Box and Fiddle
Year 03 No 05
January 1980
Price 15p
8 pages
8 month subscription £2
Editor – Ian Smith, 50 Mount Vernon Road, Stranraer Tele 4098
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
A Happy New Year to everyone. We start the new year on a high note. As you see by the headlines we’ve had a big boost from Radio Scotland, our thanks to the people who wrote in and to the hard work behind the scenes. A big thank you to everyone.
It will soon be Musselburgh time again, 5th February is the date. I hope you have all made your plans to come and enjoy yourselves. It’s just a pity that Jimmy Blair’s Festival at Govan falls on the same day this year. A thing like this happening causes a conflict of loyalties and friendships and that’s the last thing that we want to happen. Some way must be found in the future to see that the various Festival dates don’t clash.
A grouse now, would Festival organizers please try to ensure that competition music can be obtained. Far too many don’t seem to pay much attention to this detail.
We must however, congratulate the Keith Club, they provide music for theirs.
Radio Scotland does us Proud
by the Editor
Radio Scotland has given the Accordion & Fiddle Clubs the privilege of making up the last half-hour of their most popular show ‘Take the Floor’. The programme was very good before, but it’s now as perfect as can be.
The letters of support for ‘Take the Floor’ made the authorities realise just how many people wanted the programme extended.
How delighted we are that we are taking part, especially since that wee man from Aberdeen is the link.
Robbie Shepherd is weel kent in the Club scene and is a genuine lad o’ pairts. Best of luck Robbie, what a team they make, Chris Worrell, David Findlay and Robbie. We are sure of many hours of our kind of music.
The programme goes out every Saturday evening, Radio Scotland, at 6.15pm till 7.30pm. This information is for our many listeners in Northern Ireland who don’t get the radio programme printed in their newspapers.
If you have any comments, suggestions, etc to make about the show, the boys would be grateful if you would let them know. I could tell you where to write to, but it’s much more fun if you listen in. You will be given the addresses to write to.
I won’t attempt to describe the first programme except to say that it beats any other show hands down. Indeed, one of our reader’s letters shows the way to go.
Derek Hamilton, our first-class scribe, does the column ‘The Reel Radio’ and below is this months write-up.
The Reel Radio
by Derek Hamilton
I’m glad to say the BBC have got their industrial relations problems sorted out and things are back to normal.
Lindsay Ross and John Ellis were victims of the dispute, but I’m glad to say that their sessions were broadcast on 5th and 12th January respectively and. Of course, by the time you’re read this you’ll probably have heard them.
You will also have heard the first two shows of the new extended format. I am sure too that Chris Worrall, the Producer of the show, would like me to say thank you to all the ‘Box and Fiddle’ readers who wrote to the BBC following their appeal for letters.
New Programme
1980 certainly looks like being a great year for all of us who are ardent followers of Scottish Dance Music. The new programme, which is extended to 1¼ hours from 6.15 to 7.30 every Saturday should attract a much wider audience than in the past.
The time-honoured session of dance music will still be retained and will probably take up the first 40 minutes or so of the programme. The BBC have lined up all the best bands for these sessions and are currently auditioning some new bands too.
Already ‘in the can’ are studio sessions by John Huband, Bill Black, Iain MacPhail, Robert Whitehead, Ian Holmes and George Bell.
‘Take the Floor’, which is what the new programme is called, (Ceilidhdonia has been dropped completely) will go out and about again in the spring and seven venues have already been fixed for these recordings.
Studion band sessions are planned during the summer and David Findlay and his team will hit the road again during the autumn / winter period.
All of that is great news. Even better is yet to come though. Robbie Shepherd, who is a character of notable repute, is joining ‘Take the Floor’ and will host the ‘magazine’ section. Robbie is deeply involved in the Accordion & Fiddle Club scene, helping to organize and run the very successful Aberdeen Club.
He will be reviewing new record releases as they come out and will introduce an accordion feature. This spot will give valuable air time to accordion stars who would not normally feature in the band sessions. For example, the Black Brothers appear on 19th January and others lined up include Jack Emblow and the Currie Brothers.
Robbie will also include a ‘chat spot’ with interesting people in the Scottish music scene. Our own Secretary, Andrew Nairn, took part in the first of the new series.
Features too on the fiddle and fiddle music will be highlighted in the new show.
Each month a Royal Scottish Country Dance Society Instructor will discuss a Country Dance and Chris Worrell will, I’m sure, welcome correspondence from Country Dancers about inclusions for this spot.
As I said, the new series will be well and truly launched by the time this column appears but I must say that I’m looking forward, as I’m sure you all are, to the new look (or listen!) ‘Take the Floor’.
Reviews
I wonder if the cassette manufacturers have any plans to produce blank C150 versions so that you can (having first purchased the appropriate license!) record the whole show on one side of the tape? Messrs Phillips, TDK, Memorex and Uncle Tom Cobbleigh take note!
Now for a review of this months programmes.
First week after the dispute was given over to The Olympians and their session from Lairg. The usual bouncy, catchy, well played selection came over well, although the balance at times was a bit lacking. I guess some of the sets were re-takes and the balance was completely different on these. Dougie Maxwell’s trumpet, which gives the band its instantly recognizable sound, was missing from the earlier sets and suddenly made an appearance mid-way through, echoing its way into the great beyond only to vacate the scene again later on in the programme.
David Findlay did well to announce the dances in his usual high class fashion and play the piano with the band as well.
I like The Olympians. They always play good, bouncy sets and this broadcast was no exception.
Saturday, 15th December, saw the welcome return of Fraser McGlynn and his band after a bit of an absence from radio. I was down at Oughton’s for the recording and I must say the band seemed to play well during the live show. But the Dumfries Restaurant is obviously a difficult one for recordings. The broadcast failed to capture the real sound of Fraser’s fine band. Young Kevin McGlynn on drums got the worst of it. The recording brought the drums so far out that they dominated the whole band. Not only that, they were so close linked that you could only hear the wind pop each time the lad closed his hi-hat and the snare drum had a ‘hard’ sound.
The band was lively and, as always, produced some ‘braw’ tunes. Fraser really is into the pipe stuff and always brings out something new.
The band sounded great at Dumfries. Pity about the way it came over (in mono only – why not stereo?) on the air.
Saturday, 22nd December, was John Huband and the Tayside Sound’s first broadcast and it came over very well indeed. Good choice of selections for the dances and a couple of different Bandleader’s Choices made the programme most interesting indeed.
The band tended at times to be ‘bitty’ in the front row, but this didn’t detract from the enjoyment of the playing at all.
Interesting to note that John Huband chose to use his electronic bass unit rather than a live bass player.
At times the sound was a bit ‘boomy’ from the electronic unit, but at least the Beeb’s engineer had captured the sound and recorded it well. Understandable, of course, that John should choose to use the bass unit since he is a partner in the company that provides these conversations for so many box players. I hope, however, that he’s not starting a trend on ‘Take the Floor’ – there are few enough bass players around as it is.
The year ended with Dunblane’s own Jim MacLeod producing a better sound than he has had in broadcasts for a long time. The addition of the second box helped to thicken out the front line.
I doubt if David Findlay endeared himself to the purists with his insistence that Jim should sing ‘My Wee Laddie’ but no doubt a lot of punters were delighted!
Compliments go to the engineer for the recording except for Hebbie Gray’s fiddle which was a bit ‘screechy’ at times.
One thing you can always rely on from Jim MacLeod and his band – popular, catchy tunes and there certainly was an abundance of them in this, the last ‘Take the Floor’ of 1979.
Here’s looking forward to 1980.
Readers Letters
Sir – I would like to express my appreciation for the many letters we have received in support of the extended programme of Scottish Dance Music.
We were really inundated with requests and I can only say that the extension which the programme now has can be attributed in no small way to the enthusiasm of many of your readers. On behalf of all of us here at ‘Take the Floor’ we would like to say thank you.
Chris Worrall – Producer ‘Take the Floor’ BBC Radio Scotland
Sir – I must protest at the sheer ineptitude of the TV channels at Hogmanay, especially up to the magical stroke of midnight. The programmes had as much magic as a broken-down conjurer.
I would respectfully suggest that next year the job be given to the NAAFC. They have at their finger-tips the expertise and ingredients to run a ceilidh for days, never mind a mere hour.
The reason the Accordion & Fiddle Clubs are so popular is that they give the people what they want.
J. Duffy, 34 Dounan Road, Dunraggit
Sir – I would like to know Derek Hamilton’s opinion of the ‘broadcast’ over the air of the Fraser McGlynn Band after hearing it at Dumfries live (B&F Nov), apart from them forgetting to switch on the stereo for about 15 minutes, which I may add in my opinion did not improve things. To my ears this new team, except David Findlay, have not got the knack of balancing bands. After all, the players seek perfection, so why not the listeners. Wake up BBC.
Peter Rae, 167 High Street, Biggar
Record Review
by Derek Hamilton
Let me start this month with an apology. To a brilliant young musician whom I omitted to mention in my column when I discussed an older album titled ‘Accordions Unlimited’. As well as all the artistes I mentioned, two tracks were performed by Owen Murray who, at the time of this recording, was a young accordionist who played mostly classical music. The two tracks on ‘Accordions Unlimited’ are a brilliant performance which should not have gone without a mention. Owen Murray is the son of the famous Chrissie Letham and has, for the last few years, been studying in Denmark. He is due to sit his finals this coming May. Owen plays a Hohner Gola Continental Chromatic accordion and is one of the finest exponents of the ‘free bass’ style.
I am indebted to Ewan Campbell of Glasgow, another classical player, for the back-up information on Owen. I am sure that you will want to wish this brilliant musician well in his chosen career and hopefully we can entice him back to his native Scotland where we can all enjoy the talent and ability of Owen Murray. (2012 - well that never happened but London based Owen now has an excellent web-site so have a look).
Last month I reviewed Dave Stewart’s first solo album which appears on Bluebell. The initial release was on tape only, but I can now confirm that the discs are due in the shops any day.
David Silver, who runs Bluebell, tells me that he hopes to release one album per month during 1980 and only the best of artistes will appear on the Bluebell label.
Two albums have recently been released from this stable. The first, by Alex MacArthur and his Band, is on Bluebell BBR/LP119 and is ‘Scottish Country Dances - Volume 2’. I reviewed this excellent recording when it first appeared on tape a couple of months or so ago. Now on disc, it should appear to a much wider audience.
The second, by various artistes, is a sampler record containing a couple of tracks from each. It’s a great LP entitled Bluebell Accordion Festival – Bluebell BBR/LP126
There are two others worth talking about.
Charlie Kirkpatrick – Highland Accordion – Bluebell BBR/C111 is a talented three-row chromatic player originally from Iona, now living in Glasgow (and a polisman to boot!!) This is his first album and like many other three row players, Charlie is a master at the pipe march. Needless to say his cassette is just full of pipe stuff, all played with great feeling and precision.
Charlie plays a Shand-type Morino, but it’s one of the rarer ‘black’ ones and it sounds great.I sat in on piano at a gig with Charlie recently and thoroughly enjoyed every minute of it.
His regular drummer, Billy Grant of Glasgow, is no stranger to the record scene, having recorded with many of the top artistes. And he’s there playing some fine drumming on Charlie’s album. John Carmichael helped with the arrangements and played second box. The backing is completed with bass and piano.
All-in-all this is an excellent album and well worth including in your collection.
The Strathpeffer Band – Pride of the North – BBR/C113
That, then, paints the picture for 1980. Now that all the big boys have pulled out of the Scottish recording scene it’s up to the small independent companies to carry on the traditional music side. Companies like
John Carmichael’s ‘Shona’ label
David Silver’s ‘Bluebell’
Freeland Barbour and Sandy Coghills ‘Lapwing’
And Peter Hamilton’s ‘Lismor’.
As far as I can see (and hear!) they look like making a damn good job of it!
Fintry Reforming
by Yehudi McEwan (i.e. Jimmy Yeaman)
The Fintry A&F Club is reforming under a new Committee of Frank Farquharson and Sandy Shearlaw, both of Balfron, and Mary Bruce of Drymen. The Club is reventing to their original venue at the Fintry Inn and meetings will be held on the fourth Monday of each month, commencing 28th January 1980. Appearing as guest artiste on that occasion will be Jimmy Yeaman and his ‘Head Bangers’ whose performances have been known to be a knock-out.
Former organizer of the Club, Alec Fitzsimmons, is in jail. He claims to be a member of the prison staff, but anyone who has seen his ‘Rent a Fright’ haircut knows that no self-respecting prison officer would go around looking as if his hair had been styled at City Bakeries.
Cut out the shoplifting Alec, or, if the temptation is too much, get me a colour telly and a fur coat for the wife.
The Uniform Keyboard
by Jimmy Blair
In this month’s article I would like to explain a keyboard which was introduced in America by John Reuther around 30 years ago. I played and taught this system for about 4 or 5 years in the early 1950’s and my Uniform Keyboard Quartet became quite well known.
To me it was an ideal compromise between the piano keyboard and the five-row chromatic keyboard. Only two rows were required for all scales and the third row was useful for transposing or as an alternative fingering for awkward chords. Here is a diagram of a section of keyboard.
Each row is therefore a whole-tone scale. All major and minor scales can be played with one fingering in each case. The chromatic scale is very easy indeed using 1,2,3,4 fingering throughout. The keys are about 2” long and the same width as piano keys.
Advantages are (1) Easy scale playing (2) Easy transposition (just moving along a row or up a row as required with no change of fingering) (3) Quick chordal passages were quite easy (4) No ‘difficult’ keys as all were the same fingering (5) No awkward black notes to get thick fingers in between (there were no spaces).
Disadvantages (1) No ‘easy’ keys (all were fingered the same way) (2) Sight reading could be awkward because alternative notes were available and one could easily head in the wrong direction (it was safer to keep to two rows for sight reading and to employ the third row only for transposing or for making a passage easier to finger wheb one had time to work out suitable fingering) (3) The main disadvantage was the appearance (it looked like a draughts board to many people). I got over this by having a special keyboard – all white keys with black edges for identification (4) Availability was not good – only one imported could supply new instruments and there were long delays (5) The public at large didn’t seem inclined to experiment with the idea and I eventually gave up the uniform keyboard and went back to the piano keyboard like most of my pupils.
Events have proved me right as the uniform keyboard seems to have sunk into obscurity. It’s a pity because still like the chromatic system and keys which are all the same shape with no awkward spaces between them (especially for big hands).
In my final article in this series I will deal with the piano keyboard which is by far the most popular and widely used system except in France and some Scandinavian countries.
The Kenny Thomson Story
by Ian Smith
Another of Scotland’s fine accordionists, and one who deserves a mention, is Kenny Thomson, until now second box player with the Ronnie Easton Band.
Kenny was born into a musical family from Muirkirk, Ayrshire. In March 1944. His mother and father played piano and accordion respectively with Samson’s Band – the top dance band in the district during the ‘40’s and early ‘50’s.
Santa Claus brought Kenny his first accordion (an 8 bass Steldini) in 1948 and his parents were his first tutors. At the age of 8 he became a pupil of the famous Robert McF Adamson, composer of Triumph March, and the following year won the under 10 solo in a contest in Glasgow organized by the National Accordion Organisation.
Very Popular
He has performed in public regularly since he played at his first concert in Muirkirk at the age of six. It was at one of these early concerts that Ronnie Easton (also a native of Muirkirk) and Kenny first played together, but it was not until 1957 that this became a permanent partnership, they having formed a band which became very popular in the Lanarkshire/Ayrshire area. 8pm till 2am dances were the order of the day. It was in July of that year that Kenny’s brother Stuart was born. Stuart, like big brother, soon took an interest in the box and likewise became a pupil of Mr Adamson.
In 1961 Kenny decided to expand his musical abilities and took up the also saxophone and the clarinet, being taught the intricacies of these instruments by Derek Hawkins, late of the famous Ted Heath Band. The following year Kenny had formed his own trio (accordion, piano and drums) which became very popular in Working Men’s Clubs in Lanarkshire. For the next few years, as well as playing with the Trio, he displayed his talents on saxophone and clarinet in beat groups, jazz groups, semi big-bands etc.
In 1967 he became ‘scunnered’ with the music scene and more or less stopped playing altogether, but after a few years retirement that ardent accordionist Jock Loch, persuaded Kenny to play at a few jobs with him and that was it – the enthusiasm returned and once again he was back on the music scene, this time concentrating solely on accordion.
In more recent years the old partnership was reformed when Derek Lawrence of Troon asked Ronnie Easton and Kenny to play with the band he was forming to audition for the BBC’s Scottish Dance music. The rest is well known. The band passed the audition with flying colours, but unfortunately Derel Lawrence emigrated just as it was gaining popularity, the leadership then being taken over by Ronnie.
Now, with the departure to Birmingham of Ronnie, the man in the driving seat is Kenny. The Band is now known as Kenny Thomson and the Wardlaw SDB and the personnel are : Colin Finlayson (piano), Neil McMillan (bass), Duncan Burns (drums), Gordon Simpson (fiddle), Ian Muir (1st accordion) and Kenny (2nd accordion).
Why, I hear you ask, isn’t Kenny on first accordion? Well, the reason is quite simply that, by his remaining on 2nd, the sound of the band remains basically as it was.
Incidentally, Ian Muir, is a cousin of Kenny’s wife Cathy, whom he married in 1970.
Ian, although only 17, is already a stage veteran, having played for Johnnie Beattie, Kenneth McKellar, Alistair MacDonald, Norman McLean etc. Stage players generally differ in style from Band players but Ian has blended into the Wardlaw SDB admirably.
Admiration
The instrument Kenny plays is a Hohner Morino V which he bought new in January 1966 for £333 (gone are the days!) and he would never part with it. Ian plays an Excelsior Musette Master. Both of these instruments are kept in tune by C.M.H. Accordions of Muirhead by Dundee – real experts says Kenny. (That was Bobby Campbell, a fine 3 row player and accordion repairer/tuner, Dave Mambie who developed, promoted and made popular a ‘power bass’ system for the left hand and John Huband who tuned and taught as well as broadcasting as leader of the Tayside Sound and being one of Scotland few jazz accordionists).
Most players are influenced by others – Kenny being no exception. He has deep admiration for the great Ian Powrie Band and in particular the playing of Mickie Ainsworth. “The sound they produced was pure magic” he says.
The Thomsons have a young son, Grant, who at 2½ already shows an interest in accordion and fiddle music. He has always to have a ‘wee shot’ at dad’s accordion before going to bed.
Kenny and Cathy run Cumnock and District A&F Club. Recently they have been taking Grant with them on Club nights and he has thoroughly enjoyed himself.
Kenny and Cathy extend to all their friends and members of the Association a Happy New Year and to the ‘Box and Fiddle’ continued success.
Clinkscales of Melrose Advert for a new Hohner Gola at £3,912
CLUB DIARY
Aberdeen (Queen’s Hotel) – 29th Jan 80 Banchory Club
Alnwick (Nag’s Head) – members only
Balloch (Loch Lomond Hotel) – 20th Jan 80 Currie Brothers 17th Feb Archie Duncan
Banchory (Burnett Arms Hotel) – 29th Jan 80 Graeme Mitchell Trio
Banff (Royal Oak Hotel)
Beith (Anderson Hotel) –
Biggar (Clydesdale Hotel) – 11th Feb 80 Bobby Harvey
Buchan (Buchaness Hotel) –
Coupar Angus (Royal Hotel)
Cumbria (Huntsman Inn – Penton)
Cumnock (Tup Inn) – 19th Feb 80 Dave Scott
Derwentside (Royal British Legion, Consett) closed till March 80
Dumfries (Oughton’s)
Dunblane (Hydro) – 12th Feb 80 Dundee Club
Dundee (Royal Central Hotel) –
Dunfermline (Kinema Ballroom) – 5th Feb 80 Paddy Neary
Falkirk (Park Hotel) –
Forres (Brig Motel) – 23rd Feb 80 Burns Nicht 13th Feb Bill Brian (fiddle)
Galston (Parakeet, Hurlford)
Glendale (Black Bull Hotel – Wooler) – members only
Highland/ Inverness (Drumossie Hotel)
Kelso (Queen’s Head Hotel) – 27th Feb 80 Roger Dobson Band
Kintore (Crown Hotel) –
Langholm (Crown Hotel)
Livingston (Cameron Ironworks Social Club)
Lockerbie (Queen’s Hotel) – 29th Jan 80 Gordon Pattullo
M.A.F.I.A. (Black Bull, Milngavie) – 7th Feb 80 Graeme Mitchell Trio
Monklands (Georgian Hotel, Coatbridge) –
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) –
Newton St Boswells (Railway Hotel)
North East (Seafield Arms, Keith) – 5th Feb 80 David Morrice (fiddle)
Oban (Park Hotel) –
Perth (Salutation Hotel) – 19th Feb 80 Robert Whitehead
Renfrew (Glynhill Hotel)
Rothbury (Queen’s Head Hotel)
Shetland (venue?)
Stranraer (Buck’s Head Hotel) – 4th Feb 80 Stuart Anderson
Torthorwald (Torr House Hotel)
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Alnwick
3. Balloch
4. Banchory
5. Beith
6. Biggar
7. Buchan
8. Cumnock
9. Dunblane & District
10. Dundee & District
11. Falkirk
12. Forres
13. Galston
14. Highland
15. Kelso
16. M.A.F.I.A.
17. Monklands
18. Newtongrange
19. North East
20. Oban
21. Perth
22. Stranraer
23. Wick
CLUB DIRECTORY (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Alnwick A&F Club (Sept 1976)
3. Balloch A&F Club (Sept 1971)
4. Banchory A&F Club (1978)
5. Banff & District A&F Club (Oct 1973)
6. Beith & District A&F Club (Sept 1971)
7. Biggar A&F Club (Oct 1974)
8. Buchan A&F Club
9. Coquetdale
10. Coupar Angus A&F Club
11. Cumnock A&F Club
12. Derwentside A&F Club
13. Dumfries Accordion Club (Oughton’s) (April 1965)
14. Dunblane & District A&F Club (1971)
15. Dundee & District A&F Club
16. Dunfermline & District A&F Club
17. Falkirk A&F Club
18. Forres A&F Club (Jan 1978)
19. Galston A&F Club
20. Glendale Accordion Club (Jan 1973)
21. Greenhead Accordion Club (Hexham)
22. Highland A&F Club (Inverness)
23. Kelso A&F Club (May 1976)
24. Kintore A&F Club
25. Langholm A&F Club (Oct 1967)
26. Livingston A&F Club (Sept 1973)
27. Lockerbie A&F Club (Nov 1973)
28. M.A.F.I.A.
29. Monklands A&F Club
30. Newcastleton Accordion Club
31. New Cumnock A&F Club
32. Newtongrange A&F Club (Oct 1977)
33. Newton St Boswells Accordion Club
34. North Cumbria
35. North East A&F Club aka Keith A&FC (Sept 1971)
36. Oban A&F Club (1975)
37. Ormiston Miners’ Welfare Society A&F Club
38. Perth & District A&F Club (Aug 1970)
39. Rothbury Accordion Club (1974)
40. Shetland A&F Club (Sept 1978)
41. Stranraer & District Accordion Club
42. Torthorwald A&F Club (near Dumfries)
43. Wick A&F Club (Oct 1975)
Not on official list (closed, did not renew membership or omitted in error?)
44. Bonchester Accordion Club (Closed?)
45. Club Accord
46. Dunbar Cement Works A&F Club (Closed?)
47. Fintry A&F Club
48. Gretna (June 1966)
49. Renfrew A&F Club
50. Straiton Accordion Club (opened? 3rd club to open – closed March 1979)
51. Wellbank A&F Club
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
A Happy New Year to everyone. We start the new year on a high note. As you see by the headlines we’ve had a big boost from Radio Scotland, our thanks to the people who wrote in and to the hard work behind the scenes. A big thank you to everyone.
It will soon be Musselburgh time again, 5th February is the date. I hope you have all made your plans to come and enjoy yourselves. It’s just a pity that Jimmy Blair’s Festival at Govan falls on the same day this year. A thing like this happening causes a conflict of loyalties and friendships and that’s the last thing that we want to happen. Some way must be found in the future to see that the various Festival dates don’t clash.
A grouse now, would Festival organizers please try to ensure that competition music can be obtained. Far too many don’t seem to pay much attention to this detail.
We must however, congratulate the Keith Club, they provide music for theirs.
Radio Scotland does us Proud
by the Editor
Radio Scotland has given the Accordion & Fiddle Clubs the privilege of making up the last half-hour of their most popular show ‘Take the Floor’. The programme was very good before, but it’s now as perfect as can be.
The letters of support for ‘Take the Floor’ made the authorities realise just how many people wanted the programme extended.
How delighted we are that we are taking part, especially since that wee man from Aberdeen is the link.
Robbie Shepherd is weel kent in the Club scene and is a genuine lad o’ pairts. Best of luck Robbie, what a team they make, Chris Worrell, David Findlay and Robbie. We are sure of many hours of our kind of music.
The programme goes out every Saturday evening, Radio Scotland, at 6.15pm till 7.30pm. This information is for our many listeners in Northern Ireland who don’t get the radio programme printed in their newspapers.
If you have any comments, suggestions, etc to make about the show, the boys would be grateful if you would let them know. I could tell you where to write to, but it’s much more fun if you listen in. You will be given the addresses to write to.
I won’t attempt to describe the first programme except to say that it beats any other show hands down. Indeed, one of our reader’s letters shows the way to go.
Derek Hamilton, our first-class scribe, does the column ‘The Reel Radio’ and below is this months write-up.
The Reel Radio
by Derek Hamilton
I’m glad to say the BBC have got their industrial relations problems sorted out and things are back to normal.
Lindsay Ross and John Ellis were victims of the dispute, but I’m glad to say that their sessions were broadcast on 5th and 12th January respectively and. Of course, by the time you’re read this you’ll probably have heard them.
You will also have heard the first two shows of the new extended format. I am sure too that Chris Worrall, the Producer of the show, would like me to say thank you to all the ‘Box and Fiddle’ readers who wrote to the BBC following their appeal for letters.
New Programme
1980 certainly looks like being a great year for all of us who are ardent followers of Scottish Dance Music. The new programme, which is extended to 1¼ hours from 6.15 to 7.30 every Saturday should attract a much wider audience than in the past.
The time-honoured session of dance music will still be retained and will probably take up the first 40 minutes or so of the programme. The BBC have lined up all the best bands for these sessions and are currently auditioning some new bands too.
Already ‘in the can’ are studio sessions by John Huband, Bill Black, Iain MacPhail, Robert Whitehead, Ian Holmes and George Bell.
‘Take the Floor’, which is what the new programme is called, (Ceilidhdonia has been dropped completely) will go out and about again in the spring and seven venues have already been fixed for these recordings.
Studion band sessions are planned during the summer and David Findlay and his team will hit the road again during the autumn / winter period.
All of that is great news. Even better is yet to come though. Robbie Shepherd, who is a character of notable repute, is joining ‘Take the Floor’ and will host the ‘magazine’ section. Robbie is deeply involved in the Accordion & Fiddle Club scene, helping to organize and run the very successful Aberdeen Club.
He will be reviewing new record releases as they come out and will introduce an accordion feature. This spot will give valuable air time to accordion stars who would not normally feature in the band sessions. For example, the Black Brothers appear on 19th January and others lined up include Jack Emblow and the Currie Brothers.
Robbie will also include a ‘chat spot’ with interesting people in the Scottish music scene. Our own Secretary, Andrew Nairn, took part in the first of the new series.
Features too on the fiddle and fiddle music will be highlighted in the new show.
Each month a Royal Scottish Country Dance Society Instructor will discuss a Country Dance and Chris Worrell will, I’m sure, welcome correspondence from Country Dancers about inclusions for this spot.
As I said, the new series will be well and truly launched by the time this column appears but I must say that I’m looking forward, as I’m sure you all are, to the new look (or listen!) ‘Take the Floor’.
Reviews
I wonder if the cassette manufacturers have any plans to produce blank C150 versions so that you can (having first purchased the appropriate license!) record the whole show on one side of the tape? Messrs Phillips, TDK, Memorex and Uncle Tom Cobbleigh take note!
Now for a review of this months programmes.
First week after the dispute was given over to The Olympians and their session from Lairg. The usual bouncy, catchy, well played selection came over well, although the balance at times was a bit lacking. I guess some of the sets were re-takes and the balance was completely different on these. Dougie Maxwell’s trumpet, which gives the band its instantly recognizable sound, was missing from the earlier sets and suddenly made an appearance mid-way through, echoing its way into the great beyond only to vacate the scene again later on in the programme.
David Findlay did well to announce the dances in his usual high class fashion and play the piano with the band as well.
I like The Olympians. They always play good, bouncy sets and this broadcast was no exception.
Saturday, 15th December, saw the welcome return of Fraser McGlynn and his band after a bit of an absence from radio. I was down at Oughton’s for the recording and I must say the band seemed to play well during the live show. But the Dumfries Restaurant is obviously a difficult one for recordings. The broadcast failed to capture the real sound of Fraser’s fine band. Young Kevin McGlynn on drums got the worst of it. The recording brought the drums so far out that they dominated the whole band. Not only that, they were so close linked that you could only hear the wind pop each time the lad closed his hi-hat and the snare drum had a ‘hard’ sound.
The band was lively and, as always, produced some ‘braw’ tunes. Fraser really is into the pipe stuff and always brings out something new.
The band sounded great at Dumfries. Pity about the way it came over (in mono only – why not stereo?) on the air.
Saturday, 22nd December, was John Huband and the Tayside Sound’s first broadcast and it came over very well indeed. Good choice of selections for the dances and a couple of different Bandleader’s Choices made the programme most interesting indeed.
The band tended at times to be ‘bitty’ in the front row, but this didn’t detract from the enjoyment of the playing at all.
Interesting to note that John Huband chose to use his electronic bass unit rather than a live bass player.
At times the sound was a bit ‘boomy’ from the electronic unit, but at least the Beeb’s engineer had captured the sound and recorded it well. Understandable, of course, that John should choose to use the bass unit since he is a partner in the company that provides these conversations for so many box players. I hope, however, that he’s not starting a trend on ‘Take the Floor’ – there are few enough bass players around as it is.
The year ended with Dunblane’s own Jim MacLeod producing a better sound than he has had in broadcasts for a long time. The addition of the second box helped to thicken out the front line.
I doubt if David Findlay endeared himself to the purists with his insistence that Jim should sing ‘My Wee Laddie’ but no doubt a lot of punters were delighted!
Compliments go to the engineer for the recording except for Hebbie Gray’s fiddle which was a bit ‘screechy’ at times.
One thing you can always rely on from Jim MacLeod and his band – popular, catchy tunes and there certainly was an abundance of them in this, the last ‘Take the Floor’ of 1979.
Here’s looking forward to 1980.
Readers Letters
Sir – I would like to express my appreciation for the many letters we have received in support of the extended programme of Scottish Dance Music.
We were really inundated with requests and I can only say that the extension which the programme now has can be attributed in no small way to the enthusiasm of many of your readers. On behalf of all of us here at ‘Take the Floor’ we would like to say thank you.
Chris Worrall – Producer ‘Take the Floor’ BBC Radio Scotland
Sir – I must protest at the sheer ineptitude of the TV channels at Hogmanay, especially up to the magical stroke of midnight. The programmes had as much magic as a broken-down conjurer.
I would respectfully suggest that next year the job be given to the NAAFC. They have at their finger-tips the expertise and ingredients to run a ceilidh for days, never mind a mere hour.
The reason the Accordion & Fiddle Clubs are so popular is that they give the people what they want.
J. Duffy, 34 Dounan Road, Dunraggit
Sir – I would like to know Derek Hamilton’s opinion of the ‘broadcast’ over the air of the Fraser McGlynn Band after hearing it at Dumfries live (B&F Nov), apart from them forgetting to switch on the stereo for about 15 minutes, which I may add in my opinion did not improve things. To my ears this new team, except David Findlay, have not got the knack of balancing bands. After all, the players seek perfection, so why not the listeners. Wake up BBC.
Peter Rae, 167 High Street, Biggar
Record Review
by Derek Hamilton
Let me start this month with an apology. To a brilliant young musician whom I omitted to mention in my column when I discussed an older album titled ‘Accordions Unlimited’. As well as all the artistes I mentioned, two tracks were performed by Owen Murray who, at the time of this recording, was a young accordionist who played mostly classical music. The two tracks on ‘Accordions Unlimited’ are a brilliant performance which should not have gone without a mention. Owen Murray is the son of the famous Chrissie Letham and has, for the last few years, been studying in Denmark. He is due to sit his finals this coming May. Owen plays a Hohner Gola Continental Chromatic accordion and is one of the finest exponents of the ‘free bass’ style.
I am indebted to Ewan Campbell of Glasgow, another classical player, for the back-up information on Owen. I am sure that you will want to wish this brilliant musician well in his chosen career and hopefully we can entice him back to his native Scotland where we can all enjoy the talent and ability of Owen Murray. (2012 - well that never happened but London based Owen now has an excellent web-site so have a look).
Last month I reviewed Dave Stewart’s first solo album which appears on Bluebell. The initial release was on tape only, but I can now confirm that the discs are due in the shops any day.
David Silver, who runs Bluebell, tells me that he hopes to release one album per month during 1980 and only the best of artistes will appear on the Bluebell label.
Two albums have recently been released from this stable. The first, by Alex MacArthur and his Band, is on Bluebell BBR/LP119 and is ‘Scottish Country Dances - Volume 2’. I reviewed this excellent recording when it first appeared on tape a couple of months or so ago. Now on disc, it should appear to a much wider audience.
The second, by various artistes, is a sampler record containing a couple of tracks from each. It’s a great LP entitled Bluebell Accordion Festival – Bluebell BBR/LP126
There are two others worth talking about.
Charlie Kirkpatrick – Highland Accordion – Bluebell BBR/C111 is a talented three-row chromatic player originally from Iona, now living in Glasgow (and a polisman to boot!!) This is his first album and like many other three row players, Charlie is a master at the pipe march. Needless to say his cassette is just full of pipe stuff, all played with great feeling and precision.
Charlie plays a Shand-type Morino, but it’s one of the rarer ‘black’ ones and it sounds great.I sat in on piano at a gig with Charlie recently and thoroughly enjoyed every minute of it.
His regular drummer, Billy Grant of Glasgow, is no stranger to the record scene, having recorded with many of the top artistes. And he’s there playing some fine drumming on Charlie’s album. John Carmichael helped with the arrangements and played second box. The backing is completed with bass and piano.
All-in-all this is an excellent album and well worth including in your collection.
The Strathpeffer Band – Pride of the North – BBR/C113
That, then, paints the picture for 1980. Now that all the big boys have pulled out of the Scottish recording scene it’s up to the small independent companies to carry on the traditional music side. Companies like
John Carmichael’s ‘Shona’ label
David Silver’s ‘Bluebell’
Freeland Barbour and Sandy Coghills ‘Lapwing’
And Peter Hamilton’s ‘Lismor’.
As far as I can see (and hear!) they look like making a damn good job of it!
Fintry Reforming
by Yehudi McEwan (i.e. Jimmy Yeaman)
The Fintry A&F Club is reforming under a new Committee of Frank Farquharson and Sandy Shearlaw, both of Balfron, and Mary Bruce of Drymen. The Club is reventing to their original venue at the Fintry Inn and meetings will be held on the fourth Monday of each month, commencing 28th January 1980. Appearing as guest artiste on that occasion will be Jimmy Yeaman and his ‘Head Bangers’ whose performances have been known to be a knock-out.
Former organizer of the Club, Alec Fitzsimmons, is in jail. He claims to be a member of the prison staff, but anyone who has seen his ‘Rent a Fright’ haircut knows that no self-respecting prison officer would go around looking as if his hair had been styled at City Bakeries.
Cut out the shoplifting Alec, or, if the temptation is too much, get me a colour telly and a fur coat for the wife.
The Uniform Keyboard
by Jimmy Blair
In this month’s article I would like to explain a keyboard which was introduced in America by John Reuther around 30 years ago. I played and taught this system for about 4 or 5 years in the early 1950’s and my Uniform Keyboard Quartet became quite well known.
To me it was an ideal compromise between the piano keyboard and the five-row chromatic keyboard. Only two rows were required for all scales and the third row was useful for transposing or as an alternative fingering for awkward chords. Here is a diagram of a section of keyboard.
Each row is therefore a whole-tone scale. All major and minor scales can be played with one fingering in each case. The chromatic scale is very easy indeed using 1,2,3,4 fingering throughout. The keys are about 2” long and the same width as piano keys.
Advantages are (1) Easy scale playing (2) Easy transposition (just moving along a row or up a row as required with no change of fingering) (3) Quick chordal passages were quite easy (4) No ‘difficult’ keys as all were the same fingering (5) No awkward black notes to get thick fingers in between (there were no spaces).
Disadvantages (1) No ‘easy’ keys (all were fingered the same way) (2) Sight reading could be awkward because alternative notes were available and one could easily head in the wrong direction (it was safer to keep to two rows for sight reading and to employ the third row only for transposing or for making a passage easier to finger wheb one had time to work out suitable fingering) (3) The main disadvantage was the appearance (it looked like a draughts board to many people). I got over this by having a special keyboard – all white keys with black edges for identification (4) Availability was not good – only one imported could supply new instruments and there were long delays (5) The public at large didn’t seem inclined to experiment with the idea and I eventually gave up the uniform keyboard and went back to the piano keyboard like most of my pupils.
Events have proved me right as the uniform keyboard seems to have sunk into obscurity. It’s a pity because still like the chromatic system and keys which are all the same shape with no awkward spaces between them (especially for big hands).
In my final article in this series I will deal with the piano keyboard which is by far the most popular and widely used system except in France and some Scandinavian countries.
The Kenny Thomson Story
by Ian Smith
Another of Scotland’s fine accordionists, and one who deserves a mention, is Kenny Thomson, until now second box player with the Ronnie Easton Band.
Kenny was born into a musical family from Muirkirk, Ayrshire. In March 1944. His mother and father played piano and accordion respectively with Samson’s Band – the top dance band in the district during the ‘40’s and early ‘50’s.
Santa Claus brought Kenny his first accordion (an 8 bass Steldini) in 1948 and his parents were his first tutors. At the age of 8 he became a pupil of the famous Robert McF Adamson, composer of Triumph March, and the following year won the under 10 solo in a contest in Glasgow organized by the National Accordion Organisation.
Very Popular
He has performed in public regularly since he played at his first concert in Muirkirk at the age of six. It was at one of these early concerts that Ronnie Easton (also a native of Muirkirk) and Kenny first played together, but it was not until 1957 that this became a permanent partnership, they having formed a band which became very popular in the Lanarkshire/Ayrshire area. 8pm till 2am dances were the order of the day. It was in July of that year that Kenny’s brother Stuart was born. Stuart, like big brother, soon took an interest in the box and likewise became a pupil of Mr Adamson.
In 1961 Kenny decided to expand his musical abilities and took up the also saxophone and the clarinet, being taught the intricacies of these instruments by Derek Hawkins, late of the famous Ted Heath Band. The following year Kenny had formed his own trio (accordion, piano and drums) which became very popular in Working Men’s Clubs in Lanarkshire. For the next few years, as well as playing with the Trio, he displayed his talents on saxophone and clarinet in beat groups, jazz groups, semi big-bands etc.
In 1967 he became ‘scunnered’ with the music scene and more or less stopped playing altogether, but after a few years retirement that ardent accordionist Jock Loch, persuaded Kenny to play at a few jobs with him and that was it – the enthusiasm returned and once again he was back on the music scene, this time concentrating solely on accordion.
In more recent years the old partnership was reformed when Derek Lawrence of Troon asked Ronnie Easton and Kenny to play with the band he was forming to audition for the BBC’s Scottish Dance music. The rest is well known. The band passed the audition with flying colours, but unfortunately Derel Lawrence emigrated just as it was gaining popularity, the leadership then being taken over by Ronnie.
Now, with the departure to Birmingham of Ronnie, the man in the driving seat is Kenny. The Band is now known as Kenny Thomson and the Wardlaw SDB and the personnel are : Colin Finlayson (piano), Neil McMillan (bass), Duncan Burns (drums), Gordon Simpson (fiddle), Ian Muir (1st accordion) and Kenny (2nd accordion).
Why, I hear you ask, isn’t Kenny on first accordion? Well, the reason is quite simply that, by his remaining on 2nd, the sound of the band remains basically as it was.
Incidentally, Ian Muir, is a cousin of Kenny’s wife Cathy, whom he married in 1970.
Ian, although only 17, is already a stage veteran, having played for Johnnie Beattie, Kenneth McKellar, Alistair MacDonald, Norman McLean etc. Stage players generally differ in style from Band players but Ian has blended into the Wardlaw SDB admirably.
Admiration
The instrument Kenny plays is a Hohner Morino V which he bought new in January 1966 for £333 (gone are the days!) and he would never part with it. Ian plays an Excelsior Musette Master. Both of these instruments are kept in tune by C.M.H. Accordions of Muirhead by Dundee – real experts says Kenny. (That was Bobby Campbell, a fine 3 row player and accordion repairer/tuner, Dave Mambie who developed, promoted and made popular a ‘power bass’ system for the left hand and John Huband who tuned and taught as well as broadcasting as leader of the Tayside Sound and being one of Scotland few jazz accordionists).
Most players are influenced by others – Kenny being no exception. He has deep admiration for the great Ian Powrie Band and in particular the playing of Mickie Ainsworth. “The sound they produced was pure magic” he says.
The Thomsons have a young son, Grant, who at 2½ already shows an interest in accordion and fiddle music. He has always to have a ‘wee shot’ at dad’s accordion before going to bed.
Kenny and Cathy run Cumnock and District A&F Club. Recently they have been taking Grant with them on Club nights and he has thoroughly enjoyed himself.
Kenny and Cathy extend to all their friends and members of the Association a Happy New Year and to the ‘Box and Fiddle’ continued success.
Clinkscales of Melrose Advert for a new Hohner Gola at £3,912
CLUB DIARY
Aberdeen (Queen’s Hotel) – 29th Jan 80 Banchory Club
Alnwick (Nag’s Head) – members only
Balloch (Loch Lomond Hotel) – 20th Jan 80 Currie Brothers 17th Feb Archie Duncan
Banchory (Burnett Arms Hotel) – 29th Jan 80 Graeme Mitchell Trio
Banff (Royal Oak Hotel)
Beith (Anderson Hotel) –
Biggar (Clydesdale Hotel) – 11th Feb 80 Bobby Harvey
Buchan (Buchaness Hotel) –
Coupar Angus (Royal Hotel)
Cumbria (Huntsman Inn – Penton)
Cumnock (Tup Inn) – 19th Feb 80 Dave Scott
Derwentside (Royal British Legion, Consett) closed till March 80
Dumfries (Oughton’s)
Dunblane (Hydro) – 12th Feb 80 Dundee Club
Dundee (Royal Central Hotel) –
Dunfermline (Kinema Ballroom) – 5th Feb 80 Paddy Neary
Falkirk (Park Hotel) –
Forres (Brig Motel) – 23rd Feb 80 Burns Nicht 13th Feb Bill Brian (fiddle)
Galston (Parakeet, Hurlford)
Glendale (Black Bull Hotel – Wooler) – members only
Highland/ Inverness (Drumossie Hotel)
Kelso (Queen’s Head Hotel) – 27th Feb 80 Roger Dobson Band
Kintore (Crown Hotel) –
Langholm (Crown Hotel)
Livingston (Cameron Ironworks Social Club)
Lockerbie (Queen’s Hotel) – 29th Jan 80 Gordon Pattullo
M.A.F.I.A. (Black Bull, Milngavie) – 7th Feb 80 Graeme Mitchell Trio
Monklands (Georgian Hotel, Coatbridge) –
New Cumnock (Crown Hotel) –
Newtongrange (Dean Tavern) –
Newton St Boswells (Railway Hotel)
North East (Seafield Arms, Keith) – 5th Feb 80 David Morrice (fiddle)
Oban (Park Hotel) –
Perth (Salutation Hotel) – 19th Feb 80 Robert Whitehead
Renfrew (Glynhill Hotel)
Rothbury (Queen’s Head Hotel)
Shetland (venue?)
Stranraer (Buck’s Head Hotel) – 4th Feb 80 Stuart Anderson
Torthorwald (Torr House Hotel)
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Alnwick
3. Balloch
4. Banchory
5. Beith
6. Biggar
7. Buchan
8. Cumnock
9. Dunblane & District
10. Dundee & District
11. Falkirk
12. Forres
13. Galston
14. Highland
15. Kelso
16. M.A.F.I.A.
17. Monklands
18. Newtongrange
19. North East
20. Oban
21. Perth
22. Stranraer
23. Wick
CLUB DIRECTORY (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Alnwick A&F Club (Sept 1976)
3. Balloch A&F Club (Sept 1971)
4. Banchory A&F Club (1978)
5. Banff & District A&F Club (Oct 1973)
6. Beith & District A&F Club (Sept 1971)
7. Biggar A&F Club (Oct 1974)
8. Buchan A&F Club
9. Coquetdale
10. Coupar Angus A&F Club
11. Cumnock A&F Club
12. Derwentside A&F Club
13. Dumfries Accordion Club (Oughton’s) (April 1965)
14. Dunblane & District A&F Club (1971)
15. Dundee & District A&F Club
16. Dunfermline & District A&F Club
17. Falkirk A&F Club
18. Forres A&F Club (Jan 1978)
19. Galston A&F Club
20. Glendale Accordion Club (Jan 1973)
21. Greenhead Accordion Club (Hexham)
22. Highland A&F Club (Inverness)
23. Kelso A&F Club (May 1976)
24. Kintore A&F Club
25. Langholm A&F Club (Oct 1967)
26. Livingston A&F Club (Sept 1973)
27. Lockerbie A&F Club (Nov 1973)
28. M.A.F.I.A.
29. Monklands A&F Club
30. Newcastleton Accordion Club
31. New Cumnock A&F Club
32. Newtongrange A&F Club (Oct 1977)
33. Newton St Boswells Accordion Club
34. North Cumbria
35. North East A&F Club aka Keith A&FC (Sept 1971)
36. Oban A&F Club (1975)
37. Ormiston Miners’ Welfare Society A&F Club
38. Perth & District A&F Club (Aug 1970)
39. Rothbury Accordion Club (1974)
40. Shetland A&F Club (Sept 1978)
41. Stranraer & District Accordion Club
42. Torthorwald A&F Club (near Dumfries)
43. Wick A&F Club (Oct 1975)
Not on official list (closed, did not renew membership or omitted in error?)
44. Bonchester Accordion Club (Closed?)
45. Club Accord
46. Dunbar Cement Works A&F Club (Closed?)
47. Fintry A&F Club
48. Gretna (June 1966)
49. Renfrew A&F Club
50. Straiton Accordion Club (opened? 3rd club to open – closed March 1979)
51. Wellbank A&F Club