Box and Fiddle
Year 23 No 06
March 2000
Price £1
32 Page Magazine
7 month subscription £10.00
Editor – Charlie Todd, 63 Station Road, Thankerton, Biggar, ML12 6NZ
B&F Treasurer – Alan Gardiner, Cocklaw Farm, Elsrickle, Biggar.
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
At the time of going to print I have just received the devastating news of John Huband’s untimely death on Tuesday, 22nd February. John had intentionally remained low key in the last few years after the disbanding of the very successful Tayside Sound. He remained active with his scaled down Orchestra and with the Muirhead Club but without doubt he will long be remembered for both his Scottish and Jazz playing. We will pay tribute to John in next month’s issue.
Fewer responses to the points raised by Bill Black than I had hoped for – so, come on, let’s hear whether or not you support his points of view. My own role as Editor now has a question mark hanging over it since an unexpected job transfer on February 21st, after 25 years in the Finance Department (if I’d known the job was temporary I’d never have taken it in the first place!)
Leas articles present a continuing problem, if we don’t want the Box and Fiddle to consist only of Club Reports, and my thanks this month to Linda Gaul, Chairperson of the R.S.C.D.S., for bailing me out at the last minute with permission to us their ‘First Fifty Years’ article.
Charlie Todd
The Royal Scottish Country Dance Society
The First fifty Years
1923 - 1973
In 1923 two anxious ladies sat in an office in Glasgow wondering if anyone would be interested in their plan to revive the traditional dances of Scotland and make Scotland a dancing nation once more. They were Mrs Ysobel Stewart of Fasnacloich and Miss Jean C. Milligan of Glasgow. Mrs Stewart, whose family home before marriage was at Inverneill House, by Ardrishaig, Argyllshire, had danced Scottish dances all her life and was sad that by 1923 they were almost forgotten or, when danced, were danced in a rough and incorrect manner. Taking with her a collection of dances, she had an interview with Mr J. Michael Diack of Paterson’s Publications Ltd hoping to get some of her dances published and seeking advice as to how to form a Society.
Mr Diack told her of an earlier effort to popularize Scottish dancing – The Beltane Society formed in 1912 in Glasgow but killed by the outbreak of the war. There was, he said, a Miss Milligan who had been a founder member of, and a collector of dances and music for that Society and, if Mrs Stewart would permit, he would ring her up and ask her to come, if she could, then and there. Mrs Stewart was happy to meet Miss Milligan. They were both anxious to begin and, putting their combined knowledge together, they decided to call a meeting to discuss the formation of a Society. Mr Diack promised that if they were successful, Peterson’s Publications would back them financially and publish a book of 12 dances and music. A meeting was held on the 26th November in the Athenaeum, Glasgow, with Mr F. H. Bisset of Paterson’s in the Chair. A number of well known people and societies, who had been specially notified, were present, as were also a number of interested people from Glasgow and District. It was decided unanimously to form a Society, to print a book and to hold a class as soon as possible. An interim Committee was formed to run the new Scottish Country Dance society and Mrs Stewart was elected interim Honorary Secretary. The membership fee (which included a copy of the book) was fixed at five shillings. At the next meeting in December, the Society was officially formed and sub-committees were chosen – one chiefly interested in the Music and a second for Dance Collection and Publication. This latter committee consisted of Mrs Stewart and Miss Milligan with Mr Diack representing the publishers.
With eight keen young members, and with Mrs Stewart and Lord James Stewart Murray present as critics, Miss Milligan took a class teaching the dances collected by Mrs Stewart and herself. Twelve dances were chosen – six of hers and six of Mrs Stewart’s and shortly thereafter Book 1 was issued, the music for which was arranged by Mr Diack. A class to teach these dances was held in Glasgow conducted by Miss Milligan and out of that class, which numbered about 100, the Glasgow Branch was formed and Mr Percy Thomson, their Secretary, was invited to join the Central Committee.
In the Spring of 1924, through the good offices of Mr Bisset, Chairman of the Musical Festival Association, classes for Scottish Country Dancing were included in the programmes of Edinburgh, Glasgow, Perth and Stirling Musical Festivals. The Glasgow standard was extremely good, but at the other three neither the dancing nor the judging was satisfactory. Mr Diack suggested that the time had come for the Society to set standards of performance and to undertake the training and examination of teachers. These duties were put into the hands of Mrs Stewart and Miss Milligan and the latter was asked to write a Festival Booklet for the guidance of those for the guidance of those desiring to teach. This book was to be given to all members in 1925. The first examinations were held in Glasgow and in Edinburgh, where a branch had now been formed. Desirous of forming branches Perth, Dundee and Aberdeen asked that an adviser from the Society might be sent to help them do so. Mrs Stewart and Miss Milligan were entrusted with this duty and duly visited these centres and in 1925 Perth, Dundee and Aberdeen Branches were formed.
At the first Annual General Meeting in November 1924, Lord James Stewart Murray, Duke of Atholl from 1952, was elected to the office of Chairman of the Society. From the beginning, he was also its President, a position he held until his death in 1957. Lord James brought a wealth of information to the Society. He had an unrivalled knowledge of the history of his native Perthshire and was an authority on Highland dress, traditional Scottish music and dance. He danced all his life, having been taught by the famous itinerant teacher ‘Dancie’ James Neill of Forfar.
FIRST SUMMER SCHOOL
In 1927 the first ‘Summer School’ lasting for one week, was held in University Hall, St Andrews. It was felt that with so many scattered branches, a meeting was necessary to maintain standards so that wherever one might go to dance, the same spirit, methods and social behaviour would be found. It was with some trepidation that University Hall was booked as the Society had little money and the interest of members was as yet unknown. So successful was the School that it became an annual event, growing gradually from one week to 10 days, then to two weeks, then to three weeks and since World War 2 to four weeks. At first the main object of the School was to bring into conference Scottish country dance teachers, officials and members of Branch Committees, and dancers outwith the reach of branches at home and abroad. Examinations were held especially for candidates who wanted to be teachers to help form new branches, the branches already formed holding their own examinations for people from their immediate surroundings. At that time there were two grades of Certificates. Grade A certified that candidates had successfully demonstrated a teaching as well as a practical dancing ability. Grade B was awarded for dancing knowledge and proficiency only. In 1932 the Grade B Certificate was abolished.
As new branches were formed, membership grew apace. At first a book was published annually, then a new book appeared every second year. The Society collected not only many good traditional dances but revived great interest in Scottish dance music. Scotland has an immense store (mostly at that time forgotten) of splendid dance tunes and in the revival of this music, the Society has done as valuable a service to Scotland as in the revival of the dance.
By 1930 there were 16 branches and over 1,000 members. Six books had been published and the first affiliations accepted, Hong Kong in 1927 and Portsmouth and Vancouver in 1931.
These early days saw many meetings between Mrs Stewart and Miss Milligan, Mrs Stewart to play the chanter while Miss Milligan danced, or Miss Milligan playing the piano while Mrs Stewart danced. Thus new finds were tried out, and where no tunes were given, suitable ones were chosen. Many a time were heard cries of ’No!’ ‘There’s no allemande in that tune’ or ‘I don’t feel a correct urge there for leading down the middle’. The Publications Committee had now altered and enlarged and was called ‘Music, Research and Advisory Committee’ and in 1927 a number of people interested in research were added and helped greatly by visiting libraries and interviewing old people all over the world.
Special thanks were due to Miss Joan Kirk of Dundee and Mr Ion C. B. Jamieson, an enthusiastic collector of dances in the Borders. From the first, Mrs Stewart and Miss Milligan, when setting standards of technique and formation, depended on the spoken word of old people, who in their youth had danced correctly. It was this method of collection which had kept the tradition of song and Highland dance pure and the Scottish Country Dance Society adhered to the same rule. Much propaganda was done in these first years by demonstrations.
In 1929 when Book 6 was ready for publication the Committee decided that the agreement with Paterson’s Publications was too binding and they became their own publishers. At the time, the Society had to buy their books from Paterson’s at Trade Prices and could no longer give the new large number of members Books 1 – 5 for a subscription of 5/-. The copyright of the musical arrangements for the Beltona Records belonged also to Mr Diack. A new agreement was drawn up and while Paterson’s still retained the copyright of Books 1 – 5 and remained the selling agents for the Society, the Scottish Country Dance Society now printed, published and copyrighted all further books.
During the 1930’s branches continued to spread more and more. Examinations were held to supply much needed teachers, and official lists were made of suitable experienced teachers to act as examiners and festival adjudicators. Then came the war. Early in 1940 a meeting was held and powers were given to the Office Bearers and Committee of the day to carry on as best they could in the face of dropping membership, lack of funds and the difficulties of blackout and loss of halls. No official meetings were held until 1944 and the ban on travel stopped the Summer School. Mrs Hamilton Meikle and Miss Milligan acted in turn as Chairmen. During the war the Society supplied books, leaflets and as much help as possible to the Forces so the Scots, especially those in prison camps, were able to continue dancing. The Reel of the 51st Division is now the historical reminder of our help. It was put into the Victory Book, though non-traditional, on the advice of Her Majesty The Queen, now HM The Queen Mother.
POST WAR
After the war, there was a great resurgence of interest and men began to join the Society in greater numbers. Classes were revived and numbers improved. The postwar growth of the Society resulted in the need to find office accommodation. Up to that time the Society had been administered by the Secretaries from their own homes. The determination to save enough money to acquire a permanent Headquarters bore fruit in 1957. The great day came when 12 Coates Crescent was bought and the work of furnishing was put in the hands of Miss Milligan and Miss Muriel F. Hadden, the Secretary. An ardent search began for the cheapest and best bargains. As the property was large and the money available small, sale rooms were haunted and at every store goods were priced and values compared. At last the Headquarters seemed ready, but Miss Milligan was not satisfied. She felt that it needed more embellishment, so she took it upon herself to write a personal letter to all branches pointing out that it was their Headquarters and asking if they would give something, however small, to improve the comfort and appearance of 12 Coates Crescent. She would give the first gift. What a response! It was unbelievable – tables, chairs, lamps, mirrors, pictures, clocks, china etc in floods. Some gifts came in money and, added together, it bought a handsome bookcase, cabinet and lamp. Now the Headquarters was a place to be proud of and it was the boast of the Society that all this had been done by their own efforts and no public money had ever been asked or received.
ROYAL PATRONAGE
In 1947 HRH Princess Elizabeth became the Patron of the Scottish Country Dance Society and graciously remained the Patron of the Royal Scottish Country Dance Society on her succession to the throne. A never to be forgotten occasion was her visit with HRH Prince Philip to Headquarters in 1962. It was a delightfully informal occasion and Her Majesty enjoyed a pleasing demonstration of dancing.
In 1951 King George VI bestowed the title of ‘Royal’ on the Society which he said had done such an excellent social service. The Annual Report of October 1951 referred to the Society’s ‘unprecedented vitality’. The membership had grown to 11,500; there were 55 branches including the first two overseas, Boston and Cape town, and there were 118 affiliated groups scattered throughout the world. At this time the principal pioneers on the 1920’s were still actively concerned with the work of their Society – Lord James as President, Mrs Stewart as Vice President and Miss Milligan as Chairman of the Executive Council. By the end of the decade that triumvirate no longer existed. In the late 1950’s Mrs Stewart decided to make her home in South Africa where she died in October 1968. Lord James died in May 1957. Miss Milligan was left to lead the Society during the next two decades. Now retired from her post Head of Women’s Physical Education at Jordanhill College, Glasgow, she was able to devote her entire time and energy to the RSCDS. Her extensive tours, at home and abroad, on behalf of the Society, her dynamic personality and skilful teaching successfully generated an enthusiastic interest in Scotland’s country dances. With characteristic zeal, she continued to direct the Society’s Annual Summer School at St Andrews where the attendance increasingly reflected the international success of the RSCDS.
EUROPE
In Continental Europe, Scottish country dancing started with groups attached to British embassies, consulates, churches and Caledonian Societies or with groups of dancers drawn to Scotland’s dances through their interest in international folk dancing. Ties between such groups and the RSCDS became more firmly fixed as a result of encouragement given by visiting RSCDS teachers; in due course affiliation to the Society was obtained and, where possible, branches were formed.
The Netherlands was one of the first Continental countries to join the RSCDS ‘family’ with the spread of interest both ‘north and south of the rivers’. The Hague Delft Scottish Country Dance Group, started by Hans van Zon in 1958, affiliated to the RSCDS in 1961 and achieved branch status in 1966, the first fully fledged branch of the Society on the Eurasian Continent, catering for local residents in their own language.
The annual RSCDS Bulletins of the 1950’s and 1960’s reveal the formation of affiliated groups in Belgium, Finland, Italy, France and Sweden. Dr. Helen S. Dunsmore, an RSCDS teacher from Greenock, started a small group in Stockholm. Her excellent instruction ensured a good beginning and the Club she formed affiliated to the Society in 1958 and became a branch 20 years later.
In Paris before the war, Scottish dancing featured regularly in the activities of the Caledonian Society of France, formed in 1922. The Caledonian was revived after the war and it was through its Reels Class that the RSCDS recruited a very enthusiastic member, Liliane Chamoin. She was introduced to the class by the Minister of the Scots Kirk in Paris, Dr. Donald C. Caskie, whose courageous exploits during the war earned him the nickname of ‘Tartan Pimpernel’. The Chardon d’Ecosse Group, formed by Liliane and Jacques Chamoin, affiliated to the RSCDS in 1966 and began very good classes on several levels. The Tartan Plaidie Group, which became the Paris Branch in 1984, was established by Tom Evenson in 1972, and organized its first International Weekend in 1976.
The RSCDS ‘gospel’ spread to Austria and West Germany in the 1960’s. In Germany, Scottish country dancing was first taken up by the already existing German folk dance groups in Frankfurt / Main and Stuttgart and by 1973 there were affiliated groups in Frankfurt, Hamburg and Stuttgart. The Vienna Scottish Country Dance Club became an affiliated group in 1967.
CANADA
With so many Scottish immigrants, it was inevitable that the RSCDS would have a strong appeal in Canada. Two such Glasgow émigrés to Vancouver were Mrs Thomas Bingham and Mrs Mary Isdale MacNab. In 1930, Mrs Bingham, a lady of great energy, formed the Scottish Country Dance society of British Columbia (affiliated in 1931) and started weekly classes in many parts of the Vancouver area. Mrs MacNab, whose métier was Highland dancing, is well-known to RSCDS members for the dance which she collected and which she generously donated to the Society for publication. Mrs MacNab’s friendship with Miss Milligan and her visits to the St Andrews Summer School helped to cement the links between the RSCDS and the dance groups in Vancouver. The Vancouver Branch of the RSCDS was formed in 1964, replacing the Scottish Country Dance Society of BC.
By 1960, the Victoria Scottish Country Dance society was flourishing on Vancouver Island and became affiliated to the RSCDS in 1962. The Victoria Branch was founded in 1973.
It was the work of the Society which introduced Scottish country dancing in strength from the 1940’s into Eastern Canada. The first Branch in Canada was Hamilton, Ontario, which was granted Branch status in 1954. However, the popularity of Scottish country dancing would never have occurred had it not been for the exceptional leadership and inspirational teaching of Jean C. Milligan. Miss Milligan made her first trip to Canada in 1957 which led to the Toronto Branch being formed in that year. Montreal, Quebec, became a branch in 1958 and in that same year the Teachers Association (Canada) became an affiliated group. Since its formation, the TAC, through its annual Summer Schools and its many other activities, has done much to promote and sustain the standards of teaching and dancing advocated by our distinguished co-founder during her many visits to Canada.
By 1973 there were eleven Canadian Branches and fourteen affiliated groups. With a membership of over 800, Toronto was one of the Society’s largest branches at that time.
Boston, Massachusetts, has the distinction of being the oldest branch outside the United Kingdom, having been founded in 1950 by another enthusiastic teacher and Scottish immigrant, Miss Jeannie R. Carmichael, who died in 1966. She is gratefully remembered for the generous help and support she gave to Scottish country dancers throughout Massachusetts and beyond. In 1973, there were three branches of the Society in the eastern sector of the USA, Boston, New York and Delaware Valley and eighteen affiliated groups.
U.S.A.
In the American West, as in so many places outwith Scotland, Scottish country dancing found its first enthusiastic converts amongst folk dancers. The Scottish country dancers of the West acknowledge their indebtedness to the late C. Stewart Smith, a charismatic and exciting teacher, who emigrated from Edinburgh in 1949. He established classes in San Francisco and Los Angeles and became a leading exponent of Scottish dancing throughout North America. The San Francisco Reel and Strathspey Club and the Los Angeles Scottish Country Dancers jointly hosted their first Weekend Institute at Santa Maria in April 1965 and approval for the formation of branches in both cities was given in Edinburgh in the same year. As elsewhere, Miss Milligan’s visits of the 1960’s and 70’s gave great encouragement and an inspirational boost to the branches and affiliated groups of the Western United States.
NEW ZEALAND
The decade following the isolation of the Second World War saw the burgeoning of serious Scottish country dancing classes in New Zealand. In that decade there was an influx of immigrants, among them Scots with RSCDS teaching certificates and they began to be influential in many parts of the country. One of them was Jack Seton, who emigrated from Glasgow to Hastings in 1950. Amongst his many achievements in a lifetime devoted to furthering Scottish traditions and culture was the formation of New Zealand’s first Scottish country dance band which was the inspiration for the popular dance ‘Seton’s Ceilidh Band’.
Co-operation between groups has characterised Scottish country dancing in New Zealand from the beginning. The groups of Hawkes Bay and Wellington areas formed an Association in 1953 and under its auspices the first New Zealand Summer School was held at Napier over the New Year holidays of 1954/55. The same spirit of co-operation resulted in the formation of a national body – the New Zealand Scottish Country Dance Society at the Wanganui Summer School of 1956/7. Jack Seton was its first President. An application for Branch formation from the New Zealand Society was approved by RSCDS Executive Council on 4th May 1966.
The new New Zealand Branch was fortunate to obtain the advice and support of Mrs Florence Lesslie, who, with her husband, left Scotland in 1964 to settle in Te Awamutu. As a founder member of the Edinburgh Branch, as RSCDS chairman (1955-58), and as a very talented teacher, trainer of teachers and Examiner, Mrs Lesslie had a wealth of knowledge and experience which she now devoted to the cause of Scottish country dancing in New Zealand. In recognition of her services to the RSCDS, Mrs Lesslie was the first recipient of the Society’s Scroll of Honour in 1983.
AUSTRALIA
In Australia before the Second World War, Scottish dancing tended to be associated with Caledonian Societies in Pipe Band Associations at their balls and social gatherings, the dances were performed with more enthusiasm than skill. However, at that time, the influence of the Scottish Country Dance Society was not entireky unknown. After a visit in 1932 to the St Andrews Summer School, where she gained her Teachers’ Certificate, Miss Jean Gillespie (later Mrs London), with her sister Margaret, formed the Rose Bay Scottish Country Dance Club in Sydney.
The influx of many Scottish immigrants into Australia after the war resulted in the revival of the Scottish Societies and their annual balls. A need arose to teach the dances for these functions and in many areas this was the real start of country dance classes.
Adelaide in 1951 and Sydney in 1952 were the first RSCDS branches to be formed. The creation of more branches was difficult because of a shortage of qualified teachers. This problem was resolved initially with the help of Mrs Lesslie, following her fortuitous arrival in New Zealand, and by the subsequent appointment of Kevin Connolly and Leslie Cumming as Australia’s first resident RSCDS Examiners. By 1973 two more branches – Mornington Peninsula and Melbourne and District – had been established and there were 21 groups affiliated to the RSCDS in Australia.
AFRICA
During the 1950’s and 60’s there was evidence of a growing interest in the work of the RSCDS elsewhere in the Southern Hemisphere. Scottish country dancing took of in South Africa in 1950 and 1951 with Clubs starting in Cape Town, Johannesburgh and Pietermaritzburg. The Cape Town Branch of the RSCDS was formed in October 1950 . A Scottish country dance ball, the first ever held in Cape Town, marked the occasion. The branches and affiliated groups of South Africa and Kenya, where the Nairobi Branch was formed in 1951, received a considerable boost in 1959 from the visit of Miss Margaret McLaren who was invited by the RSCDS Executive Council to conduct a teaching and examining tour of Africa in June of that year. A new bank of RSCDS teachers resulted and new groups came into being. The RSCDS Bulletin of 1959 which expressed the Society’s appreciation of Miss McLaren’s tour also listed affiliated groups in Uganda, Rhodesia, Gambia and Ghana.
ASIA
Like all other parts of the world Asia was not exempted from the impact of Scottish country dancing and the influence of the RSCDS. The Bulletins of the 1950’s and 1960’s list dance groups affiliated to the Society in Rangoon, Hong Kong, Singapore, Shanghai, Bombay, North Borneo and Kuala Lumpur.
At Hiroshima, after the war, a RSCDS member, Alexander Barrie, an officer with the Allied Occupation Force, began teaching Scottish country and Highland dancing to Japanese dancers who had an interest in international folk dancing. It was with his help that two dancers, Mr Shimada and Mr Nakayama, were able to attend the St Andrews Summer School in 1957. Whilst a student in New York, Mr Hiroyuki Ikema joined classes organized by the branch there and having received encouragement from Miss Milligan and Miss Jeannie Carmichael he returned home in 1963 and began teaching Scottish country dancing in Tokyo. From these small seeds of interest, the attachment of Japanese dancers to Scottish country dancing and the RSCDS began to grow.
The worldwide progress made by the RSCDS was indeed remarkable, and as Miss Milligan often proudly boasted, all achieved without the aid of any public funds. At the close of its first half century, the Society enjoyed an annually rising membership (17,000 approximately in 1973) and had successfully established branches and affiliated groups throughout the world. There was much to celebrate in 1973.
Reproduced by kind permission of the RSCDS, 12 Coates Crescent, Edinburgh.
Peem Edwards - Obituary
by
It was with extreme sadness and a real sense of sudden loss that we learned of the death of Peem Edwards on Christmas Day. I doubt if there is anyone involved in the Scottish music scene throughout Scotland – musician, dancer or listener – who was unaware of Peem. Through a lifetime of involvement with music, Peem was known to almost everyone.
He was probably best known through being the fiddler in the Heather Dance Band in the 50’s and 60’s but for many years since then he had led his own dance band, playing for dancers locally and in many other parts of Scotland and south of the border. Peem was still actively involved in playing right up to his death. I was privileged to be part of his group on very many occasions over the past 30 years or so.
Apart from his known talent as a band fiddler and leader, Peem was appreciated as one of the great ‘characters’ in the business. He was always thought of as one of the most straightforward, open and honest persons anyone could wish to meet.
Peem was a founder member of the Dundee Accordion and Fiddle Club, regularly attending all meetings until the Club decided to close a few years ago.
Peem’s funeral was on Friday, 31st December at the Dundee Crematorium, and a very large attendance of people including many from various parts of the country, was a tremendous testimony to his immense popularity. I would be very surprised to find that the Dundee Crematorium has ever seen such an attendance. Peem will be sadly missed, and Scottish dance music will be very much the poorer without him.
Our deepest sympathy and consolation are extended to Cathy, his widow, to his family, Alan, Neil, Scott, Ross and Morag. Those of us who were close to Peem mourn the loss of a very dear friend.
Bill Wilkie and John Scrimger Honoured by the City of Perth
by
Two pillars of Perth’s musical establishment have been honoured for achievements totaling over a century in length.
A joint Civic Reception was staged for Bill Wilkie and John Scrimger who are synonymous with their respective fields.
For over 50 years John has been organist and choirmaster of St Andrew’s and St Stephen’s Church in Perth, but perhaps became known to a wider public through his presence in the pit in musical productions at Perth Theatre, Pitlochry Festival Theatre and Dundee’s Whitehall Theatre.
He has also appeared all over the country with Linda Ormiston and Donald Maxwell in Music Box.
Bill Wilkie recently celebrated 50 years of his All Scotland Accordion and Fiddle Festival, held in the City Halls annually.
The accordionist received Royal recognition for his services to the music profession in 1995 when he was awarded the MBE.
He has also managed to run the highly successful family business in tandem with his career.
50th All Scotland Accordion Festival 1999 – 30th October 1999
by Bill Wilkie
All Scotland Senior Amateur Traditional Solo (John Crawford Trophy)
1) Claire Morrison (Forres)
2) Graeme MacKay (Inverness)
3) Alison Carswell (Biggar)
All Scotland Open Traditional Accordion Solo championship (Jimmy Shand Shield)
1) John Burns (Falkirk)
2) Neil Galloway (Cupar)
3) Andrew Warren (Edinburgh)
Senior Scottish Country Dance Band (John Gibson, Ronnie Cooper Trophy)
1) John Burns (Falkirk)
2) Camperdown (Dundee)
3) Nicky McMichan (Lockerbie)
Own Composition (Jimmy Blue Trophy)
1) Michael Philips (Cardenden)
2) Willie Lawrie (Kinlochleven)
3) Davy Stewart (Kirriemuir)
Scottish Trio (Perth Accordion & Fiddle Club Challenge Cup)
1) Nicky McMichan (Lockerbie)
2) Kirsty Johnson (Currie)
3) Balgray Trio (Dundee)
Scottish Traditional Button Key Accordion Solo
1) Willie McGuire (Dysart)
2) Graeme MacKay (Inverness)
3) Alexander Lindsay (Amulree)
Veterans’ Solo (40 and over) (Andrew Rankine Memorial Quaich)
1) Willie McGuire (Dysart)
2) Willie Lawrie (Kinlochleven(
3) Jonathan Campbell (Kirkintilloch)
Junior Traditional Accordion Solo (Under 16) (Angus Accordion College Challenge Shield)
1) Liam Stewart (Galston)
2) Tom Orr (Lanark)
3) Matthew McLennan (Kiltarlity)
Junior Accordion Solo for Traditional Pipe Music (Under 16) (Cowie Cup)
1) Liam Stewart (Galston)
2) David McKenzie (Dingwall)
3) Kirsty Johnson (Currie)
Senior Ladies Accordion Solo (Jimmy Stephens Silver Salver)
1) Shirley Campbell (Glasgow)
2) Emily Smith (Thornhill)
3) Lyndsey-Ann Allan (Paisley)
Senior Accordion Solo for Traditional Pipe Music (Bill Black Challenge Cup)
1) Willie Lawrie (Kinlochleven)
2) Roy Hendrie (Troon)
3) John Burns (Falkirk)
Junior Girls Traditional Accordion Solo (Under 16) (Margaret Hendrie Silver Salver)
1) Claire Duncan
2) Linda Riddett (Dumfries)
3) Kerry Irvine (Fraserburgh)
Junior Scottish Country Dance Band (Alex MacArthur Cup)
1) Kirsty Johnson (Currie)
2)
3)
Scottish Ceilidh Band (Bobby MacLeod Trophy)
1) Lomond Ceilidh Band (Dunshelt)
2) Kirsty Johnson (Currie)
3) Dana Quinn (Ruthwell)
Junior Traditional Accordion Solo (Under 12)
1) Kirsty Johnson (Currie)
2) David Innes (Fraserburgh)
3) Scott Wilson (East Wemyss)
Junior Fiddle Sol (Under 16) (Albie Tedham Trophy)
1) Fiona Johnson (Currie)
2) Ingrid Hammond (Broughty Ferry)
3) John Thow (Dundee)
Junior Fiddle Solo (Under 12) (Jim Ritchie Challenge Cup)
1) Erin Smith (Aberdeen)
2) Kathrine Brooke (Newmacher)
3)
Senior Fiddle Solo (16 and over) (Ian Powrie Cup)
1) Perdy Syres-Gibson (Edinburgh)
2) Patsy Reid (Knapp)
3) Sarah Fraser (Crieff)
The 5th Annual Shand Morino Gathering
by Jim Cook
Button Key hosted the 5th ‘Shand Morino Gathering’ on Sunday, 16th January 2000 in the Windygates Institute, organized to commemorate once again the creation of the Shand Morino button-key accordion as designed and played by the renowned Sir Jimmy Shand. The day started at 1 p.m. but by 12.30 the hall was already nearly full and by 1.30 it was standing room only. The audience had once again come from near and far. From North and South of Ireland, South of England, Wooler and the Borders, all corners of Scotland and up as far as Inverness and Dingwall, and of course many from our local area.
Shand Morinos were once again well represented including three of the original four produced in 1951. Shand Morinos were brought and played by :-
Ken Hopkins from County Down (Original No 1)
George Rea from Co. Antrim
Ian Holmes from Dumfries
Davie Ross from Kilmarnock
Archie Paterson from Callander
Angus Oliver from Peebles (Original No 4)
Sandy Lindsay from Amulree
Sandy Tulloch from Dundee
Ian Cruickshanks and Dougie Milne from Kirriemuir
Bill Black from Stanley
Allan Kindness from Perth
Jim and Graeme MacKay from Inverness
Ian Johnson from Keith
Tom Blamey from Lochgelly
Andy Greig from Pittenweem
Robin Waitt from Cannonbie
Bruce Lindsay Jrn from Largoward
Colin Chalmers.
Another of the originals (No 3) belonged to Davie Simpson of Invergowrie who sadly passed away last year, but Mrs Simpson his widow, kindly brought along the instrument and at her request it was played during the afternoon by Bruce Lindsay Jnr.
Other buttonkey accordions were also brought along, belonging to
David Rea from Co. Antrim
John Weaks from Glasgow and John Murray.
The afternoon started with a welcome to all from Bruce Lindsay Snr followed by an introductory history of the ‘Shand Morino’ and its contribution by its creator to the Scottish Country Dance music world, given by Bob Macintosh MBE. Unfortunately Sir Jimmy was unable to attend due to failing health but sent his very best wishes for an enjoyable and successful day to all who had come. After starting the music off with a full stage stramash lead by Sandy Tulloch, playing a selection of the Great Man’s music, we listened to Bill Black and his group, Ian Holmes and his band, Ian Cruickshanks and his band, the MacKay Brothers group ‘Meoran Ciuil’, Jim MacKay and his band, the Angus Oliver group, the Bon Accords (Robin & Deryn Waitt), Bruce Lindsay Jnr and his band, Andy Greig and his band, and in between their performances of some great tunes, the other Morino players gave their selections throughout the afternoon accompanied by the group of their choice.
We listened to some wonderful music which of course continued to include many of Sir Jimmy’s compositions and favourites. The accompanying musicians included the following :-
On other button boxes – David Rea from Co. Antrim, John Weaks from Glasgow and Johnny Murray.
On piano accordion – Len Lyall, Bruce Lindsay Snr, and Lex Keith.
On fiddle – Bob Macintosh, Bob Christie and Jim Sturrock.
On piano – Bill Ewan, Jimmy Scott and Alan Adams.
On double bass – Doug Cargill
On mouth organ – Bryce Johnstone
And on drums – Jim Rodger, Dave Taylor, Rob Stark, Jock Ireland and Alan Dewar.
We also had the pleasure of listening to some lovely singing from the great bass baritone voice of Marshall Macintyre.
We were delighted to have the presence of Robbie Shepherd and Jennifer Forrest from BBC Radio Scotland who had come along to gather interview and listening material from this event in order to feature it on the regular Sunday programme ‘Reel Blend’ which we look forward to hearing. A special tribute was made to the ‘Shand Morino’ and its creator with all the Morino accordions on stage playing some of Sir Jimmy’s favourites including his first composition, the waltz ‘Lunan Bay’, for inclusion in the programme.
A vote of thanks was given by Bob Grier on behalf of the Club members and guests in the audience, to our Committee for all the hard work in organizing the day and especially to all our ladies in the kitchen for providing the soup, tea and refreshments, and to Bruce Lindsay Snr for arranging and organizing the afternoon’s entertainment, and this was followed by a thank you from Bruce Lindsay Snr to all the players who had come along from near and far, and to everyone else who came along to make a wonderful audience, which all contributed to another great success of this memorable occasion.
The day ended as it began with a stage full of players and a superb stramash of great music finishing with the eightsome reel favourite ‘The Deil Amang the Tailors’ followed by Auld Lang Syne. What a great sound, what a Great Day.
The Alan Gardiner Gallery
Photographs
CD Reviews
Graeme Mitchell SDB – Lasting Impression – SHIELCD009
Letters to the Editor
With reference to Bill Black’s letter in the recent issue, like him I also yearn for a greater content of our kind of music on the media, however, in this big world of commerce, it ain’t the boffins with an ear for music we have to contend with, it’s guys with very sharp pencils called accountants.
Whilst in our eyes (or ears) Scottish Dance Music is way up high in the ratings, in the media world the Soaps, sport, Gardening and Cooking programmes, and the ‘Pop’ scene are the revenue earners whether we like it or not, hence we are of fairly low priority. I’m advised that there is a fair smattering of Scottish stuff up in the North-East area, on local radio I believe. Now there is another hobby jobbie for you Bill!!!
In the February issue Club Directory there is a list of 74, and there are probably the same number again, not listed, of like minded players, bands or groups, all of which willingly give their services at a minimal cost in the name of the Music, cajoled and encouraged by umpteen unpaid committees, secretaries and other officiating persona of the National Association I’m sure they will jack up the entry tickets if the need really arises, the hotels are surely also quite happy otherwise their rate would go up.
Herein lies the answer, it is, at least for the majority of us who must earn our corn in other professions, this is or HOBBY which we enjoy and get a real buzz from participating with other like minded in the Club scene, and it is nice when a paying job comes along a few times a month, just keeps the gear in order. No other hobby offers such a bonus; curling (slippin’ a’ ower the place), bowls (ans midgies), golf (lost balls and midgies) hill climbing (mair midgies), gardening (sore backs and yet mair midgies). Man, we’re in clover, we don’t need any handouts with strings attached from the Arts Council.
Much as I like both performing with and listening to a five piece band, I’d rather there were trios or ‘fouros’ at half a dozen venues around the country on a Friday or Saturday night with the traditional Scottish and social dances. Get teenagers and younger children involved too. Too often I have been heart sorry for newly weds at their reception, when only one, sometimes neither having a clue on how to waltz or pas-de-basque; and are we partly to blame for not taking them along with us in their formative years?
Just imagine, Tartan in the Park in Reel Time at Balado for openers on the Friday night. With half a dozen bands, a whole trailer load of 2KW speakers out front and 1,000 dancers strutting their stuff. Magic! Just imagine, Robbie Shepherd,
Standby…….lights…….cue 3 2 1 Chord in A and we’re off.
Dream on, lets enjoy it while we can
Alf McConachie
I read the letter from Bill Black in the February issue of the B&F with some interest.
He may be correct when he states that he always uses a five piece band, but unfortunately that is not always the case with others.
How many times has a band been booked, only to find that the lead player is there, but backed by others who have been at the Club many times before, but with other bands, and in some cases, during the same season.
No allegations have been made, to my knowledge, that Scottish musicians are a money grabbing bunch, as he says, but some do have an inflated idea of their own monetary value, and I have a record book going back to January 1983 to prove past fees.
Strangely enough, it is not always the far traveling bands who ask the most, and some demands are just not possible, or acceptable. Others, and they are many, refuse to state a figure, and leave it to the Club, depending on attendances on the night.
Our Club always operate on the written contract, and the band receive the agreed figure despite the attendance, and sometimes get a bit more if it is good.
While it is correct to say that it is good value to have four hours of musical entertainment for a couple of pounds, it is also good to recognize that the guest bands are only playing for about an hour and a quarter, and that cannot be classed as too strenuous. Some do, however, keep going until they are given the stop signal, but others have been known to play for twenty minutes each half, and end without even an encore.
I do not agree that we charge too little. Over the years, there has been a small percentage increase, and this is to cover the cost of the band and the hall.
However, it has to be recognised, regrettably, that the majority of people who are regular attenders, are in the older age group, and too high an admission price would certainly deter some from coming.
Clubs do not run on a profit making basis anyway, and should be a social as well as a musical evening.
While guests get paid, we should never forget all the other players who come along and play just for the fun of it, and some do travel quite considerable distances to attend. Without their regular support, there would be no Clubs.
I do agree entirely with his views on the lack of coverage by the media, and particularly the BBC, of Scottish music. Radio is covered, of course, by Robbie Shepherd, but nothing on TV.
I attended a discussion programme in Stirling University, where all the BBC Chiefs were there, and asked the very question about the lack of recognition by BBC television regarding Scottish music. I referred to the hugely successful programmes in the past such as ‘The White Heather Club’ and the many requests to have a series such as that.
Their reply was that they did cover Folk music, and in any event they did not have the money required for anything else. That coming from Scottish officials of the BBC was nothing short of a disgrace, and I did get a number of supporters to my complaint, I also pointed out that it was our policy to encourage younger players and that, there was a resurgence of interest in Scottish dancing in the younger age groups, and that the BBC should be encouraging that. I felt that they were just not interested in our views. Perhaps ‘Neighbours’ and ‘Eastenders’ are more their thing.
It is not any good writing to the B&F to complain. It has to be directly to Queen Margaret Drive, Glasgow, and a copy sent to your own MP for their support.
The BBC always seem to have reserves of cash to spend on trivialities, such as sending so-called celebrities to far away places, mainly on holidays or sorting gardens.
Perhaps it is now time they gave some of it back to us in Scotland.
Andrew J. Dunbar
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
4th Mar 2000 – Sandy Legget & the Carseloch CB + feature on Pam Wilkie
11th Mar 2000 – George Stirrat SDB + Musselburgh Feature No 1
18th Mar 2000 – Maurice Duncan + Musselburgh Feature No 2
25th Mar 2000 – OB – Paisley Town Hall – Alasdair MacCuish & the Black Rose CB
1st April 2000 – John Renton SDB – feature on the Pheonix A&F Club
8th April 2000 – Ian Thomson SDB + listeners letters and discs
15th April 2000 – Marian Anderson SDB + feature
22nd April 2000 – Strathmore Sound + feature
29th April 2000 – OB tbc
CLUB DIARY
Aberdeen (Dee Motel) – 28th Mar 00 – West Telferton Cale CB
Alnwick (White Swan Hotel) – members only 8th Mar 00 – Ian Lowthian
Annan (St Andrew’s Social Club) - 19th Mar 00 – Roger Dobson SDB
Arbroath (Viewfield Hotel) - 5th Mar 00 – AGM + Club Night
Armadale (Masonic Hall) – 2nd Mar 00 – Willie McFarland SDB
Balloch (St. Kessog’s Hall) – 19th Mar 00 – Hector McFadyen SDB
Banchory (Burnett Arms Hotel) – 27th Mar 00 - tbc
Banff & District (Banff Springs Hotel) – 22nd Mar 00 – Lynne Gould Trio
Beith & District (Hotel de Croft, Dalry) – 20th Mar 00 – David Vernon
Belford (Community Club) – 30th Mar 00 – Glenelvin Band
Biggar (Municipal Hall) – 12th Mar 00 – Jim Johnstone SDB
Blairgowrie (Moorfield Hotel) - 14th Mar 00 – David Oswald SDB
Bromley (Trinity United Reform Church) - 14th Mar 00 – Ross Gardiner
Button Key (Windygates Institute) – 9th Mar 00 – Walter Beattie
Campsie (Glazert House Hotel) - 7th Mar 00 – David Vernon
Carlisle (Border Regiment Club, Carlisle Castle) - 9th Mar 00 – West Telferton Cale CB
Castle Douglas (Ernespie House Hotel) – 14th Mar 00 - tbc
Coalburn (Miners’ Welfare) - 16th Mar 00 – Tommy Newcomen Duo
Crathes (Crathes Hall, Banchory) - 12th Mar 00 – All musicians welcome
Crieff & District (Arduthie Hotel) 2nd Mar 00 - Bruce Lindsay Trio
Cults (Cults Sports & Social Club) 8th Mar 00 - tbc
Dalriada (Argyll Arms Hotel, Lochgilphead) 21st Mar 00 – Jim Cleland SDB
Dingwall (National Hotel) – 1st Mar 00 – John Bone Duo
Dunblane (Westlands Hotel) – 21st Mar 00 – Pentlands CB
Dunfermline (Headwell Bowling Club) – 14th Mar 00 – Brian Griffin Duo
Dunoon & Cowal (McColl’s Hotel) 10th Mar 00 – Neil MacEachern SDB + Lex Keith 11th Mar 00 – Jean Anne Callendar (fiddle) + Jock Fraser & B. Nelson
East Kilbride (Sweepers, Cambuslang) – 30th Mar 00 – David Vernon
Ellon (Station Hotel) – 21st Mar 00 – Bruce Lindsay Trio
Fintry (Fintry Sports Centre) – 27th Mar 00 – Robert Whitehead SDB
Forfar (Plough Inn) - 26th Mar 00 – Davie Stewart Trio
Forres (Brig Motel) – 8th Mar 00 – Lynne Gould SDB + Trio Comp
Galashiels (Abbotsford Arms Hotel) – 2nd Mar 00 - West Telferton Cale CB
Galston (Barr Castle Social Club) – 13th Mar 00 – Jim Johnstone Trio
Glendale (Black Bull Hotel – Wooler) – 16th Mar 00 – Charlie Kirkpatrick Trio
Glenfarg (Lomond Hotel) - 1st Mar 00 – John Crawford
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 28th Mar 00 - tbc
Gretna (Halcrow Stadium) - 5th Mar 00 – Ian Cruickshanks SDB
Highland (Drumossie Hotel) – 20th Mar 00 – Ian Thomson SDB
Inveraray (Loch Fyne Hotel) - 8th Mar 00 – Morag Robertson Trio
Isle of Skye – (The Royal Hotel, Portree) - 2nd Mar 00 – Sandy Ross
Islesteps (The Embassy Hotel) – 7th Mar 00 – Hector McFadyen
Kelso (Ednam House Hotel) – 29th Mar 00 – Tom Alexander
Kintore (Torryburn Hotel) – 1st Mar 00 – Dick Black Band
Lanark (Masonic Hall) - 27th Mar 00 – Ian Thomson SDB
Langholm (Crown Hotel) – 8th Mar 00 – David Scott
Lesmahagow (Masonic Hall) – 9th Mar 00 – Wendy Godfrey SDB
Lewis & Harris (Stornoway Legion) - 2nd Mar 00 - tbc
Livingston (Cairn Hotel) - 21st Mar 00 – Lindsay Weir Trio
Lockerbie (Queen’s Hotel) - 28th Mar 00 – James Coutts Trio
Mauchline (Sorn Village Hall) 21st Mar 00 – Morag Robertson Trio
Montrose (Park Hotel) – 1st Mar 00 - tbc
Muirhead (Belmont Arms, Meigle) - 19th Mar 00 – All players welcome
Newmill-on-Teviot (Newmill Country Inn) - 1st Mar 00 – Michael Philip SDB
Newtongrange (Dean Tavern) – 27th Mar 00 – David Cunningham SDB
North East (Royal British Legion, Keith) – 7th Mar 00 – Deirdre Adamson
Oban (McTavish’s Kitchen) – 2nd Mar 00 – Black Rose CB
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 30th Mar 00 – Jim Johnstone Trio
Perth (Salutation Hotel) – 21st Mar 00 – Billy Anderson & Albany
Premier NI (Camlin Function Rooms) - 7th Mar 00 – Declan Augier
Renfrew (Masonic Hall, Broadloan) – 14th Mar 00 – Ian Thomson SDB
Rothbury (Queen’s Head) - 2nd Mar 00 – Lothian Dance Band
Selkirk (Cricket Club) - 9th Mar 00 – Jim Johnstone SDB
Shetland (Shetland Hotel, Lerwick) -
Stirling (Terraces Hotel) - 12th Mar 00 – Neil MacEachern SDB
Sutherland (Rogart Hall) - 25th Mar 00 – Graeme Mitchell SDB
Thornhill (Masonic Hall) - 8th Mar 00 – John Douglas SDB
Thurso (Pentland Hotel) – 6th Mar 00 – Robert Whitehead SDB
Turriff (Royal Oak Hotel) – 2nd Mar 00 - AGM + New Caledonia DB
Tynedale (Hexham Ex Service Club) – 16th Mar 00 – Marian Anderson SDB
Wick (McKay’s Hotel) – 21st Mar 00 – James Ross (Wick)
Yarrow (Gordon Arms) - 15th Mar 00 – Ian Hutson SDB
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Alnwick
3. Annan
4. Arbroath
5. Armadale
6. Balloch
7. Banff & District
8. Beith
9. Blairgowrie
10. Button Key
11. Campsie
12. Carlisle
13. Castle Douglas
14. Coalburn
15. Crieff
16. Cults
17. Dingwall & District
18. Dunblane
19. Dunfermline
20. Dunoon & Cowal
21. East Kilbride
22. Forres
23. Glendale
24. Glenrothes
25. Gretna
26. Highland
27. Inveraray
28. Islesteps
29. Kelso
30. Kintore
31. Lanark
32. Lesmahagow
33. Livingston
34. Lockerbie
35. Montrose
36. Newmill-on-Teviot
37. Newtongrange
38. North East
39. Orkney
40. Premier
41. Renfrew
42. Rothbury
43. Stirling
44. Thornhill
45. Thurso
46. Turriff
47. Wick
48. Yarrow
CLUB DIRECTORY AS AT OCT 1999
(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. Wick A&F Club (Oct 1975 - present)
76. 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?)
77. Acharacle & District A&F Club (cMay 1988)
78. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
79. Bonchester Accordion Club (Closed?)
80. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
81. Brigmill A&F Club (Oct 1990) Closed
82. Buchan A&F Club
83. Callander A&F Club (
84. Campbeltown & District A&F Club (c Dec 1980)
85. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
86. Club Accord
87. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
88. Coupar Angus A&F Club (cSept 1978 - ?)
89. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
90. Denny & Dunipace A&F Club (Feb 1981)
91. Derwentside A&F Club
92. Dornoch A&F Club (first mention in directory 1986)
93. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
94. Dunbar Cement Works A&F Club (Closed?)
95. Dundee & District A&F Club (1970? – 1995?)
96. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
97. Falkirk A&F Club (Sept 1978 - )
98. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
99. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
100. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
101. Kirriemuir A&F Club (cSept 1981)
102. M.A.F.I.A. (1966 – 1993?)
103. Monklands A&F Club (Nov 1978 – closed cApril 1983)
104. Morecambe A&F Club (joined Sept 1982)
105. Mull A&F Club
106. Newcastleton Accordion Club
107. New Cumnock A&F Club (cMarch 1979)
108. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
109. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
110. Reading Scottish Fiddlers (cMarch 1997
111. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
112. Straiton Accordion Club (c1968 – closed March 1979)
113. Stranraer & District Accordion Club (1974 – per first edition)
114. Torthorwald A&F Club (near Dumfries)
115. Tranent A&F Club
116. Walmer (Bridge of Allan) A&F Club
117. Wellbank A&F Club
Advertising rates
Full Page - £120
Half Page - £60
Quarter Page - £30
B&F Treasurer – Alan Gardiner, Cocklaw Farm, Elsrickle, Biggar.
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
At the time of going to print I have just received the devastating news of John Huband’s untimely death on Tuesday, 22nd February. John had intentionally remained low key in the last few years after the disbanding of the very successful Tayside Sound. He remained active with his scaled down Orchestra and with the Muirhead Club but without doubt he will long be remembered for both his Scottish and Jazz playing. We will pay tribute to John in next month’s issue.
Fewer responses to the points raised by Bill Black than I had hoped for – so, come on, let’s hear whether or not you support his points of view. My own role as Editor now has a question mark hanging over it since an unexpected job transfer on February 21st, after 25 years in the Finance Department (if I’d known the job was temporary I’d never have taken it in the first place!)
Leas articles present a continuing problem, if we don’t want the Box and Fiddle to consist only of Club Reports, and my thanks this month to Linda Gaul, Chairperson of the R.S.C.D.S., for bailing me out at the last minute with permission to us their ‘First Fifty Years’ article.
Charlie Todd
The Royal Scottish Country Dance Society
The First fifty Years
1923 - 1973
In 1923 two anxious ladies sat in an office in Glasgow wondering if anyone would be interested in their plan to revive the traditional dances of Scotland and make Scotland a dancing nation once more. They were Mrs Ysobel Stewart of Fasnacloich and Miss Jean C. Milligan of Glasgow. Mrs Stewart, whose family home before marriage was at Inverneill House, by Ardrishaig, Argyllshire, had danced Scottish dances all her life and was sad that by 1923 they were almost forgotten or, when danced, were danced in a rough and incorrect manner. Taking with her a collection of dances, she had an interview with Mr J. Michael Diack of Paterson’s Publications Ltd hoping to get some of her dances published and seeking advice as to how to form a Society.
Mr Diack told her of an earlier effort to popularize Scottish dancing – The Beltane Society formed in 1912 in Glasgow but killed by the outbreak of the war. There was, he said, a Miss Milligan who had been a founder member of, and a collector of dances and music for that Society and, if Mrs Stewart would permit, he would ring her up and ask her to come, if she could, then and there. Mrs Stewart was happy to meet Miss Milligan. They were both anxious to begin and, putting their combined knowledge together, they decided to call a meeting to discuss the formation of a Society. Mr Diack promised that if they were successful, Peterson’s Publications would back them financially and publish a book of 12 dances and music. A meeting was held on the 26th November in the Athenaeum, Glasgow, with Mr F. H. Bisset of Paterson’s in the Chair. A number of well known people and societies, who had been specially notified, were present, as were also a number of interested people from Glasgow and District. It was decided unanimously to form a Society, to print a book and to hold a class as soon as possible. An interim Committee was formed to run the new Scottish Country Dance society and Mrs Stewart was elected interim Honorary Secretary. The membership fee (which included a copy of the book) was fixed at five shillings. At the next meeting in December, the Society was officially formed and sub-committees were chosen – one chiefly interested in the Music and a second for Dance Collection and Publication. This latter committee consisted of Mrs Stewart and Miss Milligan with Mr Diack representing the publishers.
With eight keen young members, and with Mrs Stewart and Lord James Stewart Murray present as critics, Miss Milligan took a class teaching the dances collected by Mrs Stewart and herself. Twelve dances were chosen – six of hers and six of Mrs Stewart’s and shortly thereafter Book 1 was issued, the music for which was arranged by Mr Diack. A class to teach these dances was held in Glasgow conducted by Miss Milligan and out of that class, which numbered about 100, the Glasgow Branch was formed and Mr Percy Thomson, their Secretary, was invited to join the Central Committee.
In the Spring of 1924, through the good offices of Mr Bisset, Chairman of the Musical Festival Association, classes for Scottish Country Dancing were included in the programmes of Edinburgh, Glasgow, Perth and Stirling Musical Festivals. The Glasgow standard was extremely good, but at the other three neither the dancing nor the judging was satisfactory. Mr Diack suggested that the time had come for the Society to set standards of performance and to undertake the training and examination of teachers. These duties were put into the hands of Mrs Stewart and Miss Milligan and the latter was asked to write a Festival Booklet for the guidance of those for the guidance of those desiring to teach. This book was to be given to all members in 1925. The first examinations were held in Glasgow and in Edinburgh, where a branch had now been formed. Desirous of forming branches Perth, Dundee and Aberdeen asked that an adviser from the Society might be sent to help them do so. Mrs Stewart and Miss Milligan were entrusted with this duty and duly visited these centres and in 1925 Perth, Dundee and Aberdeen Branches were formed.
At the first Annual General Meeting in November 1924, Lord James Stewart Murray, Duke of Atholl from 1952, was elected to the office of Chairman of the Society. From the beginning, he was also its President, a position he held until his death in 1957. Lord James brought a wealth of information to the Society. He had an unrivalled knowledge of the history of his native Perthshire and was an authority on Highland dress, traditional Scottish music and dance. He danced all his life, having been taught by the famous itinerant teacher ‘Dancie’ James Neill of Forfar.
FIRST SUMMER SCHOOL
In 1927 the first ‘Summer School’ lasting for one week, was held in University Hall, St Andrews. It was felt that with so many scattered branches, a meeting was necessary to maintain standards so that wherever one might go to dance, the same spirit, methods and social behaviour would be found. It was with some trepidation that University Hall was booked as the Society had little money and the interest of members was as yet unknown. So successful was the School that it became an annual event, growing gradually from one week to 10 days, then to two weeks, then to three weeks and since World War 2 to four weeks. At first the main object of the School was to bring into conference Scottish country dance teachers, officials and members of Branch Committees, and dancers outwith the reach of branches at home and abroad. Examinations were held especially for candidates who wanted to be teachers to help form new branches, the branches already formed holding their own examinations for people from their immediate surroundings. At that time there were two grades of Certificates. Grade A certified that candidates had successfully demonstrated a teaching as well as a practical dancing ability. Grade B was awarded for dancing knowledge and proficiency only. In 1932 the Grade B Certificate was abolished.
As new branches were formed, membership grew apace. At first a book was published annually, then a new book appeared every second year. The Society collected not only many good traditional dances but revived great interest in Scottish dance music. Scotland has an immense store (mostly at that time forgotten) of splendid dance tunes and in the revival of this music, the Society has done as valuable a service to Scotland as in the revival of the dance.
By 1930 there were 16 branches and over 1,000 members. Six books had been published and the first affiliations accepted, Hong Kong in 1927 and Portsmouth and Vancouver in 1931.
These early days saw many meetings between Mrs Stewart and Miss Milligan, Mrs Stewart to play the chanter while Miss Milligan danced, or Miss Milligan playing the piano while Mrs Stewart danced. Thus new finds were tried out, and where no tunes were given, suitable ones were chosen. Many a time were heard cries of ’No!’ ‘There’s no allemande in that tune’ or ‘I don’t feel a correct urge there for leading down the middle’. The Publications Committee had now altered and enlarged and was called ‘Music, Research and Advisory Committee’ and in 1927 a number of people interested in research were added and helped greatly by visiting libraries and interviewing old people all over the world.
Special thanks were due to Miss Joan Kirk of Dundee and Mr Ion C. B. Jamieson, an enthusiastic collector of dances in the Borders. From the first, Mrs Stewart and Miss Milligan, when setting standards of technique and formation, depended on the spoken word of old people, who in their youth had danced correctly. It was this method of collection which had kept the tradition of song and Highland dance pure and the Scottish Country Dance Society adhered to the same rule. Much propaganda was done in these first years by demonstrations.
In 1929 when Book 6 was ready for publication the Committee decided that the agreement with Paterson’s Publications was too binding and they became their own publishers. At the time, the Society had to buy their books from Paterson’s at Trade Prices and could no longer give the new large number of members Books 1 – 5 for a subscription of 5/-. The copyright of the musical arrangements for the Beltona Records belonged also to Mr Diack. A new agreement was drawn up and while Paterson’s still retained the copyright of Books 1 – 5 and remained the selling agents for the Society, the Scottish Country Dance Society now printed, published and copyrighted all further books.
During the 1930’s branches continued to spread more and more. Examinations were held to supply much needed teachers, and official lists were made of suitable experienced teachers to act as examiners and festival adjudicators. Then came the war. Early in 1940 a meeting was held and powers were given to the Office Bearers and Committee of the day to carry on as best they could in the face of dropping membership, lack of funds and the difficulties of blackout and loss of halls. No official meetings were held until 1944 and the ban on travel stopped the Summer School. Mrs Hamilton Meikle and Miss Milligan acted in turn as Chairmen. During the war the Society supplied books, leaflets and as much help as possible to the Forces so the Scots, especially those in prison camps, were able to continue dancing. The Reel of the 51st Division is now the historical reminder of our help. It was put into the Victory Book, though non-traditional, on the advice of Her Majesty The Queen, now HM The Queen Mother.
POST WAR
After the war, there was a great resurgence of interest and men began to join the Society in greater numbers. Classes were revived and numbers improved. The postwar growth of the Society resulted in the need to find office accommodation. Up to that time the Society had been administered by the Secretaries from their own homes. The determination to save enough money to acquire a permanent Headquarters bore fruit in 1957. The great day came when 12 Coates Crescent was bought and the work of furnishing was put in the hands of Miss Milligan and Miss Muriel F. Hadden, the Secretary. An ardent search began for the cheapest and best bargains. As the property was large and the money available small, sale rooms were haunted and at every store goods were priced and values compared. At last the Headquarters seemed ready, but Miss Milligan was not satisfied. She felt that it needed more embellishment, so she took it upon herself to write a personal letter to all branches pointing out that it was their Headquarters and asking if they would give something, however small, to improve the comfort and appearance of 12 Coates Crescent. She would give the first gift. What a response! It was unbelievable – tables, chairs, lamps, mirrors, pictures, clocks, china etc in floods. Some gifts came in money and, added together, it bought a handsome bookcase, cabinet and lamp. Now the Headquarters was a place to be proud of and it was the boast of the Society that all this had been done by their own efforts and no public money had ever been asked or received.
ROYAL PATRONAGE
In 1947 HRH Princess Elizabeth became the Patron of the Scottish Country Dance Society and graciously remained the Patron of the Royal Scottish Country Dance Society on her succession to the throne. A never to be forgotten occasion was her visit with HRH Prince Philip to Headquarters in 1962. It was a delightfully informal occasion and Her Majesty enjoyed a pleasing demonstration of dancing.
In 1951 King George VI bestowed the title of ‘Royal’ on the Society which he said had done such an excellent social service. The Annual Report of October 1951 referred to the Society’s ‘unprecedented vitality’. The membership had grown to 11,500; there were 55 branches including the first two overseas, Boston and Cape town, and there were 118 affiliated groups scattered throughout the world. At this time the principal pioneers on the 1920’s were still actively concerned with the work of their Society – Lord James as President, Mrs Stewart as Vice President and Miss Milligan as Chairman of the Executive Council. By the end of the decade that triumvirate no longer existed. In the late 1950’s Mrs Stewart decided to make her home in South Africa where she died in October 1968. Lord James died in May 1957. Miss Milligan was left to lead the Society during the next two decades. Now retired from her post Head of Women’s Physical Education at Jordanhill College, Glasgow, she was able to devote her entire time and energy to the RSCDS. Her extensive tours, at home and abroad, on behalf of the Society, her dynamic personality and skilful teaching successfully generated an enthusiastic interest in Scotland’s country dances. With characteristic zeal, she continued to direct the Society’s Annual Summer School at St Andrews where the attendance increasingly reflected the international success of the RSCDS.
EUROPE
In Continental Europe, Scottish country dancing started with groups attached to British embassies, consulates, churches and Caledonian Societies or with groups of dancers drawn to Scotland’s dances through their interest in international folk dancing. Ties between such groups and the RSCDS became more firmly fixed as a result of encouragement given by visiting RSCDS teachers; in due course affiliation to the Society was obtained and, where possible, branches were formed.
The Netherlands was one of the first Continental countries to join the RSCDS ‘family’ with the spread of interest both ‘north and south of the rivers’. The Hague Delft Scottish Country Dance Group, started by Hans van Zon in 1958, affiliated to the RSCDS in 1961 and achieved branch status in 1966, the first fully fledged branch of the Society on the Eurasian Continent, catering for local residents in their own language.
The annual RSCDS Bulletins of the 1950’s and 1960’s reveal the formation of affiliated groups in Belgium, Finland, Italy, France and Sweden. Dr. Helen S. Dunsmore, an RSCDS teacher from Greenock, started a small group in Stockholm. Her excellent instruction ensured a good beginning and the Club she formed affiliated to the Society in 1958 and became a branch 20 years later.
In Paris before the war, Scottish dancing featured regularly in the activities of the Caledonian Society of France, formed in 1922. The Caledonian was revived after the war and it was through its Reels Class that the RSCDS recruited a very enthusiastic member, Liliane Chamoin. She was introduced to the class by the Minister of the Scots Kirk in Paris, Dr. Donald C. Caskie, whose courageous exploits during the war earned him the nickname of ‘Tartan Pimpernel’. The Chardon d’Ecosse Group, formed by Liliane and Jacques Chamoin, affiliated to the RSCDS in 1966 and began very good classes on several levels. The Tartan Plaidie Group, which became the Paris Branch in 1984, was established by Tom Evenson in 1972, and organized its first International Weekend in 1976.
The RSCDS ‘gospel’ spread to Austria and West Germany in the 1960’s. In Germany, Scottish country dancing was first taken up by the already existing German folk dance groups in Frankfurt / Main and Stuttgart and by 1973 there were affiliated groups in Frankfurt, Hamburg and Stuttgart. The Vienna Scottish Country Dance Club became an affiliated group in 1967.
CANADA
With so many Scottish immigrants, it was inevitable that the RSCDS would have a strong appeal in Canada. Two such Glasgow émigrés to Vancouver were Mrs Thomas Bingham and Mrs Mary Isdale MacNab. In 1930, Mrs Bingham, a lady of great energy, formed the Scottish Country Dance society of British Columbia (affiliated in 1931) and started weekly classes in many parts of the Vancouver area. Mrs MacNab, whose métier was Highland dancing, is well-known to RSCDS members for the dance which she collected and which she generously donated to the Society for publication. Mrs MacNab’s friendship with Miss Milligan and her visits to the St Andrews Summer School helped to cement the links between the RSCDS and the dance groups in Vancouver. The Vancouver Branch of the RSCDS was formed in 1964, replacing the Scottish Country Dance Society of BC.
By 1960, the Victoria Scottish Country Dance society was flourishing on Vancouver Island and became affiliated to the RSCDS in 1962. The Victoria Branch was founded in 1973.
It was the work of the Society which introduced Scottish country dancing in strength from the 1940’s into Eastern Canada. The first Branch in Canada was Hamilton, Ontario, which was granted Branch status in 1954. However, the popularity of Scottish country dancing would never have occurred had it not been for the exceptional leadership and inspirational teaching of Jean C. Milligan. Miss Milligan made her first trip to Canada in 1957 which led to the Toronto Branch being formed in that year. Montreal, Quebec, became a branch in 1958 and in that same year the Teachers Association (Canada) became an affiliated group. Since its formation, the TAC, through its annual Summer Schools and its many other activities, has done much to promote and sustain the standards of teaching and dancing advocated by our distinguished co-founder during her many visits to Canada.
By 1973 there were eleven Canadian Branches and fourteen affiliated groups. With a membership of over 800, Toronto was one of the Society’s largest branches at that time.
Boston, Massachusetts, has the distinction of being the oldest branch outside the United Kingdom, having been founded in 1950 by another enthusiastic teacher and Scottish immigrant, Miss Jeannie R. Carmichael, who died in 1966. She is gratefully remembered for the generous help and support she gave to Scottish country dancers throughout Massachusetts and beyond. In 1973, there were three branches of the Society in the eastern sector of the USA, Boston, New York and Delaware Valley and eighteen affiliated groups.
U.S.A.
In the American West, as in so many places outwith Scotland, Scottish country dancing found its first enthusiastic converts amongst folk dancers. The Scottish country dancers of the West acknowledge their indebtedness to the late C. Stewart Smith, a charismatic and exciting teacher, who emigrated from Edinburgh in 1949. He established classes in San Francisco and Los Angeles and became a leading exponent of Scottish dancing throughout North America. The San Francisco Reel and Strathspey Club and the Los Angeles Scottish Country Dancers jointly hosted their first Weekend Institute at Santa Maria in April 1965 and approval for the formation of branches in both cities was given in Edinburgh in the same year. As elsewhere, Miss Milligan’s visits of the 1960’s and 70’s gave great encouragement and an inspirational boost to the branches and affiliated groups of the Western United States.
NEW ZEALAND
The decade following the isolation of the Second World War saw the burgeoning of serious Scottish country dancing classes in New Zealand. In that decade there was an influx of immigrants, among them Scots with RSCDS teaching certificates and they began to be influential in many parts of the country. One of them was Jack Seton, who emigrated from Glasgow to Hastings in 1950. Amongst his many achievements in a lifetime devoted to furthering Scottish traditions and culture was the formation of New Zealand’s first Scottish country dance band which was the inspiration for the popular dance ‘Seton’s Ceilidh Band’.
Co-operation between groups has characterised Scottish country dancing in New Zealand from the beginning. The groups of Hawkes Bay and Wellington areas formed an Association in 1953 and under its auspices the first New Zealand Summer School was held at Napier over the New Year holidays of 1954/55. The same spirit of co-operation resulted in the formation of a national body – the New Zealand Scottish Country Dance Society at the Wanganui Summer School of 1956/7. Jack Seton was its first President. An application for Branch formation from the New Zealand Society was approved by RSCDS Executive Council on 4th May 1966.
The new New Zealand Branch was fortunate to obtain the advice and support of Mrs Florence Lesslie, who, with her husband, left Scotland in 1964 to settle in Te Awamutu. As a founder member of the Edinburgh Branch, as RSCDS chairman (1955-58), and as a very talented teacher, trainer of teachers and Examiner, Mrs Lesslie had a wealth of knowledge and experience which she now devoted to the cause of Scottish country dancing in New Zealand. In recognition of her services to the RSCDS, Mrs Lesslie was the first recipient of the Society’s Scroll of Honour in 1983.
AUSTRALIA
In Australia before the Second World War, Scottish dancing tended to be associated with Caledonian Societies in Pipe Band Associations at their balls and social gatherings, the dances were performed with more enthusiasm than skill. However, at that time, the influence of the Scottish Country Dance Society was not entireky unknown. After a visit in 1932 to the St Andrews Summer School, where she gained her Teachers’ Certificate, Miss Jean Gillespie (later Mrs London), with her sister Margaret, formed the Rose Bay Scottish Country Dance Club in Sydney.
The influx of many Scottish immigrants into Australia after the war resulted in the revival of the Scottish Societies and their annual balls. A need arose to teach the dances for these functions and in many areas this was the real start of country dance classes.
Adelaide in 1951 and Sydney in 1952 were the first RSCDS branches to be formed. The creation of more branches was difficult because of a shortage of qualified teachers. This problem was resolved initially with the help of Mrs Lesslie, following her fortuitous arrival in New Zealand, and by the subsequent appointment of Kevin Connolly and Leslie Cumming as Australia’s first resident RSCDS Examiners. By 1973 two more branches – Mornington Peninsula and Melbourne and District – had been established and there were 21 groups affiliated to the RSCDS in Australia.
AFRICA
During the 1950’s and 60’s there was evidence of a growing interest in the work of the RSCDS elsewhere in the Southern Hemisphere. Scottish country dancing took of in South Africa in 1950 and 1951 with Clubs starting in Cape Town, Johannesburgh and Pietermaritzburg. The Cape Town Branch of the RSCDS was formed in October 1950 . A Scottish country dance ball, the first ever held in Cape Town, marked the occasion. The branches and affiliated groups of South Africa and Kenya, where the Nairobi Branch was formed in 1951, received a considerable boost in 1959 from the visit of Miss Margaret McLaren who was invited by the RSCDS Executive Council to conduct a teaching and examining tour of Africa in June of that year. A new bank of RSCDS teachers resulted and new groups came into being. The RSCDS Bulletin of 1959 which expressed the Society’s appreciation of Miss McLaren’s tour also listed affiliated groups in Uganda, Rhodesia, Gambia and Ghana.
ASIA
Like all other parts of the world Asia was not exempted from the impact of Scottish country dancing and the influence of the RSCDS. The Bulletins of the 1950’s and 1960’s list dance groups affiliated to the Society in Rangoon, Hong Kong, Singapore, Shanghai, Bombay, North Borneo and Kuala Lumpur.
At Hiroshima, after the war, a RSCDS member, Alexander Barrie, an officer with the Allied Occupation Force, began teaching Scottish country and Highland dancing to Japanese dancers who had an interest in international folk dancing. It was with his help that two dancers, Mr Shimada and Mr Nakayama, were able to attend the St Andrews Summer School in 1957. Whilst a student in New York, Mr Hiroyuki Ikema joined classes organized by the branch there and having received encouragement from Miss Milligan and Miss Jeannie Carmichael he returned home in 1963 and began teaching Scottish country dancing in Tokyo. From these small seeds of interest, the attachment of Japanese dancers to Scottish country dancing and the RSCDS began to grow.
The worldwide progress made by the RSCDS was indeed remarkable, and as Miss Milligan often proudly boasted, all achieved without the aid of any public funds. At the close of its first half century, the Society enjoyed an annually rising membership (17,000 approximately in 1973) and had successfully established branches and affiliated groups throughout the world. There was much to celebrate in 1973.
Reproduced by kind permission of the RSCDS, 12 Coates Crescent, Edinburgh.
Peem Edwards - Obituary
by
It was with extreme sadness and a real sense of sudden loss that we learned of the death of Peem Edwards on Christmas Day. I doubt if there is anyone involved in the Scottish music scene throughout Scotland – musician, dancer or listener – who was unaware of Peem. Through a lifetime of involvement with music, Peem was known to almost everyone.
He was probably best known through being the fiddler in the Heather Dance Band in the 50’s and 60’s but for many years since then he had led his own dance band, playing for dancers locally and in many other parts of Scotland and south of the border. Peem was still actively involved in playing right up to his death. I was privileged to be part of his group on very many occasions over the past 30 years or so.
Apart from his known talent as a band fiddler and leader, Peem was appreciated as one of the great ‘characters’ in the business. He was always thought of as one of the most straightforward, open and honest persons anyone could wish to meet.
Peem was a founder member of the Dundee Accordion and Fiddle Club, regularly attending all meetings until the Club decided to close a few years ago.
Peem’s funeral was on Friday, 31st December at the Dundee Crematorium, and a very large attendance of people including many from various parts of the country, was a tremendous testimony to his immense popularity. I would be very surprised to find that the Dundee Crematorium has ever seen such an attendance. Peem will be sadly missed, and Scottish dance music will be very much the poorer without him.
Our deepest sympathy and consolation are extended to Cathy, his widow, to his family, Alan, Neil, Scott, Ross and Morag. Those of us who were close to Peem mourn the loss of a very dear friend.
Bill Wilkie and John Scrimger Honoured by the City of Perth
by
Two pillars of Perth’s musical establishment have been honoured for achievements totaling over a century in length.
A joint Civic Reception was staged for Bill Wilkie and John Scrimger who are synonymous with their respective fields.
For over 50 years John has been organist and choirmaster of St Andrew’s and St Stephen’s Church in Perth, but perhaps became known to a wider public through his presence in the pit in musical productions at Perth Theatre, Pitlochry Festival Theatre and Dundee’s Whitehall Theatre.
He has also appeared all over the country with Linda Ormiston and Donald Maxwell in Music Box.
Bill Wilkie recently celebrated 50 years of his All Scotland Accordion and Fiddle Festival, held in the City Halls annually.
The accordionist received Royal recognition for his services to the music profession in 1995 when he was awarded the MBE.
He has also managed to run the highly successful family business in tandem with his career.
50th All Scotland Accordion Festival 1999 – 30th October 1999
by Bill Wilkie
All Scotland Senior Amateur Traditional Solo (John Crawford Trophy)
1) Claire Morrison (Forres)
2) Graeme MacKay (Inverness)
3) Alison Carswell (Biggar)
All Scotland Open Traditional Accordion Solo championship (Jimmy Shand Shield)
1) John Burns (Falkirk)
2) Neil Galloway (Cupar)
3) Andrew Warren (Edinburgh)
Senior Scottish Country Dance Band (John Gibson, Ronnie Cooper Trophy)
1) John Burns (Falkirk)
2) Camperdown (Dundee)
3) Nicky McMichan (Lockerbie)
Own Composition (Jimmy Blue Trophy)
1) Michael Philips (Cardenden)
2) Willie Lawrie (Kinlochleven)
3) Davy Stewart (Kirriemuir)
Scottish Trio (Perth Accordion & Fiddle Club Challenge Cup)
1) Nicky McMichan (Lockerbie)
2) Kirsty Johnson (Currie)
3) Balgray Trio (Dundee)
Scottish Traditional Button Key Accordion Solo
1) Willie McGuire (Dysart)
2) Graeme MacKay (Inverness)
3) Alexander Lindsay (Amulree)
Veterans’ Solo (40 and over) (Andrew Rankine Memorial Quaich)
1) Willie McGuire (Dysart)
2) Willie Lawrie (Kinlochleven(
3) Jonathan Campbell (Kirkintilloch)
Junior Traditional Accordion Solo (Under 16) (Angus Accordion College Challenge Shield)
1) Liam Stewart (Galston)
2) Tom Orr (Lanark)
3) Matthew McLennan (Kiltarlity)
Junior Accordion Solo for Traditional Pipe Music (Under 16) (Cowie Cup)
1) Liam Stewart (Galston)
2) David McKenzie (Dingwall)
3) Kirsty Johnson (Currie)
Senior Ladies Accordion Solo (Jimmy Stephens Silver Salver)
1) Shirley Campbell (Glasgow)
2) Emily Smith (Thornhill)
3) Lyndsey-Ann Allan (Paisley)
Senior Accordion Solo for Traditional Pipe Music (Bill Black Challenge Cup)
1) Willie Lawrie (Kinlochleven)
2) Roy Hendrie (Troon)
3) John Burns (Falkirk)
Junior Girls Traditional Accordion Solo (Under 16) (Margaret Hendrie Silver Salver)
1) Claire Duncan
2) Linda Riddett (Dumfries)
3) Kerry Irvine (Fraserburgh)
Junior Scottish Country Dance Band (Alex MacArthur Cup)
1) Kirsty Johnson (Currie)
2)
3)
Scottish Ceilidh Band (Bobby MacLeod Trophy)
1) Lomond Ceilidh Band (Dunshelt)
2) Kirsty Johnson (Currie)
3) Dana Quinn (Ruthwell)
Junior Traditional Accordion Solo (Under 12)
1) Kirsty Johnson (Currie)
2) David Innes (Fraserburgh)
3) Scott Wilson (East Wemyss)
Junior Fiddle Sol (Under 16) (Albie Tedham Trophy)
1) Fiona Johnson (Currie)
2) Ingrid Hammond (Broughty Ferry)
3) John Thow (Dundee)
Junior Fiddle Solo (Under 12) (Jim Ritchie Challenge Cup)
1) Erin Smith (Aberdeen)
2) Kathrine Brooke (Newmacher)
3)
Senior Fiddle Solo (16 and over) (Ian Powrie Cup)
1) Perdy Syres-Gibson (Edinburgh)
2) Patsy Reid (Knapp)
3) Sarah Fraser (Crieff)
The 5th Annual Shand Morino Gathering
by Jim Cook
Button Key hosted the 5th ‘Shand Morino Gathering’ on Sunday, 16th January 2000 in the Windygates Institute, organized to commemorate once again the creation of the Shand Morino button-key accordion as designed and played by the renowned Sir Jimmy Shand. The day started at 1 p.m. but by 12.30 the hall was already nearly full and by 1.30 it was standing room only. The audience had once again come from near and far. From North and South of Ireland, South of England, Wooler and the Borders, all corners of Scotland and up as far as Inverness and Dingwall, and of course many from our local area.
Shand Morinos were once again well represented including three of the original four produced in 1951. Shand Morinos were brought and played by :-
Ken Hopkins from County Down (Original No 1)
George Rea from Co. Antrim
Ian Holmes from Dumfries
Davie Ross from Kilmarnock
Archie Paterson from Callander
Angus Oliver from Peebles (Original No 4)
Sandy Lindsay from Amulree
Sandy Tulloch from Dundee
Ian Cruickshanks and Dougie Milne from Kirriemuir
Bill Black from Stanley
Allan Kindness from Perth
Jim and Graeme MacKay from Inverness
Ian Johnson from Keith
Tom Blamey from Lochgelly
Andy Greig from Pittenweem
Robin Waitt from Cannonbie
Bruce Lindsay Jrn from Largoward
Colin Chalmers.
Another of the originals (No 3) belonged to Davie Simpson of Invergowrie who sadly passed away last year, but Mrs Simpson his widow, kindly brought along the instrument and at her request it was played during the afternoon by Bruce Lindsay Jnr.
Other buttonkey accordions were also brought along, belonging to
David Rea from Co. Antrim
John Weaks from Glasgow and John Murray.
The afternoon started with a welcome to all from Bruce Lindsay Snr followed by an introductory history of the ‘Shand Morino’ and its contribution by its creator to the Scottish Country Dance music world, given by Bob Macintosh MBE. Unfortunately Sir Jimmy was unable to attend due to failing health but sent his very best wishes for an enjoyable and successful day to all who had come. After starting the music off with a full stage stramash lead by Sandy Tulloch, playing a selection of the Great Man’s music, we listened to Bill Black and his group, Ian Holmes and his band, Ian Cruickshanks and his band, the MacKay Brothers group ‘Meoran Ciuil’, Jim MacKay and his band, the Angus Oliver group, the Bon Accords (Robin & Deryn Waitt), Bruce Lindsay Jnr and his band, Andy Greig and his band, and in between their performances of some great tunes, the other Morino players gave their selections throughout the afternoon accompanied by the group of their choice.
We listened to some wonderful music which of course continued to include many of Sir Jimmy’s compositions and favourites. The accompanying musicians included the following :-
On other button boxes – David Rea from Co. Antrim, John Weaks from Glasgow and Johnny Murray.
On piano accordion – Len Lyall, Bruce Lindsay Snr, and Lex Keith.
On fiddle – Bob Macintosh, Bob Christie and Jim Sturrock.
On piano – Bill Ewan, Jimmy Scott and Alan Adams.
On double bass – Doug Cargill
On mouth organ – Bryce Johnstone
And on drums – Jim Rodger, Dave Taylor, Rob Stark, Jock Ireland and Alan Dewar.
We also had the pleasure of listening to some lovely singing from the great bass baritone voice of Marshall Macintyre.
We were delighted to have the presence of Robbie Shepherd and Jennifer Forrest from BBC Radio Scotland who had come along to gather interview and listening material from this event in order to feature it on the regular Sunday programme ‘Reel Blend’ which we look forward to hearing. A special tribute was made to the ‘Shand Morino’ and its creator with all the Morino accordions on stage playing some of Sir Jimmy’s favourites including his first composition, the waltz ‘Lunan Bay’, for inclusion in the programme.
A vote of thanks was given by Bob Grier on behalf of the Club members and guests in the audience, to our Committee for all the hard work in organizing the day and especially to all our ladies in the kitchen for providing the soup, tea and refreshments, and to Bruce Lindsay Snr for arranging and organizing the afternoon’s entertainment, and this was followed by a thank you from Bruce Lindsay Snr to all the players who had come along from near and far, and to everyone else who came along to make a wonderful audience, which all contributed to another great success of this memorable occasion.
The day ended as it began with a stage full of players and a superb stramash of great music finishing with the eightsome reel favourite ‘The Deil Amang the Tailors’ followed by Auld Lang Syne. What a great sound, what a Great Day.
The Alan Gardiner Gallery
Photographs
CD Reviews
Graeme Mitchell SDB – Lasting Impression – SHIELCD009
Letters to the Editor
With reference to Bill Black’s letter in the recent issue, like him I also yearn for a greater content of our kind of music on the media, however, in this big world of commerce, it ain’t the boffins with an ear for music we have to contend with, it’s guys with very sharp pencils called accountants.
Whilst in our eyes (or ears) Scottish Dance Music is way up high in the ratings, in the media world the Soaps, sport, Gardening and Cooking programmes, and the ‘Pop’ scene are the revenue earners whether we like it or not, hence we are of fairly low priority. I’m advised that there is a fair smattering of Scottish stuff up in the North-East area, on local radio I believe. Now there is another hobby jobbie for you Bill!!!
In the February issue Club Directory there is a list of 74, and there are probably the same number again, not listed, of like minded players, bands or groups, all of which willingly give their services at a minimal cost in the name of the Music, cajoled and encouraged by umpteen unpaid committees, secretaries and other officiating persona of the National Association I’m sure they will jack up the entry tickets if the need really arises, the hotels are surely also quite happy otherwise their rate would go up.
Herein lies the answer, it is, at least for the majority of us who must earn our corn in other professions, this is or HOBBY which we enjoy and get a real buzz from participating with other like minded in the Club scene, and it is nice when a paying job comes along a few times a month, just keeps the gear in order. No other hobby offers such a bonus; curling (slippin’ a’ ower the place), bowls (ans midgies), golf (lost balls and midgies) hill climbing (mair midgies), gardening (sore backs and yet mair midgies). Man, we’re in clover, we don’t need any handouts with strings attached from the Arts Council.
Much as I like both performing with and listening to a five piece band, I’d rather there were trios or ‘fouros’ at half a dozen venues around the country on a Friday or Saturday night with the traditional Scottish and social dances. Get teenagers and younger children involved too. Too often I have been heart sorry for newly weds at their reception, when only one, sometimes neither having a clue on how to waltz or pas-de-basque; and are we partly to blame for not taking them along with us in their formative years?
Just imagine, Tartan in the Park in Reel Time at Balado for openers on the Friday night. With half a dozen bands, a whole trailer load of 2KW speakers out front and 1,000 dancers strutting their stuff. Magic! Just imagine, Robbie Shepherd,
Standby…….lights…….cue 3 2 1 Chord in A and we’re off.
Dream on, lets enjoy it while we can
Alf McConachie
I read the letter from Bill Black in the February issue of the B&F with some interest.
He may be correct when he states that he always uses a five piece band, but unfortunately that is not always the case with others.
How many times has a band been booked, only to find that the lead player is there, but backed by others who have been at the Club many times before, but with other bands, and in some cases, during the same season.
No allegations have been made, to my knowledge, that Scottish musicians are a money grabbing bunch, as he says, but some do have an inflated idea of their own monetary value, and I have a record book going back to January 1983 to prove past fees.
Strangely enough, it is not always the far traveling bands who ask the most, and some demands are just not possible, or acceptable. Others, and they are many, refuse to state a figure, and leave it to the Club, depending on attendances on the night.
Our Club always operate on the written contract, and the band receive the agreed figure despite the attendance, and sometimes get a bit more if it is good.
While it is correct to say that it is good value to have four hours of musical entertainment for a couple of pounds, it is also good to recognize that the guest bands are only playing for about an hour and a quarter, and that cannot be classed as too strenuous. Some do, however, keep going until they are given the stop signal, but others have been known to play for twenty minutes each half, and end without even an encore.
I do not agree that we charge too little. Over the years, there has been a small percentage increase, and this is to cover the cost of the band and the hall.
However, it has to be recognised, regrettably, that the majority of people who are regular attenders, are in the older age group, and too high an admission price would certainly deter some from coming.
Clubs do not run on a profit making basis anyway, and should be a social as well as a musical evening.
While guests get paid, we should never forget all the other players who come along and play just for the fun of it, and some do travel quite considerable distances to attend. Without their regular support, there would be no Clubs.
I do agree entirely with his views on the lack of coverage by the media, and particularly the BBC, of Scottish music. Radio is covered, of course, by Robbie Shepherd, but nothing on TV.
I attended a discussion programme in Stirling University, where all the BBC Chiefs were there, and asked the very question about the lack of recognition by BBC television regarding Scottish music. I referred to the hugely successful programmes in the past such as ‘The White Heather Club’ and the many requests to have a series such as that.
Their reply was that they did cover Folk music, and in any event they did not have the money required for anything else. That coming from Scottish officials of the BBC was nothing short of a disgrace, and I did get a number of supporters to my complaint, I also pointed out that it was our policy to encourage younger players and that, there was a resurgence of interest in Scottish dancing in the younger age groups, and that the BBC should be encouraging that. I felt that they were just not interested in our views. Perhaps ‘Neighbours’ and ‘Eastenders’ are more their thing.
It is not any good writing to the B&F to complain. It has to be directly to Queen Margaret Drive, Glasgow, and a copy sent to your own MP for their support.
The BBC always seem to have reserves of cash to spend on trivialities, such as sending so-called celebrities to far away places, mainly on holidays or sorting gardens.
Perhaps it is now time they gave some of it back to us in Scotland.
Andrew J. Dunbar
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
4th Mar 2000 – Sandy Legget & the Carseloch CB + feature on Pam Wilkie
11th Mar 2000 – George Stirrat SDB + Musselburgh Feature No 1
18th Mar 2000 – Maurice Duncan + Musselburgh Feature No 2
25th Mar 2000 – OB – Paisley Town Hall – Alasdair MacCuish & the Black Rose CB
1st April 2000 – John Renton SDB – feature on the Pheonix A&F Club
8th April 2000 – Ian Thomson SDB + listeners letters and discs
15th April 2000 – Marian Anderson SDB + feature
22nd April 2000 – Strathmore Sound + feature
29th April 2000 – OB tbc
CLUB DIARY
Aberdeen (Dee Motel) – 28th Mar 00 – West Telferton Cale CB
Alnwick (White Swan Hotel) – members only 8th Mar 00 – Ian Lowthian
Annan (St Andrew’s Social Club) - 19th Mar 00 – Roger Dobson SDB
Arbroath (Viewfield Hotel) - 5th Mar 00 – AGM + Club Night
Armadale (Masonic Hall) – 2nd Mar 00 – Willie McFarland SDB
Balloch (St. Kessog’s Hall) – 19th Mar 00 – Hector McFadyen SDB
Banchory (Burnett Arms Hotel) – 27th Mar 00 - tbc
Banff & District (Banff Springs Hotel) – 22nd Mar 00 – Lynne Gould Trio
Beith & District (Hotel de Croft, Dalry) – 20th Mar 00 – David Vernon
Belford (Community Club) – 30th Mar 00 – Glenelvin Band
Biggar (Municipal Hall) – 12th Mar 00 – Jim Johnstone SDB
Blairgowrie (Moorfield Hotel) - 14th Mar 00 – David Oswald SDB
Bromley (Trinity United Reform Church) - 14th Mar 00 – Ross Gardiner
Button Key (Windygates Institute) – 9th Mar 00 – Walter Beattie
Campsie (Glazert House Hotel) - 7th Mar 00 – David Vernon
Carlisle (Border Regiment Club, Carlisle Castle) - 9th Mar 00 – West Telferton Cale CB
Castle Douglas (Ernespie House Hotel) – 14th Mar 00 - tbc
Coalburn (Miners’ Welfare) - 16th Mar 00 – Tommy Newcomen Duo
Crathes (Crathes Hall, Banchory) - 12th Mar 00 – All musicians welcome
Crieff & District (Arduthie Hotel) 2nd Mar 00 - Bruce Lindsay Trio
Cults (Cults Sports & Social Club) 8th Mar 00 - tbc
Dalriada (Argyll Arms Hotel, Lochgilphead) 21st Mar 00 – Jim Cleland SDB
Dingwall (National Hotel) – 1st Mar 00 – John Bone Duo
Dunblane (Westlands Hotel) – 21st Mar 00 – Pentlands CB
Dunfermline (Headwell Bowling Club) – 14th Mar 00 – Brian Griffin Duo
Dunoon & Cowal (McColl’s Hotel) 10th Mar 00 – Neil MacEachern SDB + Lex Keith 11th Mar 00 – Jean Anne Callendar (fiddle) + Jock Fraser & B. Nelson
East Kilbride (Sweepers, Cambuslang) – 30th Mar 00 – David Vernon
Ellon (Station Hotel) – 21st Mar 00 – Bruce Lindsay Trio
Fintry (Fintry Sports Centre) – 27th Mar 00 – Robert Whitehead SDB
Forfar (Plough Inn) - 26th Mar 00 – Davie Stewart Trio
Forres (Brig Motel) – 8th Mar 00 – Lynne Gould SDB + Trio Comp
Galashiels (Abbotsford Arms Hotel) – 2nd Mar 00 - West Telferton Cale CB
Galston (Barr Castle Social Club) – 13th Mar 00 – Jim Johnstone Trio
Glendale (Black Bull Hotel – Wooler) – 16th Mar 00 – Charlie Kirkpatrick Trio
Glenfarg (Lomond Hotel) - 1st Mar 00 – John Crawford
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 28th Mar 00 - tbc
Gretna (Halcrow Stadium) - 5th Mar 00 – Ian Cruickshanks SDB
Highland (Drumossie Hotel) – 20th Mar 00 – Ian Thomson SDB
Inveraray (Loch Fyne Hotel) - 8th Mar 00 – Morag Robertson Trio
Isle of Skye – (The Royal Hotel, Portree) - 2nd Mar 00 – Sandy Ross
Islesteps (The Embassy Hotel) – 7th Mar 00 – Hector McFadyen
Kelso (Ednam House Hotel) – 29th Mar 00 – Tom Alexander
Kintore (Torryburn Hotel) – 1st Mar 00 – Dick Black Band
Lanark (Masonic Hall) - 27th Mar 00 – Ian Thomson SDB
Langholm (Crown Hotel) – 8th Mar 00 – David Scott
Lesmahagow (Masonic Hall) – 9th Mar 00 – Wendy Godfrey SDB
Lewis & Harris (Stornoway Legion) - 2nd Mar 00 - tbc
Livingston (Cairn Hotel) - 21st Mar 00 – Lindsay Weir Trio
Lockerbie (Queen’s Hotel) - 28th Mar 00 – James Coutts Trio
Mauchline (Sorn Village Hall) 21st Mar 00 – Morag Robertson Trio
Montrose (Park Hotel) – 1st Mar 00 - tbc
Muirhead (Belmont Arms, Meigle) - 19th Mar 00 – All players welcome
Newmill-on-Teviot (Newmill Country Inn) - 1st Mar 00 – Michael Philip SDB
Newtongrange (Dean Tavern) – 27th Mar 00 – David Cunningham SDB
North East (Royal British Legion, Keith) – 7th Mar 00 – Deirdre Adamson
Oban (McTavish’s Kitchen) – 2nd Mar 00 – Black Rose CB
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 30th Mar 00 – Jim Johnstone Trio
Perth (Salutation Hotel) – 21st Mar 00 – Billy Anderson & Albany
Premier NI (Camlin Function Rooms) - 7th Mar 00 – Declan Augier
Renfrew (Masonic Hall, Broadloan) – 14th Mar 00 – Ian Thomson SDB
Rothbury (Queen’s Head) - 2nd Mar 00 – Lothian Dance Band
Selkirk (Cricket Club) - 9th Mar 00 – Jim Johnstone SDB
Shetland (Shetland Hotel, Lerwick) -
Stirling (Terraces Hotel) - 12th Mar 00 – Neil MacEachern SDB
Sutherland (Rogart Hall) - 25th Mar 00 – Graeme Mitchell SDB
Thornhill (Masonic Hall) - 8th Mar 00 – John Douglas SDB
Thurso (Pentland Hotel) – 6th Mar 00 – Robert Whitehead SDB
Turriff (Royal Oak Hotel) – 2nd Mar 00 - AGM + New Caledonia DB
Tynedale (Hexham Ex Service Club) – 16th Mar 00 – Marian Anderson SDB
Wick (McKay’s Hotel) – 21st Mar 00 – James Ross (Wick)
Yarrow (Gordon Arms) - 15th Mar 00 – Ian Hutson SDB
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Alnwick
3. Annan
4. Arbroath
5. Armadale
6. Balloch
7. Banff & District
8. Beith
9. Blairgowrie
10. Button Key
11. Campsie
12. Carlisle
13. Castle Douglas
14. Coalburn
15. Crieff
16. Cults
17. Dingwall & District
18. Dunblane
19. Dunfermline
20. Dunoon & Cowal
21. East Kilbride
22. Forres
23. Glendale
24. Glenrothes
25. Gretna
26. Highland
27. Inveraray
28. Islesteps
29. Kelso
30. Kintore
31. Lanark
32. Lesmahagow
33. Livingston
34. Lockerbie
35. Montrose
36. Newmill-on-Teviot
37. Newtongrange
38. North East
39. Orkney
40. Premier
41. Renfrew
42. Rothbury
43. Stirling
44. Thornhill
45. Thurso
46. Turriff
47. Wick
48. Yarrow
CLUB DIRECTORY AS AT OCT 1999
(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. Wick A&F Club (Oct 1975 - present)
76. 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?)
77. Acharacle & District A&F Club (cMay 1988)
78. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
79. Bonchester Accordion Club (Closed?)
80. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
81. Brigmill A&F Club (Oct 1990) Closed
82. Buchan A&F Club
83. Callander A&F Club (
84. Campbeltown & District A&F Club (c Dec 1980)
85. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
86. Club Accord
87. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
88. Coupar Angus A&F Club (cSept 1978 - ?)
89. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
90. Denny & Dunipace A&F Club (Feb 1981)
91. Derwentside A&F Club
92. Dornoch A&F Club (first mention in directory 1986)
93. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
94. Dunbar Cement Works A&F Club (Closed?)
95. Dundee & District A&F Club (1970? – 1995?)
96. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
97. Falkirk A&F Club (Sept 1978 - )
98. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
99. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
100. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
101. Kirriemuir A&F Club (cSept 1981)
102. M.A.F.I.A. (1966 – 1993?)
103. Monklands A&F Club (Nov 1978 – closed cApril 1983)
104. Morecambe A&F Club (joined Sept 1982)
105. Mull A&F Club
106. Newcastleton Accordion Club
107. New Cumnock A&F Club (cMarch 1979)
108. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
109. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
110. Reading Scottish Fiddlers (cMarch 1997
111. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
112. Straiton Accordion Club (c1968 – closed March 1979)
113. Stranraer & District Accordion Club (1974 – per first edition)
114. Torthorwald A&F Club (near Dumfries)
115. Tranent A&F Club
116. Walmer (Bridge of Allan) A&F Club
117. Wellbank A&F Club
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