Box and Fiddle
Year 25 No 11
July 2002
Price £1.75
36 Page Magazine
1 month subscription £1.75 + p&p £0.60
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 we go to press we’re only just short of our target of 10,000 signatures for our petition. By the AGM we hope to have reached the magic figure. Sincere thanks to all of you who have taken the time and trouble to collect signatures at Clubs and other functions. We seem to have stirred up a real hornet’s nest! We had a deluge of letters, e-mails and phone calls about last months article ‘Please May We Have Some More?’ which covered just some of the correspondence flying around the START Group (Scottish Traditional Arts Cross Party Group). Some of you felt that it was too ‘Folk’ orientated, and didn’t refer to ‘our kind of music’; others thought that we have common roots, and so it was equally relevant; many of you also felt that our voice would be louder if we joined together to protest at the treatment of Scotland’s Traditional Music by the media in general, who often don’t understand the distinction anyway. That is why, on our Petition heading, we put “We the undersigned, feel that there is not enough coverage of Scottish Traditional Music (and particularly Scottish Dance Music) on radio or television”. The real advantage in printing the article was that it brought the Box and Fiddle (and our petition) to the notice of the BBC. Donald MacInnes contacted us, and asked if he could include the BBC’s comments. Following on from that, Radio Scotland contacted Nicol and invited him to do an interview with Robbie for a ‘Take the Floor’ feature, which was broadcast on 22nd Junr.
Speaking of ‘TTF’, our lead article this month covers the fantastic evening of music and dance that was transmitted live from the Palace of Holyrood House. What an atmosphere – and wouldn’t it have looked great on TV? It was lovely to see Jennifer and Brian Cruickshanks there with Calum and little Iona. Jennifer would like to thank everyone for their kind letters and cards. Iona is very definitely getting stronger, so it maybe won’t be long before Mum and Dad buy her an accordion!
We have had a lot of very positive feedback about our ‘See Hear’ pages. Remember any CDs, videos, tapes or books for review should be sent to Judith Linton.
We are always looking for articles for the magazine. Don’t worry if you’re not confident about your writing skills; if you send us the basic article (photos are helpful too) then we can edit it if necessary. As always we appreciate your contributions to the Club reports.
Next month we’ll have full coverage of the AGM. We’ll be putting photos onto our website as soon as possible after the 30th, so remember to check it out.
Thank you once again to everyone who helps to put this magazine together, and particularly to you, the readers/
Karin Ingram
Robbie Goes to Hollywood
by Karin Ingram
It’s a beautiful summer evening in Edinburgh, and the grounds of the Palace of Holyrood House have been a hive of activity since the morning. Tonight sees a rare event, a live transmission of ‘Take the Floor’. This is to be a celebration of the Queen’s Golden Jubilee, and many of the dances and tunes will have a ‘Royal’ connection. Our host, as usual, id the ever-popular Robbie Shepherd, and providing the dance music tonight is the Iain MacPhail SDB. Iain’s band consists of some of the very best of Scottish Dance musicians – Iain himself on lead, Brian Griffin on second box, Ron Kerr on fiddle, Ian Watt on guitar, Alasdair MacLeod on bass, Graham Jamieson on drums and , to provide some glamour, Isobelle Hodgson on keyboard.
We are expecting guests too – singer Sheena Welling ton, accompanied by singer/guitarist Ewen Sutherland, 12 sets of dancers from RSCDS groups throughout the country and the Scottish Power Pipe Band.
The artistes and dancers have been rehearsing since early afternoon, and Robbie’s Crew has been on site since the morning. Ken Mutch is the Producer, Doug Maskew the Audio Supervisor, Ron McAskill and Amelia Macdonald are at the sound controls, Jean Sharman is Production Assistant and Doreen Wood is the Editor.
We are also expecting a visit from comedian Craig Hill, who will be filming for a BBC TV programme about the Jubilee celebrations throughout the country. As you can imagine, everything demands precision timing and a considerable skills of the Take the Floor team will be thoroughly challenged.
I have a chance to chat with some of the artistes, dancers and crew, and all are on a high. Issy confesses to being a bit nervous, but with her talents on the keyboard she will sail through the performance. I catch up with old friends, Lorn and Mary MacIntyre; it’s good to see them both looking so well. I am delighted to meet singer Sheena Wellington. We have corresponded often by e-mail, but have never met face to face. Sheena is a lovely lady, she has always been amazingly helpful whenever I have had a query about tunes or songs. Tonight she will be singing three songs, Strong Women Rule Us All, Ae Fond Kiss, and A Man’s a Man, (which aroused such powerful emotions at the opening of the Scottish Parliament).
I have also had a brief chat with Jim Healey, Secretary of the Perth Branch of the RSCDS and dance teacher in Dundee. He is thrilled to have the chance to dance to a 7-piece band, and is particularly looking forward to performing the new dance ’50 Years On’ written by John Drewry to celebrate the Golden Jubilee.
At about 6.30 everyone goes off to get changed for the big event. When the dancers return and form up sets in the courtyard, with the backdrop of the Palace, the effect is really quite stunning! I am more convinced than ever that we must push for more coverage on TV. Everybody is in place, the pipe band is tuned up and ready, Robbie steps up to the microphone, and Iain and his band launch into ‘Kate Dalrymple’. Take the Floor everyone, you’re in for a great night!
Scottish Showtime
by Alan Kitchen
Andrew Rankine, Bert Shorthouse, John Carmichael, Stuart Anderson (Fife), Shona and Karin Leitch, Lindsay Weir and Marian Anderson; these are only a few of the many respected accordion players who have performed in Scottish Showtime, Scotland’s longest running show, which celebrates 30 years of existence this season.
The Cummings Hotel was the show’s venue until recently, when it moved to the Spectrum Centre, still in the centre of Inverness. Although it is now aimed mainly, but not entirely, at the many holiday visitors to Inverness, the show has its origins in the summer variety season of The Empire Theatre and its manager, Mr John Worth.
John ran the theatre, until its closure in 1971 and thereafter promoted and ran his summer shows in The Cummings Hotel, first as ‘Cabaret at the Cummings’ then as ‘Scottish Showtime’, even into his octogenarian years. To this day it remains in the format of a popular variety show, with production numbers, a fixed cast for the whole season, and written musical arrangements. The intention has always been to integrate the artists involved, rather than just present a series of separate acts.
Among the audiences of overseas tourists, there can still be found a fair contingent of Scots, and even some Invernesians taking the opportunity to see a Scottish Music based variety show involving home grown artistes.
In times past John Worth would involve members of the cast, often reluctantly, in comedy sketches. I recall cast members dressed as majorettes, midgies, a disastrous wedding party, competitors at a chaotic Highland Games meeting, the list is endless. The skills required by dancers had often to stretch beyond dancing. One particularly ambitious project involved a group of dancers playing The William Tell Overture on mini xylophones strapped to each others backs! The tune was usually recognisable!
Since the first season in 1972, the many dancers who have appeared – and there must have been well over a hundred – have all come from the Margaret Firth School of Dancing. Maggie Firth, who was recently honoured with an MBE, comes from Aberdeen and was a prominent figure in the heyday of Scottish Variety, dancing in and choreographing shows in theatres throughout the country, including the Empire, Inverness. She still provides the dancers for Scottish Showtime and attends the show at almost every performance. In recent years there are dancers taking part whose mothers danced in seasons in the earlier years – such is the continuity….
Following the death of John Worth in 1994, at the age of 81, many feared the demise of Scottish Showtime. However, Bob and Maggie Donaldson, better known as The Marlettes, decided to take the plunge and have successfully run the show since then. A favourite act since the first season, they delight audiences with their variety of traditional and contemporary songs.
Another long timer is Billy Nelson, well known to all Invernesians and many others as comedian, magician and drummer. From the drum stool Billy has compered the show since the third season I believe; and, in more recent times, mystifies and amazes the audience with his own brand of conjuring. I am sure some B&F readers may have seen Billy performing his magic at Accordion Clubs – along with Jock Fraser who is also a past veteran of Scottish Showtime. Jock’s impressions of well-known Scottish entertainers were a feature of the show in the late seventies and early eighties and delighted the local audiences who frequented the shows at that time.
Currently taking part in this 19th season is local singer, Ben Kelly. In addition to singing many popular favourites, Ben has, over the years, brought a contemporary twist to the show by including some of his own compositions. No feature on Scottish Showtime would be complete without mention of the Muir-of-Ord’s own comedian, Johnny Bogan. ‘The Bogan’s’ involvement spanned many years during which he entertained audiences of visitors and locals alike with endless jokes, stories, and routines often involving an ostensibly naïve Highlanders coming up against a sophisticated townie from elsewhere. Needless to say, the Highlander always got the last laugh. Johnny Bogan has almost a cult following in the North. Even people who have heard his act many times will ask him – “Could you tell us the one about”. It’s the way you tell them right enough.
My own involvement as keyboard player started in 1980 when I was asked by john Worth to come to Inverness for a week to deputise. The week at that time comprised two separate shows. Monday to Thursday was a show featuring Colin Stuart and geared mainly to visiting tourists. Colin worked for several years in Inverness and to this day delights the tourist audiences in one of Edinburgh’s prestigious shows. Friday to Sunday was a show featuring Norman McLean. Norman had also had a long association with the show and as always, his name on the bill would ensure a packed audience of ‘West Coasters’ and others whom he would enthrall with his performances as comedian, piper, singer and ‘observer of life’.
All of the many musicians with whom I have had the pleasure of working have brought their own input and style to the show. I recall being introduced to many new musical ideas by Inverness based piper Iain Hamilton. Always at the forefront of developments in contemporary traditional musiuc, Iain’s association with the show was for 12 years. He was succeeded a few years ago by Audrey Mackenzie who, in addition to her excellent piping, brings a new dimension this season with some Gaelic songs. I recall a particularly musically productive period when Shona and Karin Leitch were the show’s accordionists, along with sister Lorna on the fiddle. Lorna now plays first violin in the RSNO – wonder if she mentioned Scottish Showtime in her CV?
Another fiddler was Sarah-Jane Fitfield – nee Summers – who recently made her ‘TTF’ debut in the fiddle led ‘Bella McNab’s Band’.
In recent years several well-known accordionists from the dance band scene have made their mark on the show. Lindsay Weir, who performed in three consecutive seasons, often had the audience humming along to her rendition of The chorus of the Hebrew Slaves. Marian Anderson, who performed in the next four seasons, a popular musician in the old time and Country Dance scenes, often attracted many of her followers to the show.
Apologies to those musicians I haven’t mentioned due to space limitations, but a full list is available on the website www.scottishshowtime.com
This year’s accordionist, local lad David Mackenzie, is currently Junior Traditional Champion, and leads his family band, The Wyvis Sound. I am sure many readers have seen and heard of his appearance and achievements of late.
The current season runs Monday to Thursday during June and July and Monday to Friday in august and until September 13th, nightly at 8.30pm in The Spectrum Centre, Margaret Street, Inverness.
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).
Fiddle Composers from the South of Scotland
John Riddell, John French & John Hall (all of Ayr)
Colonel Hugh Montgomerie (Sodger Hugh) 12th Earl of Eglinton
Alexander Gibb (Haddington, East Lothian)
James Porteous ‘The Musical Miller’ of Annandale
Robert Riddell of Glenriddell
If it hadn’t been for the publishing vogue of the late 18th and early 19th centuries, most of the music of the fiddle-composers of southern Scotland would have been lost long since. Fortunately, though neglected, the music has been preserved and is ready for rediscovery.
In some cases these music collections are all the history we have, but occasionally there has been a lucky break, such as a hand-written history or an anecdote saved from the fire, or official evidence from Parish records, even a moss covered headstone. But whereas in the case of ‘famous’ Niel Gow that great personality is remembered as much through his portraits and general notoriety as by his music. His four sons and his grandson – all distinguished musicians and composers – languish in a half-forgotten world, along with perhaps 90% of their contemporaries. How many of those other names do people now remember at all? William Marshall of Speyside, ‘Red Rob’ Mackintosh (Tullimet & Edinburgh), Alexander ‘King’ McGlashan (Edinburgh, Daniel Dow and Robert Petrie (Kirkmichael in Perthshire) were all notable personalities in the music profession and are dimly remembered in some quarters. What they did – and what all those hundred or so contemporaries of theirs also did – was to publish volumes of printed music (over 300 of them) and that in most cases is the only reason they are remembered at all. We should not forget that, without those volumes, the music resulting from centuries of Scottish tradition would now have vanished. Some of them published their own work and some chose to mix the old and the very old with the favourite music of the day. The result is an astonishing blend of material and perhaps the most extraordinary feature of it is that so much of it is still as fresh and playable as when the books were issued 200 years ago!
We ought to be able to identify without difficulty the works of many of these worthies from the Borders, Ayrshire and elsewhere by the inclusion of some of their music in the compilations of James Kerr (1870s) and such mighty volumes as The Athole Collection (1884). That has been denied to us by the unfortunate decision of the publishers to ignore the composers and all reference to sources and dates. The music selected is almost all from the earlier period but has the appearance of having no previous ancestry at all. Yet it was through the efforts of the early publishers that Scotland’s traditional fiddle and song repertory won its unique reputation as one of the great gems of European folk music. That celebrity was helped along by the general acclaim of Scotland’s patron saint of the song lyric, Robert Burns (1759-96), but how it stands now is a more vexed question. The national repertoires of Ireland, Shetland and Cape Breton have been swept into the flood tide of international folk music and yet the indigenous material and styles are still nurtured and cherished. Scotland in the meantime, while still providing the bulk of the popular pipe music within the folk repertory, seems to appreciate its own 18th and 19th century fiddle music and its local styles less and less. The teaching of the tradition, particularly with regard to dance tempo, is itself in danger in these changing times and may soon be in terminal decline. It can be preserved, through sound and video recording, but that would not be the same thing. Books of music tucked away in the ‘Rare Book’ sections of our principal libraries, to be studied only under strict supervision, are unlikely to set the heather on fire! We need to hear the music again, as it was intended to be heard, and that’s just not happening.
John Riddell, or Riddle (1718-1795)
From Ayr, is described by John Glen as ‘the earliest name that has come down to us as a composer of Scottish Dance Music’. He certainly was one of the earliest because his ‘Collection of Scots Reels and Country Dances and Minuets’ may have been published as early as 1766 (it was republished and much enlarged by James Aird, Glasgow, in 1782) The title page declares the tunes as ‘composed by John Riddle of Ayr’, whereas Robert Bremner and Neil Stewart, who were publishing in the previous decade, were merely collecting and editing their material. Any claim to authorship of dance tunes before that time would be very hard to prove with certainty. Bremner published Riddell’s The Merry Lads of Ayr in 1757. Dumfries House (a 6/8 tune still popular, which turned up in Cape Breton with the title changed to Dumphrie’s), the air Finlayston House and the reel, Stewarton Lassies are remembered. He died of ‘fever’ aged 76.
John French (1753-1803)
A native of Cumnock, Ayrshire and was clearly well-kent as a fiddler-composer in the neighbourhood. His little collection of his own compositions, dedicated to Mrs Boswell of Auchinleck (the wife of Dr Johnston’s Boswell), was published after his death and styled as ‘for behoof of his widow and children’, there being no social security net for the widows of dead fiddlers in his day. To judge from the titles of some of his tunes – Send Us Whisky and A Caup of yer Tippany Kate – it seems not unlikely that the demon drink caught up with him, but he left us some engaging music nevertheless.
John Hall (1788-1862)
From Ayr, describes himself as a Teacher of Music on the title page of his music collection, ‘A Selection of Strathspeys, Reels, Waltzes and Irish Jigs’ to which he adds mention of ‘a number of Jackson’s Admired Airs’ (a dozen or so favourite jigs from the Irish repertory). It contains 95 titles, 30 of them his own. He’s now best remembered through a number of manuscript collections (his teaching music), which are preserved in various Glasgow museums and a dancing master’s ‘kit’ fiddle, used in tuition.
Alexander Gibb
Dancing master from Haddington, East Lothian. /his story can be traced through advertisements dating from 1789 when he settled in Edinburgh, until 1809, after which there is silence. In one announcement he ‘informs his friends and the public that he has not been to Paris this year, but that he has as many modern dances, etc, as any in his line in the town’. (Glen) His ‘New Collection of Minuets, Medlies, High-Dances, Marches, Strathspeys and Other Reels’ seems cleverly geared to the dance fashions of 1798, the estimated year of publication. As a footnote he adds – with professional aplomb – that ‘at desire he makes Steps for New and Old Tunes’. His dance compositions are polished and the 6/8 Miss white’s Jig (in Bb) is a real gem.
James Porteous (1762-1847)
‘The Musical Miller of Annandale’, was born at Applegarth, Dumfries-shire, spent a year in Edinburgh (apparently learning the fiddle under Nathaniel Gow) and returned to the life of a miller and farmer at Hoddam* in Dumfriesshire, where he died aged 85. He was known as a kindly, jovial man whose fiddle made him ‘a welcome addition to any company’ (from a private biography). Around 1820, his compositions appeared in ‘A Collection of Strathspeys, Reels and Jigs’, dedicated to Lady Jardine of Applegarth, published in Edinburgh but foot-notes ‘Meinfoot by Ecclefechan’. There is a mystery surrounding a second edition, published by J. Sutherland (Edinburgh) which has the same title page (minus Ecclefechan) and the same music but with 84 of the original 98 titles changed beyond recognition. There are a random few pieces not his own (these remain unchanged) and it seems an odd notion for the author himself to alter the titles.
Hoddam was the property of Charles Kirkpatrick Sharpe, one of those who, though talented, was also a landowner and so was labeled (by his fellow musicians who made music their livelihood) an ‘amateur’. He wrote some truly sublime pieces, but never produced a volume of his own. The Gows published his 6/8, Hoddam Castle and a number of others; Malcolm Macdonald included his 6/8 Mrs Muir Mackenzie’s Fancie.
Captain Robert Riddell of Glenriddell (c1745-1794)
A composer and antiquary and a friend of Burns, some of whose songs he set to music. In the year he died he published ‘A Collection of Scotch, Galwegian and Border Tunes ‘ Another collection a few years earlier contained ‘Reels, Minuets, Hornpipes, Marches and Songs of the Old Scotch Taste’.
Hugh Montgomerie (c1740-1819)
12th Earl; of Eglinton, known as ‘Sodger Hugh’ (he fought in the American War) and a composer and musician, was a lifelong supporter of the tradition. He’s remembered now (remarkably, under his own name) for the reel Lady Montgomery, the air Annick Lodge, the jig The Island of Mull and the strathspey Ayrshire Lasses, all published in Gow’s Repository Book 4, but he composed a great deal of other music, under the style ‘Composed by a Gentleman’.
All these volumes can be seen in libraries around Scotland. For any other details please contact Charlie Gore.
Reeling in Greece
by Ronnie Henderson
It all began last January when I was approached by a fellow Scot and his Greek fiancée and agreed to provide some cultural exchange for their forthcoming Athenian wedding in May. There was no hesitation – my Sonola, Academy IV and I would be traveling….or would we? Airlines and accordions aren’t synonymous….we didn’t. Hiring locally was the obvious option in an accordion country. A trip on the internet was all that was required.
On arrival in Athens and after the usual customary welcomes and stabling, the accordion was delivered to the hotel foyer, where it was immediately hi-jacked….the ransom being for a taste of the music they had all heard on the specially commissioned CD ‘Ronnie Henderson’s Momento to Simon and Venetia’. (A Smith/Mearns production and featuring George Borwick on drums). Instant numbers had to be provided and it was only then that I had time to study what it was I had been given to play. The accordion was to be a 1956 Italian ‘Colombo Grande Vox’, full size, 12/3 Registered model, played originally by Greece’s answer to Will Starr. It reminded me of the ‘Crossio’….in fact the type of instrument that are said ‘not to be made like that anymore’. It was loose, responsive and musette tunes, all-in-all it was going to be a treat to play in earnest. The following evening was to be the occasion.
The wedding, which was to be attended by some 300 guests, mainly Greeks but with a plethora of some 40 tartan clad Scots, commenced at sunset outside a very small sone walled picturesque mountain chapel, as it was unable to accommodate the assembled guests. What a Hollywood setting, as the bride and groom arrived accompanied by the priest (tall, grey bearded) and who insisted on the longer version of the Orthodox service. No music, only chanters (using Peavey speakers!) Video cams started to roll whilst chit chat and smokers were deemed normal!!!
Descending down a ribboned walkway into a dedicated ex-farm, the reception was to follow, but by this time it was dark and candles were the main light. It was my initial idea to ‘rove’ around the tables on a high stool while the buffet was in progress. But with some 30 tables spaced over at least a half acre of sloping ground, I decided to plant myself (and stool) on a small area of dance flooring beside a large flower decorated swimming pool, and connected myself up to the permanent relay sound system.
Wow….surround sound…..brilliant, as the accordion was miked for right and left. A mixture of Continental and Scottish flavours was to end the first ‘Scot Spot’….all solo. An excellent Greek disco provided the continuity music.
The second ‘Scot Spot’ was to be an eightsome / foursome and after a certain press-ganging for dancers, although not all in full dress regalia, the performance gave our Greek friends a lot to digest, but nothing compared to what they were to give us in return. Indeed our standard of folk dancing appeared ‘cringe-making’ in comparison to the fervour and knowledge of their own patriotic dancing. I got the impression that our standards have slipped, who among us could do a sword dance on request, let alone 12 of us?
However we all stepped down to rapturous applause….the Greeks value their traditions and customs, and most really appreciated our lowlier efforts.
Next day was given over to sightseeing, and sampling Greek hospitality under cloudless blue skies. In summary….efficient flights, good accommodation and memories of a very special event, mastered by a wonderful bunch of warm hearted and sincere people. I hope to have left my mark for a return in the future.
Bill Sharp Scholarship
by Graeme Donald
Tom Orr from Hyndfordbridge, Lanark won the second Bill Sharp Scholarship worth £1,000 in The Wynd Theatre, Melrose last month. Jedburgh’s Gary Forrest was the runner up.
As a result of winning the Scholarship Tom Orr was invited to play during the ‘Scotbox’ concert in Kelso on the evening of the competition – alongside international stars Thora Ker and Eddie Rose – and will be invited to play during the Peebles Arts Festival in September.
Other finalists were Morgan Leslie from Biggar, Chris Lewis from Newcastle and Nicola Morrison from the Isle of Lewis. Popular bandleader Robert Whitehead from Ashington, who led the adjudicators, said “The standard of playing was good, but the most impressive element of the final was the potential demonstrated by each player, particularly Nicola Morrison from Lewis who is self taught”.
To reach the final each applicant submitted an entry portfolio, which contains a demo tape and a profile. The profile describes the player’s musical background, their aspirations, information on how the scholarship would be used and references from two referees. Each finalist played two contrasting pieces to a maximum of twelve minutes.
14 year old Kirsty Johnson from Currie, the winner of the 2001 Scholarship, has gone on to play at a number of national gatherings and with her sisters in their band ‘Give Way’ won the recent Traditional Musicians of the Year Award.
The Bill sharp Trust was set up last year in memory of the man whose name became synonymous with the accordion and his accordion orchestra, across the Borders. Chairman of the Trustees, Graeme Donald from Lauder, confirmed that the National Accordion Association of the UK had taken a particular interest in the nature of the Scholarship and said “This year the Trust donated a magnificent trophy to the UK championships held annually in Scarborough. The winner of the Under-12 Traditional Scottish Section will receive the trophy each year. To mark this occasion, and the fact that the first winner was the young Robert Menzies from Thornhill, Dumfries, a special presentation will be held during a concert in September as part of the Peebles Arts Festival”.
Information about the Trust, including opportunity to become a Patron, may be obtained from Secretary, Sandra Aitchison in Galashiels.
Bill Stewart
I recently received this note from Bobby Harvey
Dear Karin
Enclosed please find enough material for an article on Bill Stewart of Balfron.
Prior to his sudden death, Frank Farquharson was collecting this to send to you just after Bill had won the ‘International Song of the Year’ competition at the American Eagle Awards, run by the Country Music Organisations of America in Las Vegas. His winning song was entitled Chasing Dreams and is on sale on the internet. This is a fantastic achievement for a Scottish accordionist / guitarist / singer and a genuine follower of all the Box and Fiddle Clubs since our ‘MAFIA’ days when he was a regular performer.
He has now taken over the mantle of successor to Frank at the Fintry Club and is well known to all the musicians and readers of the B&F.
Aw ra best
Bobby
A Year in the Life of Gary Blair
News From the Kingdom
Two well-known local dancers and dance teachers…….
The Piping Shrike
by Jean Lumsden
Winter is here at last!……
Caister to Bridlington
Malcolm Gee left the Accordion World of Great Britain a superb heritage – The Autumn Accordion Festivals – which I took over after his sad and untimely death.
Greeting from Inverness
by Margo MacLennan
Hello folks, this is an update……………..
Lairg Traditional Music Festival
by Liz Quinn
Lairg’s 4th Traditional Music Festival………….
CD Reviews
King of the Scottish Accordionists – Will Starr – Vols 1 & 2 – Sleepytown Records
Light Reflections – The Clyde Valley Ceilidh Band – CVCB102 Independent
Mony a Guid Tune – The Garioch fiddlers – DRCD1049 Donside Records
Letters to the Editor
Dear Karin
I have been searching for information regarding my late father-in-law, Arthur Easson. I found some information on your site under the heading of Alex MAcArthur and the Powrie Band. I am also aware of the Arthur Easson Trophy at Musselburgh. My husband, John, has very little information about his father ; his parents separated when he was very young and his father died when John was 12. Interestingly, John and I own a small dance record label called ‘In Demand’, although it is the house music variety. I would dearly love to find a copy of the recording, which I believe went out on Beltona records in 1957, which Arthur drummer on, and any information on the man that you could possibly give me. Any help in the matter would be valuable to us.
Shirley Easson
Take the Floor – Saturdays with Robbie Shepherd
Repeats
6th July 02 – The Occasionals from Devonvale Hall, Tillicoultry 31st December 1994 with Alastair Gillies & McNaughton’s Vale of Atholl Pipe Band
13th July 02 – Jennifer Forrest SDB from Cuillin Hills Hotel, Portree on 24th February 1996 with Arthur Cormack & Blair Douglas & Dr Angus MacDonald
20th July 02 – Craigown SDB from Don Juan Hotel, Alvor, The Algarve on 26th April 1997 with Kepa Junkera and Anton Latcha
27th July 02 – Iain MacPhail SDB from the Ross Bandstand, Edinburgh on 22nd October 1994 with Ronnie Brown, Robert Mathieson & Jim Kirkpatrick
CLUB DIARY
Aberdeen (Westburn Park Lounge) –
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) -
Arbroath (Viewfield Hotel) -
Armadale (Masonic Hall) –
Balloch (St. Kessog’s Church Hall) –
Banchory (Burnett Arms Hotel) – 29th July 02 – David MacKenzie & The Wyvis Sound
Banff & District (Banff Springs Hotel) –
Beith & District (Anderson Hotel) –
Belford (Community Centre) –
Biggar (Municipal Hall) –
Blairgowrie (Moorfield Hotel) - 9th July 02 – Ross MacPherson
Bromley (Trinity United Reform Church) -
Button Key (Windygates Institute) – 11th July 02 – Roman Voloshchuk
Campbeltown (The Royal Hotel) -
Campsie (Glazert Country House Hotel) -
Carlisle (St Margaret Mary’s Social Club) -
Castle Douglas (Urr Valley Country House Hotel) –
Coalburn (Miners’ Welfare) -
Crathes (Crathes Hall, Banchory) -
Crieff & District (Crieff Hotel)
Cults (Culter Sports & Social Club)
Dalriada (Argyll Arms Hotel, Lochgilphead)
Dingwall (National Hotel) –
Dunblane (Victoria Hall) –
Dunfermline (Headwell Bowling Club) –
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (The Village Inn) –
Ellon (Station Hotel) – 23rd July 02 – James Coutts
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) -
Forres (Victoria Hotel) –
Galashiels (Abbotsford Arms Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel, Wooler) –
Glenfarg (Lomond Hotel) - 3rd July 02 – John & Jim Crawford
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 30th July 02 – Ian Cruickshanks SDB
Gretna (Halcrow Stadium) -
Highland (Drumossie Hotel) –
Inveraray (Argyll Hotel) -
Isle of Skye – (The Royal Hotel, Portree) -
Islesteps (The Embassy Hotel) –
Kelso (Ednam House Hotel) –
Kintore (Torryburn Hotel) –
Lanark (Ravenstruther Hall) -
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 11th July 02 – Club night
Lewis & Harris (Stornoway Legion) - 4th July 02 – Bruce Lindsay Trio
Livingston (Hilcroft Hotel, Whitburn)
Lockerbie (Queen’s Hotel) -
Mauchline (Harry Lyle Suite) -
Montrose (Park Hotel) – 3rd July 02 – Judith Linton Trio
Newmill-on-Teviot (Newmill Country Inn) -
Newtongrange (Dean Tavern) –
North East (Royal British Legion, Keith) –
Oban (McTavish’s Kitchen) –
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) –
Perth (Salutation Hotel) –
Premier NI (Chimney Corner Hotel) -
Renfrew (Masonic Hall, Broadloan) –
Rothbury (Queen’s Head) -
Selkirk (Cricket Club) -
Shetland (Shetland Hotel, Lerwick) -
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) -
Thornhill (Masonic Hall) -
Thurso (Pentland Hotel) –
Turriff (Royal British Legion) – 4th July 02 – Fraser MacLean CB
Tynedale (Hexham Ex Service Club) – 18th July 02 - tbc
West Barnes (West Barnes Inn)
Wick (MacKay’s Hotel) –
Yarrow (Gordon Arms) -
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Annan
3. Armadale
4. Banchory
5. Blairgowrie
6. Campsie
7. Coalburn
8. Cults
9. Dunfermline
10. Ellon
11. Forfar
12. Forres
13. Glenrothes & District
14. Kelso
15. Kintore
16. Lesmahagow
17. Lewis & Harris
18. Newmill
19. Perth
20. Rothbury
21. Turriff
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
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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 we go to press we’re only just short of our target of 10,000 signatures for our petition. By the AGM we hope to have reached the magic figure. Sincere thanks to all of you who have taken the time and trouble to collect signatures at Clubs and other functions. We seem to have stirred up a real hornet’s nest! We had a deluge of letters, e-mails and phone calls about last months article ‘Please May We Have Some More?’ which covered just some of the correspondence flying around the START Group (Scottish Traditional Arts Cross Party Group). Some of you felt that it was too ‘Folk’ orientated, and didn’t refer to ‘our kind of music’; others thought that we have common roots, and so it was equally relevant; many of you also felt that our voice would be louder if we joined together to protest at the treatment of Scotland’s Traditional Music by the media in general, who often don’t understand the distinction anyway. That is why, on our Petition heading, we put “We the undersigned, feel that there is not enough coverage of Scottish Traditional Music (and particularly Scottish Dance Music) on radio or television”. The real advantage in printing the article was that it brought the Box and Fiddle (and our petition) to the notice of the BBC. Donald MacInnes contacted us, and asked if he could include the BBC’s comments. Following on from that, Radio Scotland contacted Nicol and invited him to do an interview with Robbie for a ‘Take the Floor’ feature, which was broadcast on 22nd Junr.
Speaking of ‘TTF’, our lead article this month covers the fantastic evening of music and dance that was transmitted live from the Palace of Holyrood House. What an atmosphere – and wouldn’t it have looked great on TV? It was lovely to see Jennifer and Brian Cruickshanks there with Calum and little Iona. Jennifer would like to thank everyone for their kind letters and cards. Iona is very definitely getting stronger, so it maybe won’t be long before Mum and Dad buy her an accordion!
We have had a lot of very positive feedback about our ‘See Hear’ pages. Remember any CDs, videos, tapes or books for review should be sent to Judith Linton.
We are always looking for articles for the magazine. Don’t worry if you’re not confident about your writing skills; if you send us the basic article (photos are helpful too) then we can edit it if necessary. As always we appreciate your contributions to the Club reports.
Next month we’ll have full coverage of the AGM. We’ll be putting photos onto our website as soon as possible after the 30th, so remember to check it out.
Thank you once again to everyone who helps to put this magazine together, and particularly to you, the readers/
Karin Ingram
Robbie Goes to Hollywood
by Karin Ingram
It’s a beautiful summer evening in Edinburgh, and the grounds of the Palace of Holyrood House have been a hive of activity since the morning. Tonight sees a rare event, a live transmission of ‘Take the Floor’. This is to be a celebration of the Queen’s Golden Jubilee, and many of the dances and tunes will have a ‘Royal’ connection. Our host, as usual, id the ever-popular Robbie Shepherd, and providing the dance music tonight is the Iain MacPhail SDB. Iain’s band consists of some of the very best of Scottish Dance musicians – Iain himself on lead, Brian Griffin on second box, Ron Kerr on fiddle, Ian Watt on guitar, Alasdair MacLeod on bass, Graham Jamieson on drums and , to provide some glamour, Isobelle Hodgson on keyboard.
We are expecting guests too – singer Sheena Welling ton, accompanied by singer/guitarist Ewen Sutherland, 12 sets of dancers from RSCDS groups throughout the country and the Scottish Power Pipe Band.
The artistes and dancers have been rehearsing since early afternoon, and Robbie’s Crew has been on site since the morning. Ken Mutch is the Producer, Doug Maskew the Audio Supervisor, Ron McAskill and Amelia Macdonald are at the sound controls, Jean Sharman is Production Assistant and Doreen Wood is the Editor.
We are also expecting a visit from comedian Craig Hill, who will be filming for a BBC TV programme about the Jubilee celebrations throughout the country. As you can imagine, everything demands precision timing and a considerable skills of the Take the Floor team will be thoroughly challenged.
I have a chance to chat with some of the artistes, dancers and crew, and all are on a high. Issy confesses to being a bit nervous, but with her talents on the keyboard she will sail through the performance. I catch up with old friends, Lorn and Mary MacIntyre; it’s good to see them both looking so well. I am delighted to meet singer Sheena Wellington. We have corresponded often by e-mail, but have never met face to face. Sheena is a lovely lady, she has always been amazingly helpful whenever I have had a query about tunes or songs. Tonight she will be singing three songs, Strong Women Rule Us All, Ae Fond Kiss, and A Man’s a Man, (which aroused such powerful emotions at the opening of the Scottish Parliament).
I have also had a brief chat with Jim Healey, Secretary of the Perth Branch of the RSCDS and dance teacher in Dundee. He is thrilled to have the chance to dance to a 7-piece band, and is particularly looking forward to performing the new dance ’50 Years On’ written by John Drewry to celebrate the Golden Jubilee.
At about 6.30 everyone goes off to get changed for the big event. When the dancers return and form up sets in the courtyard, with the backdrop of the Palace, the effect is really quite stunning! I am more convinced than ever that we must push for more coverage on TV. Everybody is in place, the pipe band is tuned up and ready, Robbie steps up to the microphone, and Iain and his band launch into ‘Kate Dalrymple’. Take the Floor everyone, you’re in for a great night!
Scottish Showtime
by Alan Kitchen
Andrew Rankine, Bert Shorthouse, John Carmichael, Stuart Anderson (Fife), Shona and Karin Leitch, Lindsay Weir and Marian Anderson; these are only a few of the many respected accordion players who have performed in Scottish Showtime, Scotland’s longest running show, which celebrates 30 years of existence this season.
The Cummings Hotel was the show’s venue until recently, when it moved to the Spectrum Centre, still in the centre of Inverness. Although it is now aimed mainly, but not entirely, at the many holiday visitors to Inverness, the show has its origins in the summer variety season of The Empire Theatre and its manager, Mr John Worth.
John ran the theatre, until its closure in 1971 and thereafter promoted and ran his summer shows in The Cummings Hotel, first as ‘Cabaret at the Cummings’ then as ‘Scottish Showtime’, even into his octogenarian years. To this day it remains in the format of a popular variety show, with production numbers, a fixed cast for the whole season, and written musical arrangements. The intention has always been to integrate the artists involved, rather than just present a series of separate acts.
Among the audiences of overseas tourists, there can still be found a fair contingent of Scots, and even some Invernesians taking the opportunity to see a Scottish Music based variety show involving home grown artistes.
In times past John Worth would involve members of the cast, often reluctantly, in comedy sketches. I recall cast members dressed as majorettes, midgies, a disastrous wedding party, competitors at a chaotic Highland Games meeting, the list is endless. The skills required by dancers had often to stretch beyond dancing. One particularly ambitious project involved a group of dancers playing The William Tell Overture on mini xylophones strapped to each others backs! The tune was usually recognisable!
Since the first season in 1972, the many dancers who have appeared – and there must have been well over a hundred – have all come from the Margaret Firth School of Dancing. Maggie Firth, who was recently honoured with an MBE, comes from Aberdeen and was a prominent figure in the heyday of Scottish Variety, dancing in and choreographing shows in theatres throughout the country, including the Empire, Inverness. She still provides the dancers for Scottish Showtime and attends the show at almost every performance. In recent years there are dancers taking part whose mothers danced in seasons in the earlier years – such is the continuity….
Following the death of John Worth in 1994, at the age of 81, many feared the demise of Scottish Showtime. However, Bob and Maggie Donaldson, better known as The Marlettes, decided to take the plunge and have successfully run the show since then. A favourite act since the first season, they delight audiences with their variety of traditional and contemporary songs.
Another long timer is Billy Nelson, well known to all Invernesians and many others as comedian, magician and drummer. From the drum stool Billy has compered the show since the third season I believe; and, in more recent times, mystifies and amazes the audience with his own brand of conjuring. I am sure some B&F readers may have seen Billy performing his magic at Accordion Clubs – along with Jock Fraser who is also a past veteran of Scottish Showtime. Jock’s impressions of well-known Scottish entertainers were a feature of the show in the late seventies and early eighties and delighted the local audiences who frequented the shows at that time.
Currently taking part in this 19th season is local singer, Ben Kelly. In addition to singing many popular favourites, Ben has, over the years, brought a contemporary twist to the show by including some of his own compositions. No feature on Scottish Showtime would be complete without mention of the Muir-of-Ord’s own comedian, Johnny Bogan. ‘The Bogan’s’ involvement spanned many years during which he entertained audiences of visitors and locals alike with endless jokes, stories, and routines often involving an ostensibly naïve Highlanders coming up against a sophisticated townie from elsewhere. Needless to say, the Highlander always got the last laugh. Johnny Bogan has almost a cult following in the North. Even people who have heard his act many times will ask him – “Could you tell us the one about”. It’s the way you tell them right enough.
My own involvement as keyboard player started in 1980 when I was asked by john Worth to come to Inverness for a week to deputise. The week at that time comprised two separate shows. Monday to Thursday was a show featuring Colin Stuart and geared mainly to visiting tourists. Colin worked for several years in Inverness and to this day delights the tourist audiences in one of Edinburgh’s prestigious shows. Friday to Sunday was a show featuring Norman McLean. Norman had also had a long association with the show and as always, his name on the bill would ensure a packed audience of ‘West Coasters’ and others whom he would enthrall with his performances as comedian, piper, singer and ‘observer of life’.
All of the many musicians with whom I have had the pleasure of working have brought their own input and style to the show. I recall being introduced to many new musical ideas by Inverness based piper Iain Hamilton. Always at the forefront of developments in contemporary traditional musiuc, Iain’s association with the show was for 12 years. He was succeeded a few years ago by Audrey Mackenzie who, in addition to her excellent piping, brings a new dimension this season with some Gaelic songs. I recall a particularly musically productive period when Shona and Karin Leitch were the show’s accordionists, along with sister Lorna on the fiddle. Lorna now plays first violin in the RSNO – wonder if she mentioned Scottish Showtime in her CV?
Another fiddler was Sarah-Jane Fitfield – nee Summers – who recently made her ‘TTF’ debut in the fiddle led ‘Bella McNab’s Band’.
In recent years several well-known accordionists from the dance band scene have made their mark on the show. Lindsay Weir, who performed in three consecutive seasons, often had the audience humming along to her rendition of The chorus of the Hebrew Slaves. Marian Anderson, who performed in the next four seasons, a popular musician in the old time and Country Dance scenes, often attracted many of her followers to the show.
Apologies to those musicians I haven’t mentioned due to space limitations, but a full list is available on the website www.scottishshowtime.com
This year’s accordionist, local lad David Mackenzie, is currently Junior Traditional Champion, and leads his family band, The Wyvis Sound. I am sure many readers have seen and heard of his appearance and achievements of late.
The current season runs Monday to Thursday during June and July and Monday to Friday in august and until September 13th, nightly at 8.30pm in The Spectrum Centre, Margaret Street, Inverness.
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).
Fiddle Composers from the South of Scotland
John Riddell, John French & John Hall (all of Ayr)
Colonel Hugh Montgomerie (Sodger Hugh) 12th Earl of Eglinton
Alexander Gibb (Haddington, East Lothian)
James Porteous ‘The Musical Miller’ of Annandale
Robert Riddell of Glenriddell
If it hadn’t been for the publishing vogue of the late 18th and early 19th centuries, most of the music of the fiddle-composers of southern Scotland would have been lost long since. Fortunately, though neglected, the music has been preserved and is ready for rediscovery.
In some cases these music collections are all the history we have, but occasionally there has been a lucky break, such as a hand-written history or an anecdote saved from the fire, or official evidence from Parish records, even a moss covered headstone. But whereas in the case of ‘famous’ Niel Gow that great personality is remembered as much through his portraits and general notoriety as by his music. His four sons and his grandson – all distinguished musicians and composers – languish in a half-forgotten world, along with perhaps 90% of their contemporaries. How many of those other names do people now remember at all? William Marshall of Speyside, ‘Red Rob’ Mackintosh (Tullimet & Edinburgh), Alexander ‘King’ McGlashan (Edinburgh, Daniel Dow and Robert Petrie (Kirkmichael in Perthshire) were all notable personalities in the music profession and are dimly remembered in some quarters. What they did – and what all those hundred or so contemporaries of theirs also did – was to publish volumes of printed music (over 300 of them) and that in most cases is the only reason they are remembered at all. We should not forget that, without those volumes, the music resulting from centuries of Scottish tradition would now have vanished. Some of them published their own work and some chose to mix the old and the very old with the favourite music of the day. The result is an astonishing blend of material and perhaps the most extraordinary feature of it is that so much of it is still as fresh and playable as when the books were issued 200 years ago!
We ought to be able to identify without difficulty the works of many of these worthies from the Borders, Ayrshire and elsewhere by the inclusion of some of their music in the compilations of James Kerr (1870s) and such mighty volumes as The Athole Collection (1884). That has been denied to us by the unfortunate decision of the publishers to ignore the composers and all reference to sources and dates. The music selected is almost all from the earlier period but has the appearance of having no previous ancestry at all. Yet it was through the efforts of the early publishers that Scotland’s traditional fiddle and song repertory won its unique reputation as one of the great gems of European folk music. That celebrity was helped along by the general acclaim of Scotland’s patron saint of the song lyric, Robert Burns (1759-96), but how it stands now is a more vexed question. The national repertoires of Ireland, Shetland and Cape Breton have been swept into the flood tide of international folk music and yet the indigenous material and styles are still nurtured and cherished. Scotland in the meantime, while still providing the bulk of the popular pipe music within the folk repertory, seems to appreciate its own 18th and 19th century fiddle music and its local styles less and less. The teaching of the tradition, particularly with regard to dance tempo, is itself in danger in these changing times and may soon be in terminal decline. It can be preserved, through sound and video recording, but that would not be the same thing. Books of music tucked away in the ‘Rare Book’ sections of our principal libraries, to be studied only under strict supervision, are unlikely to set the heather on fire! We need to hear the music again, as it was intended to be heard, and that’s just not happening.
John Riddell, or Riddle (1718-1795)
From Ayr, is described by John Glen as ‘the earliest name that has come down to us as a composer of Scottish Dance Music’. He certainly was one of the earliest because his ‘Collection of Scots Reels and Country Dances and Minuets’ may have been published as early as 1766 (it was republished and much enlarged by James Aird, Glasgow, in 1782) The title page declares the tunes as ‘composed by John Riddle of Ayr’, whereas Robert Bremner and Neil Stewart, who were publishing in the previous decade, were merely collecting and editing their material. Any claim to authorship of dance tunes before that time would be very hard to prove with certainty. Bremner published Riddell’s The Merry Lads of Ayr in 1757. Dumfries House (a 6/8 tune still popular, which turned up in Cape Breton with the title changed to Dumphrie’s), the air Finlayston House and the reel, Stewarton Lassies are remembered. He died of ‘fever’ aged 76.
John French (1753-1803)
A native of Cumnock, Ayrshire and was clearly well-kent as a fiddler-composer in the neighbourhood. His little collection of his own compositions, dedicated to Mrs Boswell of Auchinleck (the wife of Dr Johnston’s Boswell), was published after his death and styled as ‘for behoof of his widow and children’, there being no social security net for the widows of dead fiddlers in his day. To judge from the titles of some of his tunes – Send Us Whisky and A Caup of yer Tippany Kate – it seems not unlikely that the demon drink caught up with him, but he left us some engaging music nevertheless.
John Hall (1788-1862)
From Ayr, describes himself as a Teacher of Music on the title page of his music collection, ‘A Selection of Strathspeys, Reels, Waltzes and Irish Jigs’ to which he adds mention of ‘a number of Jackson’s Admired Airs’ (a dozen or so favourite jigs from the Irish repertory). It contains 95 titles, 30 of them his own. He’s now best remembered through a number of manuscript collections (his teaching music), which are preserved in various Glasgow museums and a dancing master’s ‘kit’ fiddle, used in tuition.
Alexander Gibb
Dancing master from Haddington, East Lothian. /his story can be traced through advertisements dating from 1789 when he settled in Edinburgh, until 1809, after which there is silence. In one announcement he ‘informs his friends and the public that he has not been to Paris this year, but that he has as many modern dances, etc, as any in his line in the town’. (Glen) His ‘New Collection of Minuets, Medlies, High-Dances, Marches, Strathspeys and Other Reels’ seems cleverly geared to the dance fashions of 1798, the estimated year of publication. As a footnote he adds – with professional aplomb – that ‘at desire he makes Steps for New and Old Tunes’. His dance compositions are polished and the 6/8 Miss white’s Jig (in Bb) is a real gem.
James Porteous (1762-1847)
‘The Musical Miller of Annandale’, was born at Applegarth, Dumfries-shire, spent a year in Edinburgh (apparently learning the fiddle under Nathaniel Gow) and returned to the life of a miller and farmer at Hoddam* in Dumfriesshire, where he died aged 85. He was known as a kindly, jovial man whose fiddle made him ‘a welcome addition to any company’ (from a private biography). Around 1820, his compositions appeared in ‘A Collection of Strathspeys, Reels and Jigs’, dedicated to Lady Jardine of Applegarth, published in Edinburgh but foot-notes ‘Meinfoot by Ecclefechan’. There is a mystery surrounding a second edition, published by J. Sutherland (Edinburgh) which has the same title page (minus Ecclefechan) and the same music but with 84 of the original 98 titles changed beyond recognition. There are a random few pieces not his own (these remain unchanged) and it seems an odd notion for the author himself to alter the titles.
Hoddam was the property of Charles Kirkpatrick Sharpe, one of those who, though talented, was also a landowner and so was labeled (by his fellow musicians who made music their livelihood) an ‘amateur’. He wrote some truly sublime pieces, but never produced a volume of his own. The Gows published his 6/8, Hoddam Castle and a number of others; Malcolm Macdonald included his 6/8 Mrs Muir Mackenzie’s Fancie.
Captain Robert Riddell of Glenriddell (c1745-1794)
A composer and antiquary and a friend of Burns, some of whose songs he set to music. In the year he died he published ‘A Collection of Scotch, Galwegian and Border Tunes ‘ Another collection a few years earlier contained ‘Reels, Minuets, Hornpipes, Marches and Songs of the Old Scotch Taste’.
Hugh Montgomerie (c1740-1819)
12th Earl; of Eglinton, known as ‘Sodger Hugh’ (he fought in the American War) and a composer and musician, was a lifelong supporter of the tradition. He’s remembered now (remarkably, under his own name) for the reel Lady Montgomery, the air Annick Lodge, the jig The Island of Mull and the strathspey Ayrshire Lasses, all published in Gow’s Repository Book 4, but he composed a great deal of other music, under the style ‘Composed by a Gentleman’.
All these volumes can be seen in libraries around Scotland. For any other details please contact Charlie Gore.
Reeling in Greece
by Ronnie Henderson
It all began last January when I was approached by a fellow Scot and his Greek fiancée and agreed to provide some cultural exchange for their forthcoming Athenian wedding in May. There was no hesitation – my Sonola, Academy IV and I would be traveling….or would we? Airlines and accordions aren’t synonymous….we didn’t. Hiring locally was the obvious option in an accordion country. A trip on the internet was all that was required.
On arrival in Athens and after the usual customary welcomes and stabling, the accordion was delivered to the hotel foyer, where it was immediately hi-jacked….the ransom being for a taste of the music they had all heard on the specially commissioned CD ‘Ronnie Henderson’s Momento to Simon and Venetia’. (A Smith/Mearns production and featuring George Borwick on drums). Instant numbers had to be provided and it was only then that I had time to study what it was I had been given to play. The accordion was to be a 1956 Italian ‘Colombo Grande Vox’, full size, 12/3 Registered model, played originally by Greece’s answer to Will Starr. It reminded me of the ‘Crossio’….in fact the type of instrument that are said ‘not to be made like that anymore’. It was loose, responsive and musette tunes, all-in-all it was going to be a treat to play in earnest. The following evening was to be the occasion.
The wedding, which was to be attended by some 300 guests, mainly Greeks but with a plethora of some 40 tartan clad Scots, commenced at sunset outside a very small sone walled picturesque mountain chapel, as it was unable to accommodate the assembled guests. What a Hollywood setting, as the bride and groom arrived accompanied by the priest (tall, grey bearded) and who insisted on the longer version of the Orthodox service. No music, only chanters (using Peavey speakers!) Video cams started to roll whilst chit chat and smokers were deemed normal!!!
Descending down a ribboned walkway into a dedicated ex-farm, the reception was to follow, but by this time it was dark and candles were the main light. It was my initial idea to ‘rove’ around the tables on a high stool while the buffet was in progress. But with some 30 tables spaced over at least a half acre of sloping ground, I decided to plant myself (and stool) on a small area of dance flooring beside a large flower decorated swimming pool, and connected myself up to the permanent relay sound system.
Wow….surround sound…..brilliant, as the accordion was miked for right and left. A mixture of Continental and Scottish flavours was to end the first ‘Scot Spot’….all solo. An excellent Greek disco provided the continuity music.
The second ‘Scot Spot’ was to be an eightsome / foursome and after a certain press-ganging for dancers, although not all in full dress regalia, the performance gave our Greek friends a lot to digest, but nothing compared to what they were to give us in return. Indeed our standard of folk dancing appeared ‘cringe-making’ in comparison to the fervour and knowledge of their own patriotic dancing. I got the impression that our standards have slipped, who among us could do a sword dance on request, let alone 12 of us?
However we all stepped down to rapturous applause….the Greeks value their traditions and customs, and most really appreciated our lowlier efforts.
Next day was given over to sightseeing, and sampling Greek hospitality under cloudless blue skies. In summary….efficient flights, good accommodation and memories of a very special event, mastered by a wonderful bunch of warm hearted and sincere people. I hope to have left my mark for a return in the future.
Bill Sharp Scholarship
by Graeme Donald
Tom Orr from Hyndfordbridge, Lanark won the second Bill Sharp Scholarship worth £1,000 in The Wynd Theatre, Melrose last month. Jedburgh’s Gary Forrest was the runner up.
As a result of winning the Scholarship Tom Orr was invited to play during the ‘Scotbox’ concert in Kelso on the evening of the competition – alongside international stars Thora Ker and Eddie Rose – and will be invited to play during the Peebles Arts Festival in September.
Other finalists were Morgan Leslie from Biggar, Chris Lewis from Newcastle and Nicola Morrison from the Isle of Lewis. Popular bandleader Robert Whitehead from Ashington, who led the adjudicators, said “The standard of playing was good, but the most impressive element of the final was the potential demonstrated by each player, particularly Nicola Morrison from Lewis who is self taught”.
To reach the final each applicant submitted an entry portfolio, which contains a demo tape and a profile. The profile describes the player’s musical background, their aspirations, information on how the scholarship would be used and references from two referees. Each finalist played two contrasting pieces to a maximum of twelve minutes.
14 year old Kirsty Johnson from Currie, the winner of the 2001 Scholarship, has gone on to play at a number of national gatherings and with her sisters in their band ‘Give Way’ won the recent Traditional Musicians of the Year Award.
The Bill sharp Trust was set up last year in memory of the man whose name became synonymous with the accordion and his accordion orchestra, across the Borders. Chairman of the Trustees, Graeme Donald from Lauder, confirmed that the National Accordion Association of the UK had taken a particular interest in the nature of the Scholarship and said “This year the Trust donated a magnificent trophy to the UK championships held annually in Scarborough. The winner of the Under-12 Traditional Scottish Section will receive the trophy each year. To mark this occasion, and the fact that the first winner was the young Robert Menzies from Thornhill, Dumfries, a special presentation will be held during a concert in September as part of the Peebles Arts Festival”.
Information about the Trust, including opportunity to become a Patron, may be obtained from Secretary, Sandra Aitchison in Galashiels.
Bill Stewart
I recently received this note from Bobby Harvey
Dear Karin
Enclosed please find enough material for an article on Bill Stewart of Balfron.
Prior to his sudden death, Frank Farquharson was collecting this to send to you just after Bill had won the ‘International Song of the Year’ competition at the American Eagle Awards, run by the Country Music Organisations of America in Las Vegas. His winning song was entitled Chasing Dreams and is on sale on the internet. This is a fantastic achievement for a Scottish accordionist / guitarist / singer and a genuine follower of all the Box and Fiddle Clubs since our ‘MAFIA’ days when he was a regular performer.
He has now taken over the mantle of successor to Frank at the Fintry Club and is well known to all the musicians and readers of the B&F.
Aw ra best
Bobby
A Year in the Life of Gary Blair
News From the Kingdom
Two well-known local dancers and dance teachers…….
The Piping Shrike
by Jean Lumsden
Winter is here at last!……
Caister to Bridlington
Malcolm Gee left the Accordion World of Great Britain a superb heritage – The Autumn Accordion Festivals – which I took over after his sad and untimely death.
Greeting from Inverness
by Margo MacLennan
Hello folks, this is an update……………..
Lairg Traditional Music Festival
by Liz Quinn
Lairg’s 4th Traditional Music Festival………….
CD Reviews
King of the Scottish Accordionists – Will Starr – Vols 1 & 2 – Sleepytown Records
Light Reflections – The Clyde Valley Ceilidh Band – CVCB102 Independent
Mony a Guid Tune – The Garioch fiddlers – DRCD1049 Donside Records
Letters to the Editor
Dear Karin
I have been searching for information regarding my late father-in-law, Arthur Easson. I found some information on your site under the heading of Alex MAcArthur and the Powrie Band. I am also aware of the Arthur Easson Trophy at Musselburgh. My husband, John, has very little information about his father ; his parents separated when he was very young and his father died when John was 12. Interestingly, John and I own a small dance record label called ‘In Demand’, although it is the house music variety. I would dearly love to find a copy of the recording, which I believe went out on Beltona records in 1957, which Arthur drummer on, and any information on the man that you could possibly give me. Any help in the matter would be valuable to us.
Shirley Easson
Take the Floor – Saturdays with Robbie Shepherd
Repeats
6th July 02 – The Occasionals from Devonvale Hall, Tillicoultry 31st December 1994 with Alastair Gillies & McNaughton’s Vale of Atholl Pipe Band
13th July 02 – Jennifer Forrest SDB from Cuillin Hills Hotel, Portree on 24th February 1996 with Arthur Cormack & Blair Douglas & Dr Angus MacDonald
20th July 02 – Craigown SDB from Don Juan Hotel, Alvor, The Algarve on 26th April 1997 with Kepa Junkera and Anton Latcha
27th July 02 – Iain MacPhail SDB from the Ross Bandstand, Edinburgh on 22nd October 1994 with Ronnie Brown, Robert Mathieson & Jim Kirkpatrick
CLUB DIARY
Aberdeen (Westburn Park Lounge) –
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) -
Arbroath (Viewfield Hotel) -
Armadale (Masonic Hall) –
Balloch (St. Kessog’s Church Hall) –
Banchory (Burnett Arms Hotel) – 29th July 02 – David MacKenzie & The Wyvis Sound
Banff & District (Banff Springs Hotel) –
Beith & District (Anderson Hotel) –
Belford (Community Centre) –
Biggar (Municipal Hall) –
Blairgowrie (Moorfield Hotel) - 9th July 02 – Ross MacPherson
Bromley (Trinity United Reform Church) -
Button Key (Windygates Institute) – 11th July 02 – Roman Voloshchuk
Campbeltown (The Royal Hotel) -
Campsie (Glazert Country House Hotel) -
Carlisle (St Margaret Mary’s Social Club) -
Castle Douglas (Urr Valley Country House Hotel) –
Coalburn (Miners’ Welfare) -
Crathes (Crathes Hall, Banchory) -
Crieff & District (Crieff Hotel)
Cults (Culter Sports & Social Club)
Dalriada (Argyll Arms Hotel, Lochgilphead)
Dingwall (National Hotel) –
Dunblane (Victoria Hall) –
Dunfermline (Headwell Bowling Club) –
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (The Village Inn) –
Ellon (Station Hotel) – 23rd July 02 – James Coutts
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) -
Forres (Victoria Hotel) –
Galashiels (Abbotsford Arms Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel, Wooler) –
Glenfarg (Lomond Hotel) - 3rd July 02 – John & Jim Crawford
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 30th July 02 – Ian Cruickshanks SDB
Gretna (Halcrow Stadium) -
Highland (Drumossie Hotel) –
Inveraray (Argyll Hotel) -
Isle of Skye – (The Royal Hotel, Portree) -
Islesteps (The Embassy Hotel) –
Kelso (Ednam House Hotel) –
Kintore (Torryburn Hotel) –
Lanark (Ravenstruther Hall) -
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 11th July 02 – Club night
Lewis & Harris (Stornoway Legion) - 4th July 02 – Bruce Lindsay Trio
Livingston (Hilcroft Hotel, Whitburn)
Lockerbie (Queen’s Hotel) -
Mauchline (Harry Lyle Suite) -
Montrose (Park Hotel) – 3rd July 02 – Judith Linton Trio
Newmill-on-Teviot (Newmill Country Inn) -
Newtongrange (Dean Tavern) –
North East (Royal British Legion, Keith) –
Oban (McTavish’s Kitchen) –
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) –
Perth (Salutation Hotel) –
Premier NI (Chimney Corner Hotel) -
Renfrew (Masonic Hall, Broadloan) –
Rothbury (Queen’s Head) -
Selkirk (Cricket Club) -
Shetland (Shetland Hotel, Lerwick) -
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) -
Thornhill (Masonic Hall) -
Thurso (Pentland Hotel) –
Turriff (Royal British Legion) – 4th July 02 – Fraser MacLean CB
Tynedale (Hexham Ex Service Club) – 18th July 02 - tbc
West Barnes (West Barnes Inn)
Wick (MacKay’s Hotel) –
Yarrow (Gordon Arms) -
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Annan
3. Armadale
4. Banchory
5. Blairgowrie
6. Campsie
7. Coalburn
8. Cults
9. Dunfermline
10. Ellon
11. Forfar
12. Forres
13. Glenrothes & District
14. Kelso
15. Kintore
16. Lesmahagow
17. Lewis & Harris
18. Newmill
19. Perth
20. Rothbury
21. Turriff
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
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