Box and Fiddle
Year 25 No 06
February 2002
Price £1.75
44 Page Magazine
2 month subscription £3.50 + p&p £1.20
Editor – Karin Ingram, Hawick
B&F Treasurer – Charlie Todd, Thankerton
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
As you open this month’s copy of the B&F you should find a petition form. A couple of months ago Rory MacLeod put pen to paper to complain about the lack of coverage given to our kind of music in the media. Other readers have echoed his sentiments, and this month both Jim Gaffney (by letter) and Bill Mackie (by phone) suggested that we should start a petition to make sure that our wishes are known. The B&F has a circulation of 2,000, so if each reader collects even 10 signatures we’ll be well on the way to having something tangible to present to the powers-that-be. To cut costs we’d appreciate it if you could photocopy the form, but if that’s a problem contact us and we’ll send you out more. Please help us with this project, the future of our music could depend on it. All complete forms should be sent to Nicol McLaren.
Another project that needs your help is the Sir Jimmy Shand Sculpture Project. Some clubs are already leading the way, organizing special fund raising dances and Club nights or making a collection at the door as suggested by Les and Joyce Allen last month. Let us know what your Club is doing, and we’ll give you a special mention.
Many congratulation to Phil Cunningham, who received the MBE in the New Year’s Honours List. Phil is a great ambassador for Scottish music and the honour is well-deserved.
I hope you enjoy this month’s B&F – your comments (good or bad!) are always welcome. We also appreciate photographs and articles for the magazine.
Karin Ingram
NAAFC Archives
2003 Calendar Competition
by Charlie Todd
Unfortunately we missed the boat as far as 2002 was concerned but with 11 months now i9n hand we are proposing an Association Calendar for 2003 featuring the 12 best photographs donated or loaned (to be scanned and returned) to the Archives by the end of September 2002.
The Archives, of course, are equally keen to acquire current photographs as well as older ones hence anything will be considered, so long as we can obtain the photographers’ permission.
Current, working bands/ musicians can have their contact telephone numbers, e-mail addresses etc published for some free publicity while older bands/personnel will have some historical footnotes. You may have a favourite photograph of a particular instrument either from a catalogue or your own instrument. As a first time venture it’s an open field as far as we’re concerned so we’ll have to wait and see what is submitted and what the best format for the Calendar will be. The Association’s Executive Committee will be the Adjudicators (whose decision, dare I say it, will be final). As with everything else the Association does, calendars will be sold at cost price, although we may have to take orders to access demand.
So in the meantime it’s up to you, the Readers. Please send your entries to the Editor at the usual address.
We’ll keep you advised of progress through the Archives page of the B&F.
2016 update - I’m a bit hazy on this one but I don’t think we received anything although we were able to produce a calendar for a couple of years using Jack Cooper’s collection. The second year didn’t sell terribly well so it was the last.
Alasdair MacCuish & The Black Rose
Going from Strength to Strength !
by Karin Ingram
When did you start playing?
I didn’t start playing the accordion until I was 12 years old, which I suppose is quite late. My teacher was Graham Laurie, who had (and still has) an accordion school in Paisley. The teaching was mainly based around classical music, and focused on exams and also performance in classical accordion competitions. I was also a member of the Laurie Accordion Orchestra for a number of years, which was great fun. We toured both Holland and Germany, which is a great experience when you’re a young teenager.
Was competing a large part of your early playing?
I would say it took up the majority of my time. My teacher was very keen on using the competition scene to provide an incentive for learning and progression. If Graham thought you were capable, then only first place was acceptable. Initially, most of the competitions were classical based, and took place throughout Scotland and England. Once a year we would attend the N.A.O.’s UK Championships, where I competed in both solo and orchestral competitions. In those years I would practice for about 5 or 6 hours a day (before and after school!) There were so many good players on the scene; you had to put in the hours. In later years I began to try my hand at the Scottish traditional competitions, which got me involved with many of the musicians I am lucky enough to be associated with today.
What year did you win the Scottish Championship at Perth?
That was in 1997. I have to say that I’m not sure I could do it again as I think my nerves get worse as I get older. It’s a very strange competition in as much that probably any of the six players who qualify for the final are capable of winning. It just depends on who can hold their nerves together for three minutes and get through their set – as much a test of nerves as playing ability. The most satisfying aspect for me was looking at all the names on the trophy of those who had won over the years.
So when did you first become interested in Scottish Dance Music?
I had always shown an interest in playing traditional music while at the Laurie School, but with the main focus being on classical music, I played very little Scottish music in my early years. At the time I can remember being desperate to play more and more traditional music, but I am glad now that my teacher maintained a strong bias towards classical music as this armed me with the technique and ability to tackle any type of music in the future.
I don’t think I heard what you would call a ‘traditional’ Scottish Dance band until I was about 15 or 16 years old. I had grown up listening to the likes of Iain MacLachlan, the great button-box player from Benbecula and Fergie MacDonald. The first dance band record I had was Full Throttle by The Wallochmor Ceilidh Band and they are still one of my favourite bands. It wasn’t until I heard the likes of Jim Johnstone and Craig McCallum that I became ‘hooked’ on Scottish Dance music.
Was there music in the family?
Gaelic music is very strong in my family. My mother’s family came from Mallaig and South Uist and my father from North Uist. In my early years, I was more exposed to Gaelic tunes than any other form of music, either through my parents playing Calum Kennedy records or by listening to my mother singing. My grandfather on my mother’s side, Donald MacMillan, was a piper from Milton in South Uist, so perhaps I took my music from him.
Do you travel back to the West Coast to play?
I go as often as I can possibly manage. Obviously I feel very much at home with the audiences on the West coast, and most years I’ll try to do at least one gig in Mull, Mallaig, Skye, Lewis and the Uists. There is a wealth of talent in the Highland communities and it is great not only to go and play but also to listen to the local players. I was fortunate enough to tutor at Feis Alba, which was held in Stornoway a couple of years ago. The standard of the musicians was very high and it gave me the chance to put something back into the community that has given me so much pleasure and which continues to contribute a great deal to the musical diversity of Scotland.
Who would you say has influenced you most as a player?
I can’t say that I have based my style on any one player, as a great number of people have influenced me throughout the years. In my early years (before I started playing) I listened a lot to Iain MacLachlan on Benbecula. Iain was not only a great box player but also an accomplished fiddler and there are few who can match his ability at playing pipe marches. My parents also had a number of old Bobby MacLeod records in the house. Bobby was undoubtedly years ahead of his time, both in terms of arrangements and playing ability. The recent CD of some of his old 78s, brought out by his sons, will surely expose this talent to the up and coming players – there are few better recommendations I can make to players who want to hear pipe tunes and Gaelic waltzes played entirely from the heart.
I really only became aware of the dance band scene when I was lucky enough to have been given a CD of Craig McCallum and his band. Craig had a major influence on my playing. I admire him greatly, both as an accordionist and as a bandleader. There was a lift and drive to his band that I hadn’t heard before, and the broadcasts he did at the end of the 1980s are some of the best I ever heard.
It would be remiss of me to talk about influential musicians without mentioning Jim Johnstone. There is not much I can say about Jim that hasn’t been said before, but Jim’s band set the standard for today’s dance bands over 30 years ago, and it is unlikely that any band will ever emulate the sound that he achieved.
I first met Duncan Black when I used to go to the Ceilidh nights at the Winnock Hotel in Drymen. I would say that more than any other, Duncan has inspired me to do what I do today. He has ability on the accordion that is far more than technique alone. He is without doubt one of the most naturally gifted musicians that the dance music scene has ever produced and I still to this day sit in awe when I hear Duncan play.
Nowadays I am probably more influenced and inspired by musicians outwith the dance band scene. The list is quite long but I like to listen to the likes of Michael McGoldrick, a great Irish pipes and flute player, accordionist Sharon Shannon, many of today’s great fiddlers like Chris Stout, Alan Henderson and Gordon Gunn. Another musician I have a great deal of respect for is Kepa Junkera who is an amazing accordion player from the Basque region of Spain whom I first heard a couple of years ago at Celtic Connections.
How did the Black Rose Ceilidh Band come together?
The band started in about 1991. The original band was just a three piece with Fraser MacLellan and myself on accordions and Lee-Anne Potter on piano. We all met at the Laurie School of Music and realised that there was a market for a young Ceilidh Band in the Glasgow area. Our first gig was at Largs Sailing Club, and luckily, due to the demand at the time, we became busy very quickly. Lea-Anne still plays with the band regularly but Fraser left the band after a couple of years to pursue a career in Germany. Not long after that I met with a very young accordion player Scott Gordon, at Balloch Accordion Club (if my memory serves me right). However at that time, I was interested in Scott’s ability on the drums, and he did his first gig with the band in The Kyles of Bute Hotel in Tignabruich. The manager of the hotel was Sandy MacMillan, who sadly died three years ago. Big Sandy, as he was known, was probably the single most influential character on the band. He was a very good friend to me and he is sorely missed. He was responsible for helping the band get their first recording deal with Klub Records in Glasgow, and also helped to organize numerous gigs at home and abroad. It was also through Sandy that I was fortunate enough to meet with Davy Gracie who played piano with the band on albums and broadcasts for seven years.
What about your drummer Iain MacFadyen?
I met with ‘Stretch’ when I was about 18. I was on holiday in Tobermory and we had a tune together in The Mishnish. I remember saying to him that if he was ever in Glasgow to give me a call. About two years later he left Mull to live in Edinburgh, and he has been playing with the band ever since.
Has the band line-up changed much over the years?
Not much until recently. Unfortunately Davy Gracie, due to work and family commitments, is unable to play with the band as often as he would like, therefore we had to find a new pianist. Russell hunter had been playing with the band off and on overt the years, and he seemed like the obvious choice. His style, although different from that of Davy, fits with the band very well. In addition to Russell, we have also recruited a great double bass player in the shape of Roy Percy. Roy is a vastly experienced musician who is in great demand on the swing and jazz scene in Edinburgh and his playing has really given the band a great lift since he joined. So the complete line-up now is – myself, Scott Gordon (second box), Alison Smith (fiddle), Russell Hunter (piano), Roy Percy (double bass) and Iain ‘Stretch’ MacFadyen (drums).
Why do you think the band has been such a success, with young and ‘not so young’ alike?
That’s a very difficult question. I think there are a number of reasons. Firstly, the quality of the musicians is a major factor. Each member of the band adds his or her unique stamp, which makes the band a little different from the standard. They are all extremely enthusiastic about their playing and continue to find new and innovative ways of interpreting traditional music. I cannot thank the members of the band enough for their musical contribution over the years. In particular I’d like to highlight Davy Gracie. Davy and I work together on most of the band’s arrangements and his ability and creative ideas have been a major influence on the overall sound of the band.
Secondly I think our choice of material sets us apart from dance bands past and present. I probably listen more to Scottish and Irish folk music than I do Scottish dance music, and it is from there that I glean most of the band’s material. The fact that we continually introduce new tunes and arrangements keeps the band sounding fresh and hopefully that stimulates interest in what we do.
Finally, we try as best we can to play a programme that will please the dancers, depending on which area we are playing. A dancing audience on the West Coast would respond much more to a heavy night of 2/4 marches and Puirt a Beul than would an audience in the Borders. Likewise, the dancers in Shetland like to dance a little faster than those on the East Coast. It’s obviously not possible to please everyone in the room, but we try to play to the crowd as much as possible.
Has the band taken you to any exotic foreign locations?
We have been very lucky over the years to travel to a number of countries to play for dancing. These gigs tend to be for ex-pat communities as part of St Andrew’s or Burns’ Night celebrations. We have been to Dublin, Paris, Milan, Dubai, Kuwait, Tunisia and India. The trip to India was particularly memorable. Stretch, Lee-Anne and I spent five days in Bangalore playing for the Caledonian Society. We played to a crowd of about three hundred people of various nationalities, all very keen to try their hand at some Scottish Country Dancing. After the gig, the local Caledonian Society very kindly offered to fly the three of us to Goa for a few days in the sun. This year we have been invited out to the USA to do a two-week tour of concerts and dances. Who says working can’t be fun!!
Do you think it is important to listen to other styles of traditional music?
I feel very strongly about the need to collaborate more with other forms of traditional music. In my opinion, there id too much of a ‘them and us’ agenda between the dance band followers and those who are involved in the wider ‘folk’ music scene. If dance music is not just to survive but actually flourish (as it once did), we have to be more willing to acknowledge that other musical influences used in the dance band context are perfectly acceptable, as long as they are done in a tasteful and appropriate manner and the music remains suitable for dancing. It’s difficult not to notice that as I travel around the A&F Clubs, that there are very few younger listeners within the audience. Whereas if you were to go to a Celtic Connections concert in Glasgow in January, it is full of young people appreciating traditional music. Traditional music is experiencing a phenomenal resurgence in Scotland, and dance music should play a part in this.
We have to find a way of exposing the best in our type of music to an ever-growing young audience to that Scottish Dance Music will be appreciated for generations to come. Unfortunately the great traditional dance band sound which once attracted millions of viewers to The White Heather Club no longer appeals to the younger audience of traditional music lovers and it is high time we addressed the issue. We certainly have a number of musicians in the dance band scene who would be capable of appealing to this audience, however unfortunately they are not encouraged to experiment in any way as it is very much frowned upon by the listening fraternity.
So what now?
Well although the majority of our time is taken up playing for dances, ceilidhs, weddings and other functions, over the last few years we have been lucky to do a variety of projects with the band. As I said earlier, I have very strong links with the West Coast and as such the band plays regularly for some of the Gaelic TV programmes on ITV, which are very enjoyable to do. In 2000, we were invited to play the dance music for BBC Scotland’s ‘Hogmanay Live’ show. This was great experience and it was very rewarding to see dance music right up there alongside popular music in such a high profile show.
In February we will be recording a ‘Take the Floor’ programme from The Aros Hall in Tobermory. The band has enjoyed some great sessions at The Mull Music Festival over the years, so I am particularly looking forward to the recording. Also fiddler Archie McAllister will be making his first broadcast with the band. Although a regular member of the band at gigs, this will be his debut with us on ‘Take the Floor’.
We have also just recorded our fourth album with The Black Rose Ceilidh Band. There are 18 tracks on the album, 14 of which are definitely dance music, and 4 are more contemporary in nature. It is on the Macmeanmna label (SKYECD18) and will be available in February.
Jim MacRae (1947 – 2001) - Obituary
by Hector McLeod
James (Jim) MacRae, who died in a tragic accident on 17th November, 2001, was one of the most popular accordionists and bandleaders in Glasgow’s ceilidh music scene and Highland Community over the last 30 years.
He was brought up and educated in Bearsden and began accordion lessons at the age of nine. However, like many a youngster, he rather lost interest during his teenage years. This was to change dramatically in 1968 when he heard about the music nights being held in The Black Bull Hotel, Milngavie.
Jim went along, entered the ‘room upstairs’ and encountered Bobby Harvey, John Carmichael, Ivor Britton, Jimmy Yeaman, Bob Lillie, Lex Keith, Charlie Kirkpatrick, Norrie Williams and Tam McWilliams – the M.A.F.I.A. – playing away – exchanging tune sand stories and helping and encouraging the younger players. Who would not be inspired by those giants of the dance music scene. Jim certainly was, because in 1969/70 he became the first winner of the ‘Most Improved Player’ Trophy. As Norrie Williams would say, “He got the message!” Jim often told me how much he appreciated the help he got from those musicians.
Two more years of hard practice brought its reward when in 1972 he was invited to join the popular ‘Kelvin Ceilidh Band’, the regular line-up being – Bob Lillie (lead accordion), Jim MacRae (second accordion), Jimmy Yeaman (fiddle), Rae Hyslop (keyboard) and Jim Thomson (drums). Jim played on their LP ‘Bob Lillie and the Kelvin Band’.
During the early seventies Jim also made many trips up north for gigs and tours, to such places as Barra, Lewis, Skye, Kintail, Plockton, Kyle, etc. This was the heyday of band tours, when the Highland and Island villages could have a different band playing five nights a week. A tour could last up to four weeks, and there would be a concert and dance at each venue. The basic band for the tour would usually be three piece but could be augmented by local musicians and singers.
Prominent among the players Jim toured with were Donnie ‘Large’ MacDonald, Clen Mackenzie, Tom Sloss, Adam Rennie (drummer) and a very young Gerry Henderson who started playing with Jim when he was just 15.
Around 1976 Jim left the Kelvin Band and forged out on his own, eventually settling on a regular line-up of himself, Martin Pottinger (guitarist/singer) and Gerry Henderson (drummer), playing gigs mainly around the Glasgow area. The highlights of those years were the trips to Lagos in Nigeria, playing for the Highland Society there. The first trip in the summer of 1977 was such a success that they were invited back for St Andrew’s Nights in 1977 and again in 1978. On all three trips the band was augmented by Jimmy Yeaman on fiddle.
The band became 4 piece in 1979 when I, Hector McLeod (Heckie), fiddler/singer joined them. I was immediately nicknames ‘Faither’, the fiddle being called ‘The Strad’. “Give The Strad a scrape Faither,” would be Jim’s instruction to me for the next 22 years as we were setting the balance. I made my debut with the band on the very last night of The Highlanders Institute in Glasgow and will be known for evermore as ‘the man who closed The Highlanders’.
Having two singers gave the band a lot of variety and seemed to add to its appeal. At any rate we were very busy and for the next 4 / 5 years at weddings, ceilidhs, dances and Annual Gatherings in the Glasgow area. Highlights perhaps were the Friday nights when Jim and Martin or Jim and I would play in the lounge of The Dorchester Hotel, then the band would go round the corner to play at the dance in The Kelvin Centre. Our good friend John Ferguson, the owner, going ‘bananas’ because we would be about 10 minutes late!
There were also many trips north to Ardnamurchan, Lochcarron, etc., and one of the most memorable was, when coming home at three in the morning we ran out of petrol 4 miles north of Perth!
Undoubtedly some of the happiest times were the gigs on Arran where we played three times a year for a few years for the Hall Committee at Whiting Bay. We always had pairs of singers with us; Dougie Gillespie and Mairi Howieson; Iain Carmichael and Sheena Walker; the late Cona MacLean and the late Ian Thomson – Cona being tall and Ian being small helped make their Crooked Bawbee the star item at their ceilidhs every year. The band and the singers always stayed at The Kiscadale Hotel, where the hospitality of Mrs MacKenzie and her ladies was unsurpassed and where the ceilidhs only ended when breakfast was served in the morning. Unforgettable nights.
Of course playing at ceilidhs led to weddings and other gigs on Arran, and none of us will ever forget the Saturday, when going to catch the ferry at Ardrossan to play at a wedding in Arran, we got caught up in Old Firm traffic. Realising we were never going to get to the ferry on time, we stopped at a pub and asked the barman if he would phone Cal-Mac and ask them to hold the ferry until we got there. We arrived at the pier half an hour late – the ferry was still there – the crew helped us up the gangplank with the gear – because, luckily, the skipper was going to the wedding!
The camaraderie between us was very special, and these were very happy years. But all good things come to an end unfortunately, and because of the difficulties of travelling to and from Kilwinning and becoming a father for the first time, Martin left the band around 1984, but made many ‘guest appearances’ right up to the present day. Jim always liked to have a guitarist/singer in the band for the ‘modern’ numbers, and we were very lucky to have Robbie Menzies follow Martin and then the late Sandy MacFarlane follow Robbie – two very fine musicians.
Gerry and Sandy left the band around the same time in 1989, and from then on we played mostly as a three piece of accordion, fiddle and drums. Among the drummers who played regularly were Ronnie Annan and Ricky Burgoyne, and when we had no drummer we were joined by musicians such as Morag Macaskill (keyboard), Lex Keith (piano accordion), Clen Mackenzie (guitarist/singer), Colin Macdonald (accordion) and Donald McIntosh (keyboard).
The last regular member of the band was Ian Ewart, accordion, who joined the band in 1995 and left in the summer of 2000 when he went to work in Wick.
From then on it was basically “The Gruesome Two-some” – MacRae and McLeod – adding extra players from our host of friends as required. In fact things had turned full circle in a way, because there were three future gigs in Jim’s diary in which Martin was going to join us, and which Martin and myself were going to fulfil along with Davie Macdonald, accordion.
All through the years, as well as band work, Jim played as a soloist or with a singer, in the lounge of The Highlanders’ Institute and in The Park Bar in Glasgow. For the last three years, when the band gigs had become fewer, Jim played with Donald Mccrae, the well-known Gaelic singer, every Saturday night at The Islay Inn in Glasgow.
As we were a dance band it was important to Jim that the floor was busy and we did everything in our power to ensure this was the case. He would never allow large breaks between dances – he thought such breaks would kill the atmosphere – it had to be kept going.
Jim’s style of playing was West Coast. He simply loved and was particularly good at playing the 2/4 pipe marches and 6/8 marches and jigs. He had an inate sense of tempo and once he’d set the tempo it never waivered. This enabled us to play readily without a drummer on many occasions. We occasionally had rehearsals when the main purpose of the rehearsal was to practice the ‘modern stuff’ (‘modern’ to us being quicksteps, slow foxtrots and modern waltzes), but invariably Jim would have discovered ‘a cracking reel or 2/4’, and that would be the end of the ‘modern’ for the evening!
Jim, as all his friends knew, would never give up on anything as he proved only too well, by carrying on as though nothing had happened, after the appalling accident to his right eye almost nine years ago. Accordingly, a piece of tricky fingering would be attacked with the same MacRae determination. Such a passage would be practiced until it became fluent. Indeed, at our last gig together, on 26th October, he told me he’d been doing finger exercises for twenty minutes every morning before going to his work.
I am indebted to Jim for introducing me to the Scottish dance music scene. Before he invited me to join his band, the ‘fiddle’ had been under the bed for 15 years. In this ‘new world’ I met so many new friends, had so many happy times and enjoyed the music so much – 22 years of musical partnership and friendship I will always cherish.
Jim MacRae was a man greatly admired for his reliability, conscientiousness, helpfulness and loyalty. His passing leaves a huge gap in the Scottish music scene in Glasgow. It can only be filled by a player of remarkable character and ability. I can think of no better way of summing up Jim’s musical career, and indeed life, than by quoting (with one small alteration) from a song we played together so often ‘When will we see his like again’.
Footnote
Jim has recorded on the following tapes/CDs :
Ceilidh in The Park 1 – The Patchwork Polka
Ceilidh in The Park 2 – Heyken’s Serenade
Islay Inn Bonanza – The Hills of South Uist & King of the Marches; Hamilton’s Nutsack & The Kitchen Piper.
Collectors’ Pieces
by Charlie Gore
Charlie Gore edited and published ‘The Scottish Fiddle Music Index’ in 1994. This was the first attempt ever made to index the titles of the 12,000 or so traditional tunes, songs, airs and miscellaneous music published in the printed collections of the 18th and early 19th centuries. The chief value of the Index to researchers, musicians and students of the tradition is that it has made it possible to locate any tune listed and to identify an accessible source for the music (mostly based on collections held at the National Library of Scotland).
Robert Petrie (1767 - 1830)
Kirkmichael, Perthshire
From the point of view of varied content this is one of the most interesting of the late 18th, early 19th century smaller collections. By all accounts Petrie was a bit of a character, which may have something to do with it. Emmerson (Rantin’ Pipe & Tremblin’ String) says he had “the reputation of being both a profligate and an excellent fiddler, not an uncommon combination as we have seen”. Who can doubt that he was “up to no good” when, with his friend and ‘cello accompanist, John Fleming, they took part in a mock resurrection at night in the kirkyard at Logie, Dundee. Fleming was said to have forecast that none present would die a natural death and kept a book on how things would turn out. According to John Glen, Petrie himself “was found dead one morning…..by the side of a small stream. He had suddenly expired on his way home from a party.” David Baptie (Musical Scotland, Past and Present 1894) confirms that “Petrie was unfortunately drowned while returning from a party on a dark, stormy night”. A fittingly dramatic end for a “ne’er-dae-weel” perhaps.
On the credit side, Petrie was clearly an outstanding fiddler, a popular band player and a composer of great merit, even in those glorious days when the likes of Daniel Dow, William Marshall, the Gow family and ‘Red Rob’ Mackintosh were equally in full song. “In style of playing, he stood by himself and displayed great feeling and a fine fancy” (Baptie). He is recorded as having won ‘the silver bow’ at a competition in Edinburgh in 1822, as a result, particularly, of his playing of ‘The Ewie wi’ the Crookit Horn’. Glen dryly comments that the trophy “never reached Kirkmichael – a fact probably to be attributed to the irregularity of his habits”. He was of course in constant demand at the weddings and social dances of the North-East and no doubt folk were generous with the drams. Between 1790 and 1805, he produced his four small collections of music, dedicated in order to Mrs. Farquharson of Monaltrie. Mrs. Garden of Troup, Francis Garden Esqr. Junior of Troup & Glenlyon. In a total of 242 titles he only claims 31, but it seems safe enough to attribute a number of others to his pen, especially among those relating to the Garden of Troup family and places local to the area where he lived and worked (he may well have been employed at Troup House).
The collections include compositions attributed to many of Petrie’s contemporaries, among whom Daniel Dow (who had connections with Kirkmichael), William Marshall, ‘Red Rob’ Mackintosh (born at nearby Tullimet) and Isaac Cooper (Banff); also J. Boick, J. Black, A. Lawrie, C. Stewart and Mr Macdonald of Bornish (composer of Miss Susan Bogg’s Strathspey and Miss Macdonald of Powder Hall’s Reel) Most of the music in these little books is fresh and eminently playable, which makes it all the more extraordinary that so little of it is known or even in general circulation. But then that applies to about 60% of the printed dance and listening music of the Scottish Tradition published between the years (say) 1780 – 1830.
It’s hard to pass by a tune with the title Wantoness for Ever More without pondering on the mindset of the composer or selector; or for that matter Drunken Friday or Petrie’s Frolick, yet his slow tunes have a tender dignity about them. His choosing to publish the reel Auld Eage and Young ne’er gree Thegither, a tune first found in manuscripts of the 17th Century, may best serve to sum up the conflicts in his character. Scotland’s tradition would have been the less without him.
J. Cameron, Forres
Readers of the B&F over the years cannot fail to have noticed the superb photos that are sent in each month from the Forres Club. For nearly 25 years now these have all been the work of one man – Jack Cameron.
Jack was born in Lossiemouth on June 3rd 1923. His family then moved to Boat of Garten, Inverness-shire, where Jack attended the local schools, finally ending up in Grantown Grammar. Jack remembers, “I cycled the nine miles from home to Grantown each morning and home again at four o’clock, trying to beat the train which usually came in at 4.27. I usually gave the train a wave as I was home before it. Happy days indeed!” Jack took his Highers at Grantown, played both football and golf and became School Captain.
On leaving school he “set sail” for Edinburgh to studt Engineering. Jack says, “On completion I was drafted into mining, and unfortunately I contracted pleurisy, which necessitated a year in hospital before being deemed fit. I had lost my mother, which caused some upheaval as my father was working away from home and I had a sister of 13 years who lived at home. We coped with this – however my finances were low!”
Jack took a job with Balfour Beatty on one of their Hydro schemes and saved his money! He still remembers the hours between midnight and five o’clock on a Saturday night working at the tunnel heading at Lochluichart with the Head Engineer. He moved on to work for Wimpeys of Broxburn. Of these days Jack reminisces, “Two episodes stick in my mind. One was the Knockshinnock Pit disaster in Ayrshire, when the tunnel roof caved in with the loss of two men (whom I think were never found). The other was the collapse of a Lima excavator just before a railway bridge on the Douglas Water road, which blocked the road for two days in 1948.”
About this time Jack had married, and with thoughts of settling down decided to switch to teaching as a career. He graduated from Moray House (where he won the Gold Medal in his year) and was engaged as a teacher in Elgin Academy. From there he went to Milnes High School as a Principal Teacher, then to Grantown Grammar and finally became a Principal Teacher in Forres in 1971. Jack took early retirement in 1985.
Jack’s interest in photography started in 1952 after his elder son Allan was born. His hobby continued as his family grew next with Ewen being born in 1955 and lastly with Rhona completing the family in 1958.
His photography includes views of Scotland, covers for record sleeves, record shots for renovation of historic buildings and shots of interest for national newspapers. He is delighted to be able to combine it with his other great love – Scottish traditional music. We at the B&F are indebted to Jack for his 25 years of support. His photographs are a major contribution to a recently formed archives.
A Dance Band Almanac
by Dave Francis
Most weddings…………
The Piping Shrike
By Jean Lumsden…….
Here we are again Down Under. We have had………..
CD Reviews
Duncan Chisholm – The Door of Saints – CPFCD002
Falkirk RSCDS Branch – Ceilidh Around the Steeple – Reels and Wheels – Gordon Shand
Dance Favourites – Jean McConnachie Sound + John Douglas SDB
Book Review
The Glen Collection
Take the Floor – Saturdays with Robbie Shepherd
2nd Feb 02 – Neil Copland SDB + feature on Ian Holmes
9th Feb 02 – Nicky McMichan + feature on the Glen Collection
16th Feb 02 – Kevin Gardiner SDB + feature on the Sir Jimmy Shand Sculpture Project
23rd Feb 02 – The Black Rose Ceilidh Band – OB from Mull with guests Riona White & Calum McLean
2nd Mar 02 – Ian Holmes SDB
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 26th Feb 02 – Alistair Hunter
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) - 17th Feb 02 – Charlie Kirkpatrick Trio
Arbroath (Viewfield Hotel) - 3rd Feb 02 – Steven Carcary Duo
Armadale (Masonic Hall) – 7th Feb 02 – Marian Anderson SDB
Balloch (St. Kessog’s Church Hall) – 17th Feb 02 – Iain Cathcart SDB
Banchory (Burnett Arms Hotel) –
Banff & District (Banff Springs Hotel) – 27th Feb 02 – Jock Fraser SDB
Beith & District (Anderson Hotel) – 18th Feb 02 – Iain MacPhail SDB
Belford (Community Centre) –
Biggar (Municipal Hall) – 10th Feb 02 – Club Night
Blairgowrie (Moorfield Hotel) -
Bromley (Trinity United Reform Church) - 12th Feb 02 – Gary Blair
Button Key (Windygates Institute) – 14th Feb 02 – Charlie Kirkpatrick
Campbeltown (The Royal Hotel) -
Campsie (Glazert Country House Hotel) - 5th Feb 02 – Lomond Ceilidh Band
Carlisle (St Margaret Mary’s Social Club) - 7th Feb 02 – John Douglas Trio
Castle Douglas (Urr Valley Country House Hotel) – 19th Feb 02 – John Morgan
Coalburn (Miners’ Welfare) - 21st Feb 02 – John Morgan
Crathes (Crathes Hall, Banchory) - 10th Feb 02 – All Players Welcome
Crieff & District (Crieff Hotel) 7th Feb 02 – Jim Johnstone SDB
Cults (Culter Sports & Social Club) 13th Feb 02 – Bill Black SDB
Dalriada (Argyll Arms Hotel, Lochgilphead) 19th Feb 02 – Bill Black SDB
Dingwall (National Hotel) – 6th Feb 02 – Ali McGregor & John Pirie
Dunblane (Victoria Hall) – 20th Feb 02 – Alan Ross SDB
Dunfermline (Headwell Bowling Club) – 12th Feb 02 – Julie Best
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (The Village Inn) – 28th Feb 02 – Roy Hendrie Duo
Ellon (Station Hotel) –
Fintry (Fintry Sports Centre) – 25th Feb 02 – Jim Cleland SDB
Forfar (Plough Inn) - 24th Feb 02 – Bill Black SDB
Forres (Victoria Hotel) – 13th Feb 02 – Jimmy Lindsay Trio
Galashiels (Abbotsford Arms Hotel) –
Galston (Barr Castle Social Club) – 11th Feb 02 – Give Way
Glendale (Black Bull Hotel, Wooler) – 21st Feb 02 – Neil Hardie SDB
Glenfarg (Lomond Hotel) - 6th Feb 02 – Eden Ceilidh Band
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 26th Feb 02 – John Morgan
Gretna (Halcrow Stadium) - 3rd Feb 02 – James Coutts
Highland (Drumossie Hotel) – 18th Feb 02 – Bill Brian Duo
Inveraray (Argyll Hotel) - 13th Feb 02 – Deirdre Adamson
Isle of Skye – (The Royal Hotel, Portree) - 7th Feb 02 – Highland A&F Club
Islesteps (The Embassy Hotel) – 5th Feb 02 – Neil MacEachern Quartet
Kelso (Ednam House Hotel) – 27th Feb 02 – The Big Squeeze
Kintore (Torryburn Hotel) –
Lanark (Ravenstruther Hall) - 25th Fen 02 – Nicky McMichan SDB
Langholm (Crown Hotel) – 13th Feb 02 – Gary Donaldson Trio
Lesmahagow (Masonic Hall) – 14th Feb 02 – Jim Johnstone SDB
Lewis & Harris (Stornoway Legion) - 7th Feb 02 – Paul Anderson
Livingston (Hilcroft Hotel, Whitburn) 19th Feb 02 – Jin Paterson Trio
Lockerbie (Queen’s Hotel) - 8th Feb 02 – Dance to McColl’s Ceilidh Band
26th Feb 02 – Tommy Walker Trio
Mauchline (Harry Lyle Suite) - 19th Feb 02 – Deirdre Adamson
23rd Feb 02 – Dance to Colin Dewar
Montrose (Park Hotel) – 6th Feb 02 – AGM + The Crathes Players
Newmill-on-Teviot (Newmill Country Inn) - 6th Feb 02 – Caberston Ceilidh Band (Jim Paterson)
Newtongrange (Dean Tavern) – 25th Feb 02 – John Morgan
North East (Royal British Legion, Keith) – 5th Feb 02 – Alan Roy
22nd Feb 02 – Dance to Graeme Mitchell SDB
Oban (McTavish’s Kitchen) – 7th Feb 02 – Ross MacPherson
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 28th Feb 02 – James Paterson Trio
Perth (Salutation Hotel) – 19th Feb 02 – Gary Donaldson Trio
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 12th Feb 02 – Stephen Lockhart
Rothbury (Queen’s Head) - 7th Feb 02 – Burns Brothers
Selkirk (Cricket Club) - 14th Feb 02 – Fiddlers von Trapp
Shetland (Shetland Hotel, Lerwick) - 7th Feb 02 – Local Night
21st Feb 02 – Marian Anderson SDB
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) -
Thornhill (Masonic Hall) - 13th Feb 02 – William Marshall SDB
Thurso (Pentland Hotel) – 4th Feb 02 – Local Night
Turriff (Royal British Legion) – 7th Feb 02 – The Redcoats
Tynedale (Hexham Ex Service Club) –
West Barnes (West Barnes Inn) 14th Feb 02 – Gordon Pattullo
Wick (MacKay’s Hotel) – 19th Feb 02 – Caithness Junior Fiddlers
Yarrow (Gordon Arms) - 20th Feb 02 – Dick Black Band
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Alnwick
3. Annan
4. Arbroath
5. Armadale
6. Balloch
7. Banchory
8. Beith & District
9. Biggar
10. Blairgowrie
11. Bromley
12. Button Key
13. Campsie
14. Carlisle
15. Castle Douglas
16. Coalburn
17. Crieff
18. Cults
19. Dingwall
20. Dunblane
21. Dunfermline
22. Dunoon & Cowal
24. Ellon
25. Fintry
26. Forres
27. Galston
28. Glendale
29. Glenrothes & District
30. Gretna
31. Highland
32. Inveraray
33. Isle of Skye
34. Islesteps
35. Kelso
36. Kintore
37. Lanark
38. Langholm
39. Lewis & Harris
40. Montrose
41. Newmill (on-Teviot)
42. Peebles
43. Perth
44. Renfrew
45. Rothbury
46. Shetland
47. Thornhill
48. Thurso
49. Turriff
50. Tynedale
51. West Barnes
52. Yarrow
CLUB DIRECTORY AS AT OCT 2002
(Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Bromley A&F Club
14. Button Key A&F Club (
15. Campbeltown A&F Club (
16. Campsie A&F Club (Nov 95 – present)
17. Carlisle A&F Club (joined Sept 1993 -
18. Castle Douglas A&F Club (c Sept 1980 – present)
19. Coalburn A&F Club (
20. Crathes (aka Scottish Accordion Music – Crathes) (Nov 1997 -
21. Crieff A&F Club (cSept 1981)
22. Cults A & F Club (
23. Dalriada A&F Club (Feb 1981)
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dunfermline & District A&F Club (1974 – per first edition)
27. Dunoon & Cowal A&F Club (
28. East Kilbride A&F Club (Sept 1980)
29. Ellon A&F Club (
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Galashiels A&F Club (joined Sept 1982 - present)
34. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
35. Glendale Accordion Club (Jan 1973)
36. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
37. Glenrothes A&F Club (Mar 93?
38. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Feb 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (June 1983 – present)
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Ladybank A&F Club (joined Apr 98 but formed
47. Lanark A&F Club (joined Sept 96 – present)
48. Langholm A&F Club (Oct 1967 - present)
49. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Mauchline A&F Club (Sept 1983 - present)
54. Montrose A&F Club (joined Sept 1982 - present)
55. Muirhead A&F Club (Dec 1994 -
56. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
57. Newtongrange A&F Club (joined Sept 1977 - present)
58. North East A&F Club aka Keith A&FC (Sept 1971 - present)
59. Oban A&F Club (Nov 1975 - present)
60. Orkney A&F Club (Mar 1978 - present)
61. Peebles A&F Club (26 Nov 1981 - present)
62. Perth & District A&F Club (Aug 1970 - present)
63. Premier A&F Club NI (April 1980)
64. Renfrew A&F Club (1984 -
65. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
66. Selkirk A&F Club (
67. Shetland A&F Club (Sept 1978 - present)
68. Stirling A&F Club (Oct 1991 - )
69. Sutherland A&F Club (
70. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
71. Thurso A&F Club (Oct 1981 - present)
72. Turriff A&F Club (March 1982 - present)
73. Tynedale A&F Club (Nov 1980 - present)
74. Vancouver
75. West Barnes ( - present)
76. Wick A&F Club (Oct 1975 - present)
77. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – )
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
78. Acharacle & District A&F Club (cMay 1988)
79. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
80. Bonchester Accordion Club (Closed?)
81. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
82. Brigmill A&F Club (Oct 1990) Closed
83. Buchan A&F Club
84. Callander A&F Club (
85. Campbeltown & District A&F Club (c Dec 1980)
86. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
87. Club Accord
88. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
89. Coupar Angus A&F Club (cSept 1978 - ?)
90. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
91. Denny & Dunipace A&F Club (Feb 1981)
92. Derwentside A&F Club
93. Dornoch A&F Club (first mention in directory 1986)
94. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
95. Dunbar Cement Works A&F Club (Closed?)
96. Dundee & District A&F Club (1970? – 1995?)
97. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
98. Falkirk A&F Club (Sept 1978 - )
99. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
100. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
101. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
102. Kirriemuir A&F Club (cSept 1981)
103. M.A.F.I.A. (1966 – 1993?)
104. Monklands A&F Club (Nov 1978 – closed cApril 1983)
105. Morecambe A&F Club (joined Sept 1982)
106. Mull A&F Club
107. Newcastleton Accordion Club
108. New Cumnock A&F Club (cMarch 1979)
109. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
110. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
111. Reading Scottish Fiddlers (cMarch 1997
112. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
113. Straiton Accordion Club (c1968 – closed March 1979)
114. Stranraer & District Accordion Club (1974 – per first edition)
115. Torthorwald A&F Club (near Dumfries)
116. Tranent A&F Club
117. Walmer (Bridge of Allan) A&F Club
118. Wellbank A&F Club
Advertising rates
Full Page - £120
Half Page - £60
Quarter Page - £30
B&F Treasurer – Charlie Todd, Thankerton
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
As you open this month’s copy of the B&F you should find a petition form. A couple of months ago Rory MacLeod put pen to paper to complain about the lack of coverage given to our kind of music in the media. Other readers have echoed his sentiments, and this month both Jim Gaffney (by letter) and Bill Mackie (by phone) suggested that we should start a petition to make sure that our wishes are known. The B&F has a circulation of 2,000, so if each reader collects even 10 signatures we’ll be well on the way to having something tangible to present to the powers-that-be. To cut costs we’d appreciate it if you could photocopy the form, but if that’s a problem contact us and we’ll send you out more. Please help us with this project, the future of our music could depend on it. All complete forms should be sent to Nicol McLaren.
Another project that needs your help is the Sir Jimmy Shand Sculpture Project. Some clubs are already leading the way, organizing special fund raising dances and Club nights or making a collection at the door as suggested by Les and Joyce Allen last month. Let us know what your Club is doing, and we’ll give you a special mention.
Many congratulation to Phil Cunningham, who received the MBE in the New Year’s Honours List. Phil is a great ambassador for Scottish music and the honour is well-deserved.
I hope you enjoy this month’s B&F – your comments (good or bad!) are always welcome. We also appreciate photographs and articles for the magazine.
Karin Ingram
NAAFC Archives
2003 Calendar Competition
by Charlie Todd
Unfortunately we missed the boat as far as 2002 was concerned but with 11 months now i9n hand we are proposing an Association Calendar for 2003 featuring the 12 best photographs donated or loaned (to be scanned and returned) to the Archives by the end of September 2002.
The Archives, of course, are equally keen to acquire current photographs as well as older ones hence anything will be considered, so long as we can obtain the photographers’ permission.
Current, working bands/ musicians can have their contact telephone numbers, e-mail addresses etc published for some free publicity while older bands/personnel will have some historical footnotes. You may have a favourite photograph of a particular instrument either from a catalogue or your own instrument. As a first time venture it’s an open field as far as we’re concerned so we’ll have to wait and see what is submitted and what the best format for the Calendar will be. The Association’s Executive Committee will be the Adjudicators (whose decision, dare I say it, will be final). As with everything else the Association does, calendars will be sold at cost price, although we may have to take orders to access demand.
So in the meantime it’s up to you, the Readers. Please send your entries to the Editor at the usual address.
We’ll keep you advised of progress through the Archives page of the B&F.
2016 update - I’m a bit hazy on this one but I don’t think we received anything although we were able to produce a calendar for a couple of years using Jack Cooper’s collection. The second year didn’t sell terribly well so it was the last.
Alasdair MacCuish & The Black Rose
Going from Strength to Strength !
by Karin Ingram
When did you start playing?
I didn’t start playing the accordion until I was 12 years old, which I suppose is quite late. My teacher was Graham Laurie, who had (and still has) an accordion school in Paisley. The teaching was mainly based around classical music, and focused on exams and also performance in classical accordion competitions. I was also a member of the Laurie Accordion Orchestra for a number of years, which was great fun. We toured both Holland and Germany, which is a great experience when you’re a young teenager.
Was competing a large part of your early playing?
I would say it took up the majority of my time. My teacher was very keen on using the competition scene to provide an incentive for learning and progression. If Graham thought you were capable, then only first place was acceptable. Initially, most of the competitions were classical based, and took place throughout Scotland and England. Once a year we would attend the N.A.O.’s UK Championships, where I competed in both solo and orchestral competitions. In those years I would practice for about 5 or 6 hours a day (before and after school!) There were so many good players on the scene; you had to put in the hours. In later years I began to try my hand at the Scottish traditional competitions, which got me involved with many of the musicians I am lucky enough to be associated with today.
What year did you win the Scottish Championship at Perth?
That was in 1997. I have to say that I’m not sure I could do it again as I think my nerves get worse as I get older. It’s a very strange competition in as much that probably any of the six players who qualify for the final are capable of winning. It just depends on who can hold their nerves together for three minutes and get through their set – as much a test of nerves as playing ability. The most satisfying aspect for me was looking at all the names on the trophy of those who had won over the years.
So when did you first become interested in Scottish Dance Music?
I had always shown an interest in playing traditional music while at the Laurie School, but with the main focus being on classical music, I played very little Scottish music in my early years. At the time I can remember being desperate to play more and more traditional music, but I am glad now that my teacher maintained a strong bias towards classical music as this armed me with the technique and ability to tackle any type of music in the future.
I don’t think I heard what you would call a ‘traditional’ Scottish Dance band until I was about 15 or 16 years old. I had grown up listening to the likes of Iain MacLachlan, the great button-box player from Benbecula and Fergie MacDonald. The first dance band record I had was Full Throttle by The Wallochmor Ceilidh Band and they are still one of my favourite bands. It wasn’t until I heard the likes of Jim Johnstone and Craig McCallum that I became ‘hooked’ on Scottish Dance music.
Was there music in the family?
Gaelic music is very strong in my family. My mother’s family came from Mallaig and South Uist and my father from North Uist. In my early years, I was more exposed to Gaelic tunes than any other form of music, either through my parents playing Calum Kennedy records or by listening to my mother singing. My grandfather on my mother’s side, Donald MacMillan, was a piper from Milton in South Uist, so perhaps I took my music from him.
Do you travel back to the West Coast to play?
I go as often as I can possibly manage. Obviously I feel very much at home with the audiences on the West coast, and most years I’ll try to do at least one gig in Mull, Mallaig, Skye, Lewis and the Uists. There is a wealth of talent in the Highland communities and it is great not only to go and play but also to listen to the local players. I was fortunate enough to tutor at Feis Alba, which was held in Stornoway a couple of years ago. The standard of the musicians was very high and it gave me the chance to put something back into the community that has given me so much pleasure and which continues to contribute a great deal to the musical diversity of Scotland.
Who would you say has influenced you most as a player?
I can’t say that I have based my style on any one player, as a great number of people have influenced me throughout the years. In my early years (before I started playing) I listened a lot to Iain MacLachlan on Benbecula. Iain was not only a great box player but also an accomplished fiddler and there are few who can match his ability at playing pipe marches. My parents also had a number of old Bobby MacLeod records in the house. Bobby was undoubtedly years ahead of his time, both in terms of arrangements and playing ability. The recent CD of some of his old 78s, brought out by his sons, will surely expose this talent to the up and coming players – there are few better recommendations I can make to players who want to hear pipe tunes and Gaelic waltzes played entirely from the heart.
I really only became aware of the dance band scene when I was lucky enough to have been given a CD of Craig McCallum and his band. Craig had a major influence on my playing. I admire him greatly, both as an accordionist and as a bandleader. There was a lift and drive to his band that I hadn’t heard before, and the broadcasts he did at the end of the 1980s are some of the best I ever heard.
It would be remiss of me to talk about influential musicians without mentioning Jim Johnstone. There is not much I can say about Jim that hasn’t been said before, but Jim’s band set the standard for today’s dance bands over 30 years ago, and it is unlikely that any band will ever emulate the sound that he achieved.
I first met Duncan Black when I used to go to the Ceilidh nights at the Winnock Hotel in Drymen. I would say that more than any other, Duncan has inspired me to do what I do today. He has ability on the accordion that is far more than technique alone. He is without doubt one of the most naturally gifted musicians that the dance music scene has ever produced and I still to this day sit in awe when I hear Duncan play.
Nowadays I am probably more influenced and inspired by musicians outwith the dance band scene. The list is quite long but I like to listen to the likes of Michael McGoldrick, a great Irish pipes and flute player, accordionist Sharon Shannon, many of today’s great fiddlers like Chris Stout, Alan Henderson and Gordon Gunn. Another musician I have a great deal of respect for is Kepa Junkera who is an amazing accordion player from the Basque region of Spain whom I first heard a couple of years ago at Celtic Connections.
How did the Black Rose Ceilidh Band come together?
The band started in about 1991. The original band was just a three piece with Fraser MacLellan and myself on accordions and Lee-Anne Potter on piano. We all met at the Laurie School of Music and realised that there was a market for a young Ceilidh Band in the Glasgow area. Our first gig was at Largs Sailing Club, and luckily, due to the demand at the time, we became busy very quickly. Lea-Anne still plays with the band regularly but Fraser left the band after a couple of years to pursue a career in Germany. Not long after that I met with a very young accordion player Scott Gordon, at Balloch Accordion Club (if my memory serves me right). However at that time, I was interested in Scott’s ability on the drums, and he did his first gig with the band in The Kyles of Bute Hotel in Tignabruich. The manager of the hotel was Sandy MacMillan, who sadly died three years ago. Big Sandy, as he was known, was probably the single most influential character on the band. He was a very good friend to me and he is sorely missed. He was responsible for helping the band get their first recording deal with Klub Records in Glasgow, and also helped to organize numerous gigs at home and abroad. It was also through Sandy that I was fortunate enough to meet with Davy Gracie who played piano with the band on albums and broadcasts for seven years.
What about your drummer Iain MacFadyen?
I met with ‘Stretch’ when I was about 18. I was on holiday in Tobermory and we had a tune together in The Mishnish. I remember saying to him that if he was ever in Glasgow to give me a call. About two years later he left Mull to live in Edinburgh, and he has been playing with the band ever since.
Has the band line-up changed much over the years?
Not much until recently. Unfortunately Davy Gracie, due to work and family commitments, is unable to play with the band as often as he would like, therefore we had to find a new pianist. Russell hunter had been playing with the band off and on overt the years, and he seemed like the obvious choice. His style, although different from that of Davy, fits with the band very well. In addition to Russell, we have also recruited a great double bass player in the shape of Roy Percy. Roy is a vastly experienced musician who is in great demand on the swing and jazz scene in Edinburgh and his playing has really given the band a great lift since he joined. So the complete line-up now is – myself, Scott Gordon (second box), Alison Smith (fiddle), Russell Hunter (piano), Roy Percy (double bass) and Iain ‘Stretch’ MacFadyen (drums).
Why do you think the band has been such a success, with young and ‘not so young’ alike?
That’s a very difficult question. I think there are a number of reasons. Firstly, the quality of the musicians is a major factor. Each member of the band adds his or her unique stamp, which makes the band a little different from the standard. They are all extremely enthusiastic about their playing and continue to find new and innovative ways of interpreting traditional music. I cannot thank the members of the band enough for their musical contribution over the years. In particular I’d like to highlight Davy Gracie. Davy and I work together on most of the band’s arrangements and his ability and creative ideas have been a major influence on the overall sound of the band.
Secondly I think our choice of material sets us apart from dance bands past and present. I probably listen more to Scottish and Irish folk music than I do Scottish dance music, and it is from there that I glean most of the band’s material. The fact that we continually introduce new tunes and arrangements keeps the band sounding fresh and hopefully that stimulates interest in what we do.
Finally, we try as best we can to play a programme that will please the dancers, depending on which area we are playing. A dancing audience on the West Coast would respond much more to a heavy night of 2/4 marches and Puirt a Beul than would an audience in the Borders. Likewise, the dancers in Shetland like to dance a little faster than those on the East Coast. It’s obviously not possible to please everyone in the room, but we try to play to the crowd as much as possible.
Has the band taken you to any exotic foreign locations?
We have been very lucky over the years to travel to a number of countries to play for dancing. These gigs tend to be for ex-pat communities as part of St Andrew’s or Burns’ Night celebrations. We have been to Dublin, Paris, Milan, Dubai, Kuwait, Tunisia and India. The trip to India was particularly memorable. Stretch, Lee-Anne and I spent five days in Bangalore playing for the Caledonian Society. We played to a crowd of about three hundred people of various nationalities, all very keen to try their hand at some Scottish Country Dancing. After the gig, the local Caledonian Society very kindly offered to fly the three of us to Goa for a few days in the sun. This year we have been invited out to the USA to do a two-week tour of concerts and dances. Who says working can’t be fun!!
Do you think it is important to listen to other styles of traditional music?
I feel very strongly about the need to collaborate more with other forms of traditional music. In my opinion, there id too much of a ‘them and us’ agenda between the dance band followers and those who are involved in the wider ‘folk’ music scene. If dance music is not just to survive but actually flourish (as it once did), we have to be more willing to acknowledge that other musical influences used in the dance band context are perfectly acceptable, as long as they are done in a tasteful and appropriate manner and the music remains suitable for dancing. It’s difficult not to notice that as I travel around the A&F Clubs, that there are very few younger listeners within the audience. Whereas if you were to go to a Celtic Connections concert in Glasgow in January, it is full of young people appreciating traditional music. Traditional music is experiencing a phenomenal resurgence in Scotland, and dance music should play a part in this.
We have to find a way of exposing the best in our type of music to an ever-growing young audience to that Scottish Dance Music will be appreciated for generations to come. Unfortunately the great traditional dance band sound which once attracted millions of viewers to The White Heather Club no longer appeals to the younger audience of traditional music lovers and it is high time we addressed the issue. We certainly have a number of musicians in the dance band scene who would be capable of appealing to this audience, however unfortunately they are not encouraged to experiment in any way as it is very much frowned upon by the listening fraternity.
So what now?
Well although the majority of our time is taken up playing for dances, ceilidhs, weddings and other functions, over the last few years we have been lucky to do a variety of projects with the band. As I said earlier, I have very strong links with the West Coast and as such the band plays regularly for some of the Gaelic TV programmes on ITV, which are very enjoyable to do. In 2000, we were invited to play the dance music for BBC Scotland’s ‘Hogmanay Live’ show. This was great experience and it was very rewarding to see dance music right up there alongside popular music in such a high profile show.
In February we will be recording a ‘Take the Floor’ programme from The Aros Hall in Tobermory. The band has enjoyed some great sessions at The Mull Music Festival over the years, so I am particularly looking forward to the recording. Also fiddler Archie McAllister will be making his first broadcast with the band. Although a regular member of the band at gigs, this will be his debut with us on ‘Take the Floor’.
We have also just recorded our fourth album with The Black Rose Ceilidh Band. There are 18 tracks on the album, 14 of which are definitely dance music, and 4 are more contemporary in nature. It is on the Macmeanmna label (SKYECD18) and will be available in February.
Jim MacRae (1947 – 2001) - Obituary
by Hector McLeod
James (Jim) MacRae, who died in a tragic accident on 17th November, 2001, was one of the most popular accordionists and bandleaders in Glasgow’s ceilidh music scene and Highland Community over the last 30 years.
He was brought up and educated in Bearsden and began accordion lessons at the age of nine. However, like many a youngster, he rather lost interest during his teenage years. This was to change dramatically in 1968 when he heard about the music nights being held in The Black Bull Hotel, Milngavie.
Jim went along, entered the ‘room upstairs’ and encountered Bobby Harvey, John Carmichael, Ivor Britton, Jimmy Yeaman, Bob Lillie, Lex Keith, Charlie Kirkpatrick, Norrie Williams and Tam McWilliams – the M.A.F.I.A. – playing away – exchanging tune sand stories and helping and encouraging the younger players. Who would not be inspired by those giants of the dance music scene. Jim certainly was, because in 1969/70 he became the first winner of the ‘Most Improved Player’ Trophy. As Norrie Williams would say, “He got the message!” Jim often told me how much he appreciated the help he got from those musicians.
Two more years of hard practice brought its reward when in 1972 he was invited to join the popular ‘Kelvin Ceilidh Band’, the regular line-up being – Bob Lillie (lead accordion), Jim MacRae (second accordion), Jimmy Yeaman (fiddle), Rae Hyslop (keyboard) and Jim Thomson (drums). Jim played on their LP ‘Bob Lillie and the Kelvin Band’.
During the early seventies Jim also made many trips up north for gigs and tours, to such places as Barra, Lewis, Skye, Kintail, Plockton, Kyle, etc. This was the heyday of band tours, when the Highland and Island villages could have a different band playing five nights a week. A tour could last up to four weeks, and there would be a concert and dance at each venue. The basic band for the tour would usually be three piece but could be augmented by local musicians and singers.
Prominent among the players Jim toured with were Donnie ‘Large’ MacDonald, Clen Mackenzie, Tom Sloss, Adam Rennie (drummer) and a very young Gerry Henderson who started playing with Jim when he was just 15.
Around 1976 Jim left the Kelvin Band and forged out on his own, eventually settling on a regular line-up of himself, Martin Pottinger (guitarist/singer) and Gerry Henderson (drummer), playing gigs mainly around the Glasgow area. The highlights of those years were the trips to Lagos in Nigeria, playing for the Highland Society there. The first trip in the summer of 1977 was such a success that they were invited back for St Andrew’s Nights in 1977 and again in 1978. On all three trips the band was augmented by Jimmy Yeaman on fiddle.
The band became 4 piece in 1979 when I, Hector McLeod (Heckie), fiddler/singer joined them. I was immediately nicknames ‘Faither’, the fiddle being called ‘The Strad’. “Give The Strad a scrape Faither,” would be Jim’s instruction to me for the next 22 years as we were setting the balance. I made my debut with the band on the very last night of The Highlanders Institute in Glasgow and will be known for evermore as ‘the man who closed The Highlanders’.
Having two singers gave the band a lot of variety and seemed to add to its appeal. At any rate we were very busy and for the next 4 / 5 years at weddings, ceilidhs, dances and Annual Gatherings in the Glasgow area. Highlights perhaps were the Friday nights when Jim and Martin or Jim and I would play in the lounge of The Dorchester Hotel, then the band would go round the corner to play at the dance in The Kelvin Centre. Our good friend John Ferguson, the owner, going ‘bananas’ because we would be about 10 minutes late!
There were also many trips north to Ardnamurchan, Lochcarron, etc., and one of the most memorable was, when coming home at three in the morning we ran out of petrol 4 miles north of Perth!
Undoubtedly some of the happiest times were the gigs on Arran where we played three times a year for a few years for the Hall Committee at Whiting Bay. We always had pairs of singers with us; Dougie Gillespie and Mairi Howieson; Iain Carmichael and Sheena Walker; the late Cona MacLean and the late Ian Thomson – Cona being tall and Ian being small helped make their Crooked Bawbee the star item at their ceilidhs every year. The band and the singers always stayed at The Kiscadale Hotel, where the hospitality of Mrs MacKenzie and her ladies was unsurpassed and where the ceilidhs only ended when breakfast was served in the morning. Unforgettable nights.
Of course playing at ceilidhs led to weddings and other gigs on Arran, and none of us will ever forget the Saturday, when going to catch the ferry at Ardrossan to play at a wedding in Arran, we got caught up in Old Firm traffic. Realising we were never going to get to the ferry on time, we stopped at a pub and asked the barman if he would phone Cal-Mac and ask them to hold the ferry until we got there. We arrived at the pier half an hour late – the ferry was still there – the crew helped us up the gangplank with the gear – because, luckily, the skipper was going to the wedding!
The camaraderie between us was very special, and these were very happy years. But all good things come to an end unfortunately, and because of the difficulties of travelling to and from Kilwinning and becoming a father for the first time, Martin left the band around 1984, but made many ‘guest appearances’ right up to the present day. Jim always liked to have a guitarist/singer in the band for the ‘modern’ numbers, and we were very lucky to have Robbie Menzies follow Martin and then the late Sandy MacFarlane follow Robbie – two very fine musicians.
Gerry and Sandy left the band around the same time in 1989, and from then on we played mostly as a three piece of accordion, fiddle and drums. Among the drummers who played regularly were Ronnie Annan and Ricky Burgoyne, and when we had no drummer we were joined by musicians such as Morag Macaskill (keyboard), Lex Keith (piano accordion), Clen Mackenzie (guitarist/singer), Colin Macdonald (accordion) and Donald McIntosh (keyboard).
The last regular member of the band was Ian Ewart, accordion, who joined the band in 1995 and left in the summer of 2000 when he went to work in Wick.
From then on it was basically “The Gruesome Two-some” – MacRae and McLeod – adding extra players from our host of friends as required. In fact things had turned full circle in a way, because there were three future gigs in Jim’s diary in which Martin was going to join us, and which Martin and myself were going to fulfil along with Davie Macdonald, accordion.
All through the years, as well as band work, Jim played as a soloist or with a singer, in the lounge of The Highlanders’ Institute and in The Park Bar in Glasgow. For the last three years, when the band gigs had become fewer, Jim played with Donald Mccrae, the well-known Gaelic singer, every Saturday night at The Islay Inn in Glasgow.
As we were a dance band it was important to Jim that the floor was busy and we did everything in our power to ensure this was the case. He would never allow large breaks between dances – he thought such breaks would kill the atmosphere – it had to be kept going.
Jim’s style of playing was West Coast. He simply loved and was particularly good at playing the 2/4 pipe marches and 6/8 marches and jigs. He had an inate sense of tempo and once he’d set the tempo it never waivered. This enabled us to play readily without a drummer on many occasions. We occasionally had rehearsals when the main purpose of the rehearsal was to practice the ‘modern stuff’ (‘modern’ to us being quicksteps, slow foxtrots and modern waltzes), but invariably Jim would have discovered ‘a cracking reel or 2/4’, and that would be the end of the ‘modern’ for the evening!
Jim, as all his friends knew, would never give up on anything as he proved only too well, by carrying on as though nothing had happened, after the appalling accident to his right eye almost nine years ago. Accordingly, a piece of tricky fingering would be attacked with the same MacRae determination. Such a passage would be practiced until it became fluent. Indeed, at our last gig together, on 26th October, he told me he’d been doing finger exercises for twenty minutes every morning before going to his work.
I am indebted to Jim for introducing me to the Scottish dance music scene. Before he invited me to join his band, the ‘fiddle’ had been under the bed for 15 years. In this ‘new world’ I met so many new friends, had so many happy times and enjoyed the music so much – 22 years of musical partnership and friendship I will always cherish.
Jim MacRae was a man greatly admired for his reliability, conscientiousness, helpfulness and loyalty. His passing leaves a huge gap in the Scottish music scene in Glasgow. It can only be filled by a player of remarkable character and ability. I can think of no better way of summing up Jim’s musical career, and indeed life, than by quoting (with one small alteration) from a song we played together so often ‘When will we see his like again’.
Footnote
Jim has recorded on the following tapes/CDs :
Ceilidh in The Park 1 – The Patchwork Polka
Ceilidh in The Park 2 – Heyken’s Serenade
Islay Inn Bonanza – The Hills of South Uist & King of the Marches; Hamilton’s Nutsack & The Kitchen Piper.
Collectors’ Pieces
by Charlie Gore
Charlie Gore edited and published ‘The Scottish Fiddle Music Index’ in 1994. This was the first attempt ever made to index the titles of the 12,000 or so traditional tunes, songs, airs and miscellaneous music published in the printed collections of the 18th and early 19th centuries. The chief value of the Index to researchers, musicians and students of the tradition is that it has made it possible to locate any tune listed and to identify an accessible source for the music (mostly based on collections held at the National Library of Scotland).
Robert Petrie (1767 - 1830)
Kirkmichael, Perthshire
From the point of view of varied content this is one of the most interesting of the late 18th, early 19th century smaller collections. By all accounts Petrie was a bit of a character, which may have something to do with it. Emmerson (Rantin’ Pipe & Tremblin’ String) says he had “the reputation of being both a profligate and an excellent fiddler, not an uncommon combination as we have seen”. Who can doubt that he was “up to no good” when, with his friend and ‘cello accompanist, John Fleming, they took part in a mock resurrection at night in the kirkyard at Logie, Dundee. Fleming was said to have forecast that none present would die a natural death and kept a book on how things would turn out. According to John Glen, Petrie himself “was found dead one morning…..by the side of a small stream. He had suddenly expired on his way home from a party.” David Baptie (Musical Scotland, Past and Present 1894) confirms that “Petrie was unfortunately drowned while returning from a party on a dark, stormy night”. A fittingly dramatic end for a “ne’er-dae-weel” perhaps.
On the credit side, Petrie was clearly an outstanding fiddler, a popular band player and a composer of great merit, even in those glorious days when the likes of Daniel Dow, William Marshall, the Gow family and ‘Red Rob’ Mackintosh were equally in full song. “In style of playing, he stood by himself and displayed great feeling and a fine fancy” (Baptie). He is recorded as having won ‘the silver bow’ at a competition in Edinburgh in 1822, as a result, particularly, of his playing of ‘The Ewie wi’ the Crookit Horn’. Glen dryly comments that the trophy “never reached Kirkmichael – a fact probably to be attributed to the irregularity of his habits”. He was of course in constant demand at the weddings and social dances of the North-East and no doubt folk were generous with the drams. Between 1790 and 1805, he produced his four small collections of music, dedicated in order to Mrs. Farquharson of Monaltrie. Mrs. Garden of Troup, Francis Garden Esqr. Junior of Troup & Glenlyon. In a total of 242 titles he only claims 31, but it seems safe enough to attribute a number of others to his pen, especially among those relating to the Garden of Troup family and places local to the area where he lived and worked (he may well have been employed at Troup House).
The collections include compositions attributed to many of Petrie’s contemporaries, among whom Daniel Dow (who had connections with Kirkmichael), William Marshall, ‘Red Rob’ Mackintosh (born at nearby Tullimet) and Isaac Cooper (Banff); also J. Boick, J. Black, A. Lawrie, C. Stewart and Mr Macdonald of Bornish (composer of Miss Susan Bogg’s Strathspey and Miss Macdonald of Powder Hall’s Reel) Most of the music in these little books is fresh and eminently playable, which makes it all the more extraordinary that so little of it is known or even in general circulation. But then that applies to about 60% of the printed dance and listening music of the Scottish Tradition published between the years (say) 1780 – 1830.
It’s hard to pass by a tune with the title Wantoness for Ever More without pondering on the mindset of the composer or selector; or for that matter Drunken Friday or Petrie’s Frolick, yet his slow tunes have a tender dignity about them. His choosing to publish the reel Auld Eage and Young ne’er gree Thegither, a tune first found in manuscripts of the 17th Century, may best serve to sum up the conflicts in his character. Scotland’s tradition would have been the less without him.
J. Cameron, Forres
Readers of the B&F over the years cannot fail to have noticed the superb photos that are sent in each month from the Forres Club. For nearly 25 years now these have all been the work of one man – Jack Cameron.
Jack was born in Lossiemouth on June 3rd 1923. His family then moved to Boat of Garten, Inverness-shire, where Jack attended the local schools, finally ending up in Grantown Grammar. Jack remembers, “I cycled the nine miles from home to Grantown each morning and home again at four o’clock, trying to beat the train which usually came in at 4.27. I usually gave the train a wave as I was home before it. Happy days indeed!” Jack took his Highers at Grantown, played both football and golf and became School Captain.
On leaving school he “set sail” for Edinburgh to studt Engineering. Jack says, “On completion I was drafted into mining, and unfortunately I contracted pleurisy, which necessitated a year in hospital before being deemed fit. I had lost my mother, which caused some upheaval as my father was working away from home and I had a sister of 13 years who lived at home. We coped with this – however my finances were low!”
Jack took a job with Balfour Beatty on one of their Hydro schemes and saved his money! He still remembers the hours between midnight and five o’clock on a Saturday night working at the tunnel heading at Lochluichart with the Head Engineer. He moved on to work for Wimpeys of Broxburn. Of these days Jack reminisces, “Two episodes stick in my mind. One was the Knockshinnock Pit disaster in Ayrshire, when the tunnel roof caved in with the loss of two men (whom I think were never found). The other was the collapse of a Lima excavator just before a railway bridge on the Douglas Water road, which blocked the road for two days in 1948.”
About this time Jack had married, and with thoughts of settling down decided to switch to teaching as a career. He graduated from Moray House (where he won the Gold Medal in his year) and was engaged as a teacher in Elgin Academy. From there he went to Milnes High School as a Principal Teacher, then to Grantown Grammar and finally became a Principal Teacher in Forres in 1971. Jack took early retirement in 1985.
Jack’s interest in photography started in 1952 after his elder son Allan was born. His hobby continued as his family grew next with Ewen being born in 1955 and lastly with Rhona completing the family in 1958.
His photography includes views of Scotland, covers for record sleeves, record shots for renovation of historic buildings and shots of interest for national newspapers. He is delighted to be able to combine it with his other great love – Scottish traditional music. We at the B&F are indebted to Jack for his 25 years of support. His photographs are a major contribution to a recently formed archives.
A Dance Band Almanac
by Dave Francis
Most weddings…………
The Piping Shrike
By Jean Lumsden…….
Here we are again Down Under. We have had………..
CD Reviews
Duncan Chisholm – The Door of Saints – CPFCD002
Falkirk RSCDS Branch – Ceilidh Around the Steeple – Reels and Wheels – Gordon Shand
Dance Favourites – Jean McConnachie Sound + John Douglas SDB
Book Review
The Glen Collection
Take the Floor – Saturdays with Robbie Shepherd
2nd Feb 02 – Neil Copland SDB + feature on Ian Holmes
9th Feb 02 – Nicky McMichan + feature on the Glen Collection
16th Feb 02 – Kevin Gardiner SDB + feature on the Sir Jimmy Shand Sculpture Project
23rd Feb 02 – The Black Rose Ceilidh Band – OB from Mull with guests Riona White & Calum McLean
2nd Mar 02 – Ian Holmes SDB
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 26th Feb 02 – Alistair Hunter
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) - 17th Feb 02 – Charlie Kirkpatrick Trio
Arbroath (Viewfield Hotel) - 3rd Feb 02 – Steven Carcary Duo
Armadale (Masonic Hall) – 7th Feb 02 – Marian Anderson SDB
Balloch (St. Kessog’s Church Hall) – 17th Feb 02 – Iain Cathcart SDB
Banchory (Burnett Arms Hotel) –
Banff & District (Banff Springs Hotel) – 27th Feb 02 – Jock Fraser SDB
Beith & District (Anderson Hotel) – 18th Feb 02 – Iain MacPhail SDB
Belford (Community Centre) –
Biggar (Municipal Hall) – 10th Feb 02 – Club Night
Blairgowrie (Moorfield Hotel) -
Bromley (Trinity United Reform Church) - 12th Feb 02 – Gary Blair
Button Key (Windygates Institute) – 14th Feb 02 – Charlie Kirkpatrick
Campbeltown (The Royal Hotel) -
Campsie (Glazert Country House Hotel) - 5th Feb 02 – Lomond Ceilidh Band
Carlisle (St Margaret Mary’s Social Club) - 7th Feb 02 – John Douglas Trio
Castle Douglas (Urr Valley Country House Hotel) – 19th Feb 02 – John Morgan
Coalburn (Miners’ Welfare) - 21st Feb 02 – John Morgan
Crathes (Crathes Hall, Banchory) - 10th Feb 02 – All Players Welcome
Crieff & District (Crieff Hotel) 7th Feb 02 – Jim Johnstone SDB
Cults (Culter Sports & Social Club) 13th Feb 02 – Bill Black SDB
Dalriada (Argyll Arms Hotel, Lochgilphead) 19th Feb 02 – Bill Black SDB
Dingwall (National Hotel) – 6th Feb 02 – Ali McGregor & John Pirie
Dunblane (Victoria Hall) – 20th Feb 02 – Alan Ross SDB
Dunfermline (Headwell Bowling Club) – 12th Feb 02 – Julie Best
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (The Village Inn) – 28th Feb 02 – Roy Hendrie Duo
Ellon (Station Hotel) –
Fintry (Fintry Sports Centre) – 25th Feb 02 – Jim Cleland SDB
Forfar (Plough Inn) - 24th Feb 02 – Bill Black SDB
Forres (Victoria Hotel) – 13th Feb 02 – Jimmy Lindsay Trio
Galashiels (Abbotsford Arms Hotel) –
Galston (Barr Castle Social Club) – 11th Feb 02 – Give Way
Glendale (Black Bull Hotel, Wooler) – 21st Feb 02 – Neil Hardie SDB
Glenfarg (Lomond Hotel) - 6th Feb 02 – Eden Ceilidh Band
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 26th Feb 02 – John Morgan
Gretna (Halcrow Stadium) - 3rd Feb 02 – James Coutts
Highland (Drumossie Hotel) – 18th Feb 02 – Bill Brian Duo
Inveraray (Argyll Hotel) - 13th Feb 02 – Deirdre Adamson
Isle of Skye – (The Royal Hotel, Portree) - 7th Feb 02 – Highland A&F Club
Islesteps (The Embassy Hotel) – 5th Feb 02 – Neil MacEachern Quartet
Kelso (Ednam House Hotel) – 27th Feb 02 – The Big Squeeze
Kintore (Torryburn Hotel) –
Lanark (Ravenstruther Hall) - 25th Fen 02 – Nicky McMichan SDB
Langholm (Crown Hotel) – 13th Feb 02 – Gary Donaldson Trio
Lesmahagow (Masonic Hall) – 14th Feb 02 – Jim Johnstone SDB
Lewis & Harris (Stornoway Legion) - 7th Feb 02 – Paul Anderson
Livingston (Hilcroft Hotel, Whitburn) 19th Feb 02 – Jin Paterson Trio
Lockerbie (Queen’s Hotel) - 8th Feb 02 – Dance to McColl’s Ceilidh Band
26th Feb 02 – Tommy Walker Trio
Mauchline (Harry Lyle Suite) - 19th Feb 02 – Deirdre Adamson
23rd Feb 02 – Dance to Colin Dewar
Montrose (Park Hotel) – 6th Feb 02 – AGM + The Crathes Players
Newmill-on-Teviot (Newmill Country Inn) - 6th Feb 02 – Caberston Ceilidh Band (Jim Paterson)
Newtongrange (Dean Tavern) – 25th Feb 02 – John Morgan
North East (Royal British Legion, Keith) – 5th Feb 02 – Alan Roy
22nd Feb 02 – Dance to Graeme Mitchell SDB
Oban (McTavish’s Kitchen) – 7th Feb 02 – Ross MacPherson
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 28th Feb 02 – James Paterson Trio
Perth (Salutation Hotel) – 19th Feb 02 – Gary Donaldson Trio
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 12th Feb 02 – Stephen Lockhart
Rothbury (Queen’s Head) - 7th Feb 02 – Burns Brothers
Selkirk (Cricket Club) - 14th Feb 02 – Fiddlers von Trapp
Shetland (Shetland Hotel, Lerwick) - 7th Feb 02 – Local Night
21st Feb 02 – Marian Anderson SDB
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) -
Thornhill (Masonic Hall) - 13th Feb 02 – William Marshall SDB
Thurso (Pentland Hotel) – 4th Feb 02 – Local Night
Turriff (Royal British Legion) – 7th Feb 02 – The Redcoats
Tynedale (Hexham Ex Service Club) –
West Barnes (West Barnes Inn) 14th Feb 02 – Gordon Pattullo
Wick (MacKay’s Hotel) – 19th Feb 02 – Caithness Junior Fiddlers
Yarrow (Gordon Arms) - 20th Feb 02 – Dick Black Band
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Alnwick
3. Annan
4. Arbroath
5. Armadale
6. Balloch
7. Banchory
8. Beith & District
9. Biggar
10. Blairgowrie
11. Bromley
12. Button Key
13. Campsie
14. Carlisle
15. Castle Douglas
16. Coalburn
17. Crieff
18. Cults
19. Dingwall
20. Dunblane
21. Dunfermline
22. Dunoon & Cowal
24. Ellon
25. Fintry
26. Forres
27. Galston
28. Glendale
29. Glenrothes & District
30. Gretna
31. Highland
32. Inveraray
33. Isle of Skye
34. Islesteps
35. Kelso
36. Kintore
37. Lanark
38. Langholm
39. Lewis & Harris
40. Montrose
41. Newmill (on-Teviot)
42. Peebles
43. Perth
44. Renfrew
45. Rothbury
46. Shetland
47. Thornhill
48. Thurso
49. Turriff
50. Tynedale
51. West Barnes
52. Yarrow
CLUB DIRECTORY AS AT OCT 2002
(Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Bromley A&F Club
14. Button Key A&F Club (
15. Campbeltown A&F Club (
16. Campsie A&F Club (Nov 95 – present)
17. Carlisle A&F Club (joined Sept 1993 -
18. Castle Douglas A&F Club (c Sept 1980 – present)
19. Coalburn A&F Club (
20. Crathes (aka Scottish Accordion Music – Crathes) (Nov 1997 -
21. Crieff A&F Club (cSept 1981)
22. Cults A & F Club (
23. Dalriada A&F Club (Feb 1981)
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dunfermline & District A&F Club (1974 – per first edition)
27. Dunoon & Cowal A&F Club (
28. East Kilbride A&F Club (Sept 1980)
29. Ellon A&F Club (
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Galashiels A&F Club (joined Sept 1982 - present)
34. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
35. Glendale Accordion Club (Jan 1973)
36. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
37. Glenrothes A&F Club (Mar 93?
38. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Feb 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (June 1983 – present)
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Ladybank A&F Club (joined Apr 98 but formed
47. Lanark A&F Club (joined Sept 96 – present)
48. Langholm A&F Club (Oct 1967 - present)
49. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Mauchline A&F Club (Sept 1983 - present)
54. Montrose A&F Club (joined Sept 1982 - present)
55. Muirhead A&F Club (Dec 1994 -
56. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
57. Newtongrange A&F Club (joined Sept 1977 - present)
58. North East A&F Club aka Keith A&FC (Sept 1971 - present)
59. Oban A&F Club (Nov 1975 - present)
60. Orkney A&F Club (Mar 1978 - present)
61. Peebles A&F Club (26 Nov 1981 - present)
62. Perth & District A&F Club (Aug 1970 - present)
63. Premier A&F Club NI (April 1980)
64. Renfrew A&F Club (1984 -
65. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
66. Selkirk A&F Club (
67. Shetland A&F Club (Sept 1978 - present)
68. Stirling A&F Club (Oct 1991 - )
69. Sutherland A&F Club (
70. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
71. Thurso A&F Club (Oct 1981 - present)
72. Turriff A&F Club (March 1982 - present)
73. Tynedale A&F Club (Nov 1980 - present)
74. Vancouver
75. West Barnes ( - present)
76. Wick A&F Club (Oct 1975 - present)
77. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – )
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
78. Acharacle & District A&F Club (cMay 1988)
79. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
80. Bonchester Accordion Club (Closed?)
81. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
82. Brigmill A&F Club (Oct 1990) Closed
83. Buchan A&F Club
84. Callander A&F Club (
85. Campbeltown & District A&F Club (c Dec 1980)
86. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
87. Club Accord
88. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
89. Coupar Angus A&F Club (cSept 1978 - ?)
90. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
91. Denny & Dunipace A&F Club (Feb 1981)
92. Derwentside A&F Club
93. Dornoch A&F Club (first mention in directory 1986)
94. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
95. Dunbar Cement Works A&F Club (Closed?)
96. Dundee & District A&F Club (1970? – 1995?)
97. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
98. Falkirk A&F Club (Sept 1978 - )
99. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
100. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
101. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
102. Kirriemuir A&F Club (cSept 1981)
103. M.A.F.I.A. (1966 – 1993?)
104. Monklands A&F Club (Nov 1978 – closed cApril 1983)
105. Morecambe A&F Club (joined Sept 1982)
106. Mull A&F Club
107. Newcastleton Accordion Club
108. New Cumnock A&F Club (cMarch 1979)
109. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
110. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
111. Reading Scottish Fiddlers (cMarch 1997
112. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
113. Straiton Accordion Club (c1968 – closed March 1979)
114. Stranraer & District Accordion Club (1974 – per first edition)
115. Torthorwald A&F Club (near Dumfries)
116. Tranent A&F Club
117. Walmer (Bridge of Allan) A&F Club
118. Wellbank A&F Club
Advertising rates
Full Page - £120
Half Page - £60
Quarter Page - £30