Gordon Smith
by Charlie Todd
Anyone who can appreciate the skill involved in good musicianship surely cannot fail to marvel at the precision and technical excellence of one of today’s leading exponents of the art of drumming, Gordon Smith. At the age of only 34 his broadcasts alone read like a ‘Who’s Who’ of the best in Scottish dance music – John Ellis and his Highland Country Band, Bobby Crowe SDB, Neil Barron SDB, Oakbank Sound, James Lindsay SDB, Allan MacIntosh and the Heather SDB, Dennis Morrison SDB, Simon Howie SDB, Jim Johnstone SDB, Craig McCallum SDB, Alan Gardiner SDB and the Robert Black SDB.
Gordon’s drumming style is never intrusive. There never seems to be any conflict in his mind that the role of the rhythm section is to work together and to provide the backing for the front line. Determining his own style he chooses, unusually for a drummer, ti sit on a low stool with the drum sitting high in front of him. He is equally at home behind a full kit playing for rock music. Essentially drumming skills all come back to what are termed ‘rudiments’, the basic building blocks that eventually blend together to provide the perfect rhythm. A perfectly adequate drummer may be proficient in a dozen of these ’rudiments’ but I well recall talking to Gordon some 12 years ago when he rattled off the 48 he worked with at the time!! What road has therefore brought him to prominence?
Gordon was born in the East Lothian village of Tranent in 1965 and started drumming not as an infant, as you might have suspected, but at the age of 11. It was Grandpa Smith, the late David Smith from Tranent (known by everyone as ‘Drummer’ Smith) who tutored young Gordon. As well as running his own dance band ‘Drummer’ had played with the famous Johnstone Brothers Dance Band but additionally was responsible, over many years, for turning out many fine pipe band drummers in that part of the world.
The drumming skills were to skip a generation for purely practical reasons. On leaving school at 14 Gordon’s dad, Alex, became a cinema projectionist and his ‘unsocial’ working hours ruled out any involvement in playing with dance bands. In consequence however, Alex gave Gordon all the encouragement he could. Gordon’s rapid progress startled even his grandfather.
Introduced on to the Accordion and fiddle club scene in January 1977 Gordon rapidly developed his own unique style. Following in grandfather’s footsteps he also entered the pipe band world by joining Monktonhall Colliery Pipe Band, touring France and Canada with them. Gordon’s grandfather was a founder member of the band, which was originally known as the ‘Links’ Pipe Band and which continues today as the Prestonpans Royal British Legion Pipe Band. Although dance band commitments were eventually to force him to retire from the band Gordon still takes a keen interest in the latest developments in the pipe band world.
His first paid engagement in the dance scene came with George King, that well-known accordionist from Gifford. As well as playing with other local artistes Gordon became a member of the Border Reivers Band and the Peter Innes Band from Tranent. The line-up of the Border Reivers, incidentally, showed some remarkable foresight on the part of leader Robert Baird with Gillies Crichton on second accordion, John Gibson on piano, Andrew Knight on fiddle and the aforementioned Gordon on drums – not a duffer amongst them (well okay, other than Andrew). The pianist in both these bands was the late John Gibson and when Gordon was asked to join the John Ellis Highland Country Band in 1982 he was delighted to do so and upon learning that the band was looking for a pianist he introduced John to fill the position. So the partnership continued and you can hear them on Lismor’s ‘A Reel Kick’.
When Gordon left the Highland Country Band to join the Oakbank Sound he did so knowing that he had played with one of the finest bands ever.
In the late ‘70’s a very young Gordon met up with a young Neil Barron at Ormiston Accordion Club and formed a partnership which endured to this day through records, broadcasts, Accordion Clubs and dances. The Neil Barron SDB with its own unique sound is a favourite with Gordon’s dad. After a spell with Bobby Crowe and his band Gordon moved on to a new, exciting young band – the Craig McCallum SDB – who were leading the way for other young bands to follow, and follow they did. When Craig moved to Aberdeen to live and work, Gordon joined up with Alan Gardiner and his band. With Alan on lead accordion, Keith Dickson on second accordion, Richard Currie on keyboard and Gordon on drums, they have provided pleasure for dancers and listeners alike throughout Scotland – and beyond. Long may it continue.
Having recorded in the ‘80’s with John Ellis, the Currie Brothers, the Oakbank Sound, Bobby Crowe, Neil Barron, Tommy Lees, Angus Murray, Dennis Morrison and Allan MacIntosh, Gordon moved on into the ninties – recording with Craig McCallum, Jim Johnstone, Scott Leslie, Blair Douglas, Alan Gardiner, John Carmichael and last but not least – Muriel Johnstone. Muriel and her partner Bill Zobel who have a recording studio in Allanton, near Duns in the Borders, have favoured Gordon with seven recordings so far. Bill, who is sound engineer, and Muriel musical director, provide a high standard of recording which is only equaled by the welcome you receive. A terrific wee studio and a smashing couple.
Gordon at the present time continues working with Alan Gardiner with additional gigs from Robert Black, Duncan Black, Neil McMillan, Colin Dewar and Neil Barron. The band section at Musselburgh this year provided him with his first taste of judging the Rhythm Section in a major competition. ‘Enjoyable but nerve racking’ he says ‘but judging by the audience response to the results I think I got it right’.
And what of the future? Although he presently works as a postman in his home town of Tranent (and has recently moved house to Gullane) with his all-round knowledge of drumming he, understandably, has a notion to become a full-time musician encompassing both playing and teaching. Like most of us he has done a little of the latter but is presently considering obtaining some ‘paper qualifications’ to make it official.
So there we have it, the story so far and I’m sure you’ll agree that if Gordon’s musical achievements in the next 23 years are as dramatic as they have been in the last 23 we’ll be hearing a great deal more about him
Box and Fiddle
April 1999
Gordon’s drumming style is never intrusive. There never seems to be any conflict in his mind that the role of the rhythm section is to work together and to provide the backing for the front line. Determining his own style he chooses, unusually for a drummer, ti sit on a low stool with the drum sitting high in front of him. He is equally at home behind a full kit playing for rock music. Essentially drumming skills all come back to what are termed ‘rudiments’, the basic building blocks that eventually blend together to provide the perfect rhythm. A perfectly adequate drummer may be proficient in a dozen of these ’rudiments’ but I well recall talking to Gordon some 12 years ago when he rattled off the 48 he worked with at the time!! What road has therefore brought him to prominence?
Gordon was born in the East Lothian village of Tranent in 1965 and started drumming not as an infant, as you might have suspected, but at the age of 11. It was Grandpa Smith, the late David Smith from Tranent (known by everyone as ‘Drummer’ Smith) who tutored young Gordon. As well as running his own dance band ‘Drummer’ had played with the famous Johnstone Brothers Dance Band but additionally was responsible, over many years, for turning out many fine pipe band drummers in that part of the world.
The drumming skills were to skip a generation for purely practical reasons. On leaving school at 14 Gordon’s dad, Alex, became a cinema projectionist and his ‘unsocial’ working hours ruled out any involvement in playing with dance bands. In consequence however, Alex gave Gordon all the encouragement he could. Gordon’s rapid progress startled even his grandfather.
Introduced on to the Accordion and fiddle club scene in January 1977 Gordon rapidly developed his own unique style. Following in grandfather’s footsteps he also entered the pipe band world by joining Monktonhall Colliery Pipe Band, touring France and Canada with them. Gordon’s grandfather was a founder member of the band, which was originally known as the ‘Links’ Pipe Band and which continues today as the Prestonpans Royal British Legion Pipe Band. Although dance band commitments were eventually to force him to retire from the band Gordon still takes a keen interest in the latest developments in the pipe band world.
His first paid engagement in the dance scene came with George King, that well-known accordionist from Gifford. As well as playing with other local artistes Gordon became a member of the Border Reivers Band and the Peter Innes Band from Tranent. The line-up of the Border Reivers, incidentally, showed some remarkable foresight on the part of leader Robert Baird with Gillies Crichton on second accordion, John Gibson on piano, Andrew Knight on fiddle and the aforementioned Gordon on drums – not a duffer amongst them (well okay, other than Andrew). The pianist in both these bands was the late John Gibson and when Gordon was asked to join the John Ellis Highland Country Band in 1982 he was delighted to do so and upon learning that the band was looking for a pianist he introduced John to fill the position. So the partnership continued and you can hear them on Lismor’s ‘A Reel Kick’.
When Gordon left the Highland Country Band to join the Oakbank Sound he did so knowing that he had played with one of the finest bands ever.
In the late ‘70’s a very young Gordon met up with a young Neil Barron at Ormiston Accordion Club and formed a partnership which endured to this day through records, broadcasts, Accordion Clubs and dances. The Neil Barron SDB with its own unique sound is a favourite with Gordon’s dad. After a spell with Bobby Crowe and his band Gordon moved on to a new, exciting young band – the Craig McCallum SDB – who were leading the way for other young bands to follow, and follow they did. When Craig moved to Aberdeen to live and work, Gordon joined up with Alan Gardiner and his band. With Alan on lead accordion, Keith Dickson on second accordion, Richard Currie on keyboard and Gordon on drums, they have provided pleasure for dancers and listeners alike throughout Scotland – and beyond. Long may it continue.
Having recorded in the ‘80’s with John Ellis, the Currie Brothers, the Oakbank Sound, Bobby Crowe, Neil Barron, Tommy Lees, Angus Murray, Dennis Morrison and Allan MacIntosh, Gordon moved on into the ninties – recording with Craig McCallum, Jim Johnstone, Scott Leslie, Blair Douglas, Alan Gardiner, John Carmichael and last but not least – Muriel Johnstone. Muriel and her partner Bill Zobel who have a recording studio in Allanton, near Duns in the Borders, have favoured Gordon with seven recordings so far. Bill, who is sound engineer, and Muriel musical director, provide a high standard of recording which is only equaled by the welcome you receive. A terrific wee studio and a smashing couple.
Gordon at the present time continues working with Alan Gardiner with additional gigs from Robert Black, Duncan Black, Neil McMillan, Colin Dewar and Neil Barron. The band section at Musselburgh this year provided him with his first taste of judging the Rhythm Section in a major competition. ‘Enjoyable but nerve racking’ he says ‘but judging by the audience response to the results I think I got it right’.
And what of the future? Although he presently works as a postman in his home town of Tranent (and has recently moved house to Gullane) with his all-round knowledge of drumming he, understandably, has a notion to become a full-time musician encompassing both playing and teaching. Like most of us he has done a little of the latter but is presently considering obtaining some ‘paper qualifications’ to make it official.
So there we have it, the story so far and I’m sure you’ll agree that if Gordon’s musical achievements in the next 23 years are as dramatic as they have been in the last 23 we’ll be hearing a great deal more about him
Box and Fiddle
April 1999