trio, which should prove exciting. Lars is the founder of the International Frosini Society. He speaks perfect English and should have a successful tour.
Payments to the Box and Fiddle
It would be extremely helpful and save much time if all payments for adverts, subscriptions etc could be made out to ‘The Box and Fiddle’ and sent direct to the Treasurer, Miss Cathy Andrew.
Tom Clark
Backline Man – Neil McMillan
by Tom Clark
In recent years these has been a tremendous growth in the number of talented young fiddlers and accordionists. Many of the bands heard regularly on the air bear witness to this. Graeme Mitchell, Colin Dewar, the Craigowl and Craig McCallum are all examples of the high standard of these youngsters.
So far as the rhythm section is concerned, however, the situation is perhaps not quite as healthy. Although there are young players beginning to appear on the scene, there are a few back-line men who seem to keep popping up all over the place. One of the busiest of these players is a young man called Neil McMillan. Neil’s ability as a pianist and bass player are well known, but I was surprised to discover during our chat that he also plays button key accordion and drums. I have come into contact with Neil on many occasions over the years and always been impressed with his performances. On a recent occasion I managed to corner him for a while. He told me a bit about himself and how it all began.
“My interest in Scottish Dance Music started at the age of 8 due to frequent visits to our house of one of Scotland’s best 3 row accordion players, Duncan McCallum of Drymen, who played at that time with Hamish Menzies’ Scottish Dance Band.
“He was attempting to help my brother Peter to play a small 3 row button accordion (bought out of Graham and Morton’s for just over £1), but unknown to Peter I was playing his accordion when he was dating his lady friends. By this time I would be about 11 and had picked up the skills of playing the accordion by ear, probably due to the fact that I could play the mouth organ from an early age.
“My interest in music grew and Duncan took me with him on several occasions where I heard for myself Hamish Menzies’ SDB, a top band in the early ‘60s. From 11 till about the age of 17 I just listened to many bands on the radio and continued to play the button key accordion.”
“I was nearly 18 when Jack Delaney gave me the opportunity to join the Clachan Ceilidh in Alloa, a group of youngsters he taught. In my case I started off learning to play rhythm on the piano.”
“After a time Jack asked me if I would like to try the double bass in which I had no interest. I adapted to it quite quickly and enjoyed learning to play it.”
“Jack, in the meantime, had taken over from Hamish Menzies and, as the bass player was leaving, it left a gap which Jack asked me to fill. I felt a little apprehensive. After all I had only been playing the bass for about 2 months and Jack’s band was of such a high standard, with Ricci Francie on second accordion, Gus Miller (drums), Graeme Burns (fiddle), Sandy McGilchrist (piano) and Jack himself on lead accordion. The boys made me so welcome and encouraged me greatly, so playing with them was a pleasure.
“Now, playing with Jack’s band was not my first experience. Bill Black, now of Stanley, asked me to play drums for him at a local dance in Balmaha Tea Room when I was about 16. I was thrilled – and even got paid for it.
“After playing with Jack I played with many other bands such as Grace McCleaver, John Renton, Derek Lawrence, Ronnie Easton, Kenny Thomson, the Lothian SDB, Robert Whitehead, Calum Wilson, Iain MacPhail, Robert Black, Bill Black and Colin Findlayson, whom I often play with at the moment, plus the Wallochmore Ceilidh Band , with whom I have appeared on television and made records. I have also made records with some of the bands mentioned. Through the music I have had trips abroad to places like Belgium, Denmark and other parts like the of Scotland like Shetland, Tobermory and Bunessan, Isle of Mull and to Spain with George Fleming’s SDB.
“I enjoy many aspects of the music scene, especially listening to younger players who have a much higher ability through learning music from an early age. My only regret is that I never had music lessons and now find it difficult in some cases to keep up with the younger standards and their ability to read music.
I only hope they get as much satisfaction out of their music as I do with mine. Nothing pleases me more than a good tune in the house with the boys, when everyone is relaxed and playing because they enjoy it.”
Well, as you can see, Neil is a very busy musician indeed, a testimony to the regard in which he is held by his fellow musicians. Neil lives in Balmaha with his wife Fiona, and daughters Sheena (11), Julie (8) and Carol (5).
Charles Duncan, Teacher of Champions
A Tribute
by Bill Wilkie
We knew him as Charlie and the name seemed to suit his gentle, friendly nature. His passing has left a profound sadness in the hearts of colleagues, friends and pupils, sadness which will be long in leaving us.
Teenagers together in the Festival of the thirties, I had a tremendous respect and admiration for Charlie’s immaculate technique and musicianship. This respect had grown over the years as I watched his pupils win Festival after Festival, not just in Perth, Glasgow etc but in the N.A.O. All Britain Festivals. I don’t know how many champions he taught but the number is prodigious.
He was a master musician and without question the pioneer in teaching of the free bass in Scotland. Charlie taught the free bass system almost from its inception.
I will miss our brief but happy meetings at the Perth Festival. Charlie and his wife Nettie were always there to give us their support. Our thoughts are with Nettie at this sad time.
Neil Rowan, former British Champion, was taught by Charlie and is one of Scotland’s most accomplished professional accordionists. While we have players like Neil in the profession Charlie will never be forgotten.
Musselburgh 1987
by Norrie Williams
Saturday, 7th March, is big ‘M’ for Musselburgh Day at the Brunton Halls. How’s this for a bargain – Concert £1, children and senior citizens 50p, dance £1.50 for adults and 75p for under 16. You cannot get much better than that.
The concert will, of course, feature many of the class winners and also the finals of the Senior Accordion Pipe Music Section.
Once again we have a completely fresh team of adjudicators (I nearly wrote a team of fresh adjudicators)!
To cope with the classical, we welcome for the first time Mr Cyril Pasby, a B.C.A. and N.A.O. examiner. Look forward to having his company at Musselburgh. The fiddle competitions will be in the competent hands of Messrs Charlie Cowie from Langholm and Kenny Wilson from Leadhills. The first time we met Charlie he was down south with the Andrew Rankine Band and he stopped the show with his ‘Masons Apron’ plus.
John Carmichael, well known for his leanings to and interpretation of ‘real’ music, will be casting his critical ear over the efforts in the pipe music classes. John’s wife Freena is, of course, a member of the famous piping MacFadyens.
Completing our redoubtable band of judges are three gentlemen who will be permutating around the various traditional accordion competitions and who need no introduction. Jack Delaney, who has judged at Musselburgh on a previous occasion ; newcomer Peter Bruce, who first broke in on the Scottish scene at the Perth Festival when the ‘ten fingers on each hand’ tunes were becoming all the vogue ; and last, but by no means least, the one and only Freeland Barbour – say no more.
And after all the tensions, excitements and inevitable disappointments of the day, what better way to round off than by dancing or listening to the laid-back Colin Dewar Band. Something to look forward to.
Readers Letters
Dear Accordion Fans
Okay, you ‘enthusiasts’, you are all blinkered, you see what you want to see, hear what you want to hear. After reading every B&F printed, and attending A&F clubs for many, many years, my general impression is that if a player can play The Moving Cloud, or some other uninteresting jumble of notes, without a major stumble and at top speed, he is rated a better player than the one who sticks to the standard type tunes like Caddam Woods, The De’il, Bonnie Dundee and the like, and plays the music with a lilt. In my opinion, 95% of players under the age of 25 are all carbon copies of each other and clones of John Huband. Don’t get me wrong – John is a tremendously talented player, but do we need 100 young play-alikes while he is able to supply the real thing?
All too often a player/band comes along reading off music, putting on a programme of computer-like jigs, reels, slow airs with the ‘standard’ chords. Bass, keyboard and heavy second box trying to compete with the fiddle and lead box for loudness (the accompaniment often wins!) When the manuscript expires, the player/band is stuck. A stramash is a struggle with spontaneity out of the window. Come on – throw the music in the drawer once in a while and play from the heart. Feel the music, don’t read it, and do your own thing. A grace note occurs when it is felt – not every first note in every third bar. Give us a smile sometimes and at least look as if you’re enjoying your music.
As a player, I would not and possibly could not learn and perfect a march, strathspey and reel to compete and maybe win at Perth, to be deemed a champion player. Me – I’m happy to play to the general public who like a good lively tune and don’t mind the odd slip.
Robin Waitt
Canonbie
Dear Tom
BARGAINS GALORE
Everyone loves a good bargain and it’s doubtful if one could get better value for money than at the two major Scottish Accordion / Fiddle Festivals – Perth and Musselburgh. Just think of it, the run of all the competitions for a whole day for only 50p – I ask you – less than the price of a cup of coffee and a biscuit.
Perth, of course, has just been and gone, but I cannot let it pass without complimenting two of the participants – Bill and Will.
First, congratulations to Bill Wilkie, not only for his major contribution in organizing the event, but also for his masterly compering of the evening concert. His bustling yet casual disarming approach, coupled with his natural spontaneous humour, is a real tonic. We have only been able to attend the Perth Festival since 1971 after returning from exile south of the ‘mince and tattie line’, but in that time we have seen Bill’s prowess as compere go from strength to strength. His handling of the championship finalists is an optical lesson in itself.
And now to Will – Willie Laurie from Kinlochleven. Congratulations to him on reaching the finals in the first instance and then for his performance in same. Although Willie is 39 and will be eligible for the Veterans’ contest at next years event, he battled it out against five comparative youngsters, playing ‘out of his skin’ to take third place. It took a lot of guts and competence to do that. I was proud of him.
Taling about bargains, one really does get some snips in the box and fiddle scene. Recently we visited the Ayr Club and at the end Sheila said “Where else could you get a full night’s entertainment like that for £1.50 a head?” It really was something else. The guests were a quartet – and what a quartet – back line bass guitar and drums, and front line trumpeter extraordinary John McLeavie (a native of Dundee now resident in London) and the incomparable Jack Emblow. Evergreen standards par excellence and what professionalism – the banter was a knock-out.
And it just happened that in the audience listening to the group’s first spot was one Martin Taylor, an outstanding guitarist who, in his spare time, provides accompaniment for the likes of Stephan Grapelli. However, he wasn’t in the audience for the second spot ( a full hour) but up there in the front line. Some wag called out ‘Gie’s the Dark Island’. There was no indication that this request had registered but later on, without warning, we were treated to an outstanding original guitar arrangement of this popular air. You could have heard the proverbial pin. And whilst driving home from the Club who do you think gave a half-hour guitar recital on the ‘Sounds of Jazz’ programme on the car radio – Martin Taylor. What an evening.
Hopefully this is what you’ll all be saying at midnight on Saturday, 7th March. See you then.
Norrie Williams
Sir – It is at this time of the year, over the Festive Season, and more so at the A&F clubs, that I, for one, think back to old friends and acquaintances that are no longer with us.
May I through your columns furnish you with a poem penned by Tim Douglas of Jedburgh for one such person, i.e. Tam Hughes.
W.B.R.
Tam Hughes
(Border Fiddler)
This grand old world has many sounds
Which pleasantly appeal :
The blackbird’s pipe, the cry of hounds
The Strathspey and the Reel :
The pipes in some grand parade
The laughter of the burn
The rippling strings when Tommy played
‘The Flower o’ the Quern’.
This man could make a fiddle sing
Or ripple like the river
Man’s life is but a passing thing
A tune’s a tune forever
I see a vision, far away
As Saints and Angels kneel
St Andrew calling Tom to play
Another ringing reel
How often has a circle formed
With Tommy in the middle?
With tapping feet, all hearts were warmed
By such a Border fiddle
He never did a thing by half
Whose magic soared on wings
Auld Tam requires no epitaph
But ringing, singing strings.
His family and friends may mourn
And wonder at life’s riddle
Yet thank the Lord that Tom was born
And learned to play the fiddle
We thank the Lord who sent Auld Tom
For grand rememberings
We thank Him that we kent Auld Tom
And heard his ringing strings
TIM DOUGLAS
Sir – It was great to read Mr Drever’s comments on my statement in the October edition. It proves that your paper is being read.
Mr Drever has misunderstood what I really meant. As much as I understand the necessity of amplification, and also the need such as Addie Harper Jnr to use an electronic accordion, and even the great Fraser McGlynn to cut his band to a trio with the use of the electric piano, I still say that the sound, if you still wish to call it the ‘Sound of the Sixties’, which was lead accordion, fiddle, second accordion, basic piano, drums and bass fiddle, still gives the natural sound of Scottish dance music. Amplifiers yes, but without the aid of electronic bass on the accordion, electric bass guitar and electric pianos. All good instruments, but not giving the natural sound.
As Mr Drever quoted, “Gone are the days when the halls had paraffin lamps.” I can recall a country hall back in the sixties where we played regularly at whist and dances and they had the electricity put in. In those days the popular amplifier was the Grampian, a compact box with leads and microphone all in one. The man who came to book me asked me to bring mine along. In the Friday’s advert, in the ‘Dundee Courier’ it stated – ‘Whist and Dance, Ian Redford’s Band, with amplifiers.’ Changed days.
Through the media of your paper may I wish all my associates in the music scene a Godd New Year, and may the B&F continue to go from strength to strength.
Ian Redford
Chairman – Highland A&F Club
Sir – Although there are times when the screen does very little to hide the adjudicators, I am still in favour of them being out of view of the competitor, and vice versa.
From the Scottish accordion viewpoint, why does the adjudicator want to observe technique? The most important thing surely is the end result. If the competitor thinks he or she can improve the performance by playing the piece with the accordion upside down or with gloves on, then that is up to them and it should have no bearing on the marks obtained.
Looking at it from another angle, if the tune is played immaculately as regards technique but the piece chosen is too simple and non-preferred for competition use, then how can comparisons be made in order that fairness is maintained?
All in all, it presents another topic for adjudicators to award marks for and increase the workload on the already overworked and under-appreciated group of people who take on this impossible task year after year.
In my view, consideration should be given more to methods for improving the accuracy of judging as the present system does not cater for the various styles of traditional music which we hear during the competition.
For example, an adjudicator who favours a very simple, straight style of playing to a style containing grace notes, expression and plenty of lift, will tend to mark high on the former. Neither style is wrong – indeed it would become very monotonous if everyone’s style was the same.
However, this situation cries out for at least three or four adjudicators in the big events – Senior and Junior Scottish Accordion – where for a number of years now, good, traditional straight from the heart playing has been smothered by extremely skilful, but pitifully monotonous, contrived garbage.
Not wishing to stifle inventiveness – we all have different likes and dislikes – a panel of adjudicators where each one has a completely different style of playing would present a much fairer system. No one or two people can possibly do justice to an event which attracts so many talented players with such a variety of styles.
For many competitors, the accordion festival is a highlight in the year where they can give their best. They have focused their efforts on the competition and for many, the result is very disappointing. There can only be one winner but I think that organisers and associations owe more in return my improving the adjudication system to cater for more variation in style and be less influenced by the ‘robots’.
I believe teachers would then be more tempted into teaching good traditional tunes. No one can blame them for perpetrating the pseudo-Scottish jazz when this is the style which adjudicators have been influenced by for so long.
So, come on N.A.A.F.C. Festival Committee, identify and get to grips with the real problem of competition and forget about prattling around with vision.
I was interested to read of the marked drop in attendance during the main Scottish events at the October Perth Festival – a trend I have seen increasing over the past few years. Do you think the punters are trying to tell you something?
Bert Pozzi
9 Newliston Drive
Kirkcaldy
Record Review
Echoes in the Glen – Jimmy Shand and his Band – WGR TV1/CWGR TV1
Jim Johnstone and his Band – TP012/C.T.P.023
Highland Spirit Ian H. Cruickshank DACS 8602
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Fleece Inn) – members only – 11th Feb 87 Archie Duncan
Armadale (Masonic Arms Hotel) –
Ayr (Aftongrange Hotel) – 1st Feb 87 Willie Simpson
Balloch (Bell Centre, Dumbarton) – 15th Feb 87 Robert Black SDB
Banchory (Burnett Arms Hotel) –
Banff (Royal Oak Hotel) –
Beith (Anderson Hotel) –
Belford (Community Club) – 26th Feb 87 Alistair Wood’s Band
Biggar (Clydesdale Hotel) –
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) – 7th Feb 87 Anda Campbell
Castle Douglas (Ernespie Hotel) –
Cleland (Dalrymple House) –
Coupar Angus (Royal Hotel) –
Crieff & District (Drummond Arms Hotel) –
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (venue? ) –
Dunblane (Westlands Hotel) – 17th Feb 87 The Currie Brothers
Dundee (Queen’s Hotel, Nethergate) – 5th Feb 87 Open Night. Special appearance of Jimmy shand
Dunfermline (Northern Roadhouse) –
East Kilbride (King’s Park Hotel, Rutherglen) – 26th Feb 87 Jim Johnstone SDB
Edinburgh (Abbey Suite, Abbey Lane) –
Ellon (Ladbroke Hotel) –
Falkirk (Park Hotel) –
Fintry (Clachan Hotel) – 23rd Feb 87 Jim Cleland
Forres (Brig Motel) –
Fort William (Cruchan Hotel) – 9th Feb 87 Mickie Ainsworth
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) – members only -
Gorebridge (Rangers FC Social Club) –
Highland (Drumossie Hotel) – 9th Feb 87 Edward Galley
Islesteps (Cargenholm Hotel) – 3rd Feb 87 Craig McCallum SDB
Kelso (Ednam House Hotel) –
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 12th Feb 87 Alan Gardiner SDB
Livingston (Golden Circle Hotel, Bathgate) –
Lockerbie (Bluebell Hotel) –
Mauchline (The Jean Armour Restaurant) –
M.A.F.I.A. (Black Bull, Milngavie) –
Montrose (Park Hotel) –
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) – 23rd Feb 87 Ian Holmes
Newton St Boswells (Railway Hotel) –
North Cumbria (Howard Arms) (prev called Gretna Club) – 18th Feb 87 Colin Dewar SDB
North East (Seafield Hotel, Keith) – 3rd Feb 87 Bill Brian 3rd Mar 87 Jennifer Forrest SDB
Oban (Park Hotel) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) – 19th Feb 87 Robert Black SDB 19th Mar 87 Gordon Pattullo
Peebles (County Hotel) – 26th Feb 87 Bobby Crowe & Angus Fitchet
Perth (Station Hotel) – 17th Feb 87 Robert Black SDB
Premier NI (Wilson’s of Crumlin) -
Renfrew (Masonic Hall) – 10th Feb 87 Guy Biagi
Rothbury (Queen’s Head Hotel)
Shetland (venue?) -
Stranraer (Railway Club) –
Thornhill (?)
Thurso (McKay’s Hotel) –
Turriff (Royal Oak Hotel) –
Tynedale (The Royal Hotel, Hexham) –
Walmer (Bridge of Allan) – 22nd Fen 87 Dianne Armstrong
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Ayr
3. Balloch
4. Banchory
5. Banff
6. Callander
7. Dingwall & District
8. Dunblane
9. Dundee
10. Fintry
11. Forres
12. Fort William
13. Glendale
14. Highland
15. Islesteps
16. Kinlochsheil
17. Kintore
18. Lesmahagow
19. Livingston
20. M.A.F.I.A.
21. Mauchline
22. Newtongrange
23. North East
24. Ormiston
25. Renfrew
26. Shetland
27. Thurso
28. Turriff & District
29. Wick
CLUB DIRECTORY AS AT SEPT 1986 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Alnwick A&F Club (Sept 1976)
3. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
4. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Buchan A&F Club
12. Callander A&F Club (
13. Campbeltown & District A&F Club (c Dec 1980)
14. Castle Douglas A&F Club (c Sept 1980)
15. Crieff A&F Club (cSept 1981)
16. Dalriada A&F Club (Feb 1981)
17. Derwentside A&F Club
18. Dingwall & District A&F Club (May 1979 – per first report)
19. Dornoch A&F Club (first mention in directory 1986)
20. Dunblane & District A&F Club (1971)
21. Dundee & District A&F Club
22. Dunfermline & District A&F Club (1974 – per first edition)
23. East Kilbride A&F Club (Sept 1980)
24. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
25. Ellon A&F Club (
26. Falkirk A&F Club (Sept 1978 - )
27. Fintry A&F Club
28. Forres A&F Club (Jan 1978)
29. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
30. Galashiels A&F Club (joined Sept 1982)
31. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
32. Glendale Accordion Club (Jan 1973)
33. Highland A&F Club (Inverness)
34. Islesteps A&F Club (Jan 1981)
35. Isle of Skye A&F Club (
36. Kelso A&F Club (May 1976)
37. Kintore A&F Club
38 Langholm A&F Club (Oct 1967)
39 Lesmahagow A&F Club (Nov 1979 – closed May 2005)
40. Livingston A&F Club (Sept 1973 – per first edition)
41 Lockerbie A&F Club (Nov 1973)
42 M.A.F.I.A. (early)
43 Mauchline A&F Club (first mention 1986?)
44. Montrose A&F Club (joined Sept 1982)
45. Newtongrange A&F Club (joined Sept 1979)
46. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
47. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
48. North East A&F Club aka Keith A&FC (Sept 1971)
49. Oban A&F Club (Nov 1975)
50. Orkney A&F Club (Mar 1978)
51. Ormiston Miners’ Welfare Society A&F Club
52. Peebles A&F Club (26 Nov 1981)
53. Perth & District A&F Club (Aug 1970)
54. Premier A&F Club NI (cNov 1980)
55. Rothbury Accordion Club (1987??)
56. Shetland A&F Club (Sept 1978)
57. Stranraer & District Accordion Club (1974 – per first edition)
58. Sutherland A&F Club (
59. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
60. Thurso A&F Club (cSept 1981)
61. Turriff A&F Club (March 1982)
62. Tynedale A&F Club (Nov 1980)
63. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
64. Bonchester Accordion Club (Closed?)
65. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
66. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
67. Club Accord
68. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
69. Coupar Angus A&F Club (cSept 1978 - ?)
70. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
71. Denny & Dunipace A&F Club (Feb 1981)
72. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
73. Dunbar Cement Works A&F Club (Closed?)
74. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
75. Gretna A&F Club (June 1966)
76. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
77. Kinlochsheil A&F Club (
78. Kirriemuir A&F Club (cSept 1981)
79. Monklands A&F Club (Nov 1978 – closed cApril 1983)
80. Morecambe A&F Club (joined Sept 1982)
81. Newcastleton Accordion Club
82. New Cumnock A&F Club (cMarch 1979)
83. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
84. Straiton Accordion Club (c1968 – closed March 1979)
85. Torthorwald A&F Club (near Dumfries)
86. Wellbank A&F Club
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