Box and Fiddle
Year 28 No 03
November 2004
Price £2.00
44 Page Magazine
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Editorial
The
Karin Ingram
Gordon Pattullo
by Karyn McCulloch
Gordon Pattullo is one of the most renowned accordionists in Scotland. He is always in great demand at Accordion and Fiddle Clubs as guest artiste. He is just as much at home playing solo at the Clubs, as he is when he’s surrounded by the other top class musicians who join him in his ceilidh band. He has recorded more than fifteen albums (so far) and has a wealth of experience both in radio and television broadcasts – but how did it al begin?
Like so many other musicians, the interest began at a young age - in the family home. Gordon’s parents were always interested in accordion music – his mother played piano and his father played the melodeon. They encouraged him to go for accordion lessons – and after a few lessons he was hooked. This was when he was eleven years old – the same time he got his first accordion, a 3 voice, 120 bass Sonola. The bulk of his musical tuition was from the late Jim Marshall (“a superb teacher”) at the Dundee Accordion School of Music. Jim taught him a wide range of music including Continental and classical – the examinations required these styles as well. He also had a few lessons from John Huband and ex World Champion Louis Cabrelli.
He remembers feeling a wee bit nervous at his first public performance. It was at his own school in 1973 – Kettins Primary School, near Coupar Angus – and he had only been playing for about six months!! (No wonder he was a little nervous!) He still has the odd case of nerves (but usually only when the bride’s father forgets the cheque!)
Jimmy Shand, Arthur Spink, Ian Powrie and Jimmy Blue – these were just a few of the records that were played at home. The first LP he bought was Music with a Kick by Will Starr, his all-time hero. To this day he still listens to that album – although he now has a copy on CD.
Gordon had only been playing for a couple of years when he entered his first competition. It was the Junior Scottish Traditional section at Perth – he was only thirteen years old – and he won it! He has since won various other competitions, including Own Composition.
Nowadays he is regularly asked to adjudicate at Festivals from Musselburgh to Oban – and he says it’s always a pleasure to help out at Bill Wilkie’s All Scotland Championships in Perth.
Gordon is a prolific composer and to date he has had one book of tunes published – and has written enough for another two or more! Frequently he will write a tune to fit into a set, or in a certain style – perhaps for a new album. He is often asked to write a tune for a particular person, or a special occasion. One of the most memorable was when Producer Bryce Laing commissioned him to write a tune to celebrate Jimmy Shand’s fifty years in recording. Bryce had two copies pressed at Abbey Road Studios in London – and Gordon got the other.
In 1977, the late Jimmy Blue introduced Gordon to Andy Stewart. This led to a whole host of engagements – and the first was an eight-week tour of Canada and America. For the next ten years Gordon was involved in theatre shoes almost every week. Most of these were with the late Andy Stewart, “a hard worker who kept many entertainers and musicians in work for several years”. Gordon has many happy memories of working with Andy and feels exceptionally lucky and glad he had the chance to work with him. Other famous names Gordon has worked with include Moira Anderson, Kenneth McKellar, Dana, Lulu and George Hamilton IV.
Gordon’s first radio broadcast was in the late 1970’s – it was for a series on Accordion and Fiddle Clubs, produced by Ben Lyons and hosted by Alasdair Gillies. He has broadcast many times since then – on BBC Radio, Radio Forth and Radio Clyde. TV work includes the Jim MacLeod Show, Andy’s Party and Northern Nights (all for Grampian); Thingummyjig (STV) and several Hogmanay shows for all three Scottish Stations.
As well as playing and composing, Gordon writes all his own musical arrangements – and he does them on the piano. He can also “knock out a tune” from the penny whistle and the diatonic harmonica, but he stresses “just for fun”. So, although he may not play Whistling Rufus on the penny whistle when he’s on stage, you may very well see him playing a tune on a small 12 bass accordion he owns. The rest of his accordion collection includes a 1930’s Casali, a V Soprani (which he enjoys playing) and the one he plays most often – his trusty Victoria accordion, which he bought from Bill Wilkie some nineteen years ago. (Unfortunately it is out of warranty now!)
Gordon has had many engagements abroad – mostly as a solo artiste, however he had two memorable trips to Abu Dhabi with the Jim Johnstone Band and went to the Lorient Celtic Festival in France with the Angus Cameron Band. (I believe this was Gordon’s first time on an aeroplane. The band members had taken their seats on the plane and it was about to take off. The engines were revving up and it was getting pretty noisy, as you can imagine. Gordon – who was sitting next to Angus – said “I cannae stand the noise, it’s terrible. Will it make this same noise when we’re up in the air?”
Apart from traditional Scottish music, Gordon likes to hear solo accordionists, fiddlers and pipers. He also listens to a lot of Irish music and pipe band music – and particularly admires the piping of Gordon Duncan.
Here are a few things about Gordon you probably didn’t know –
His favourite album of all time is by the Victoria Police Pipe Band – the album is called Masterblasters.
His favourite band is a French Canadian group called La Bottine Souriante – he saw them live at Celtic Connections. “Brilliant”
His favourite musician is ‘Irish Banjo Wizard’ Gerry O’Connor.
When he’s not busy with his music, he somehow still finds time to work in the farming industry!
Gordon really likes playing at Accordion and Fiddle Clubs, because the audience listen and appreciate the music. It’s good to meet up again with people that he’s met over the years – and probably won’t get a chance to see at any other time. It also gives him a chance to hear some young players who are learning the ropes – and he suggests that you “HAVE FUN! .Try to play with and listen to musicians who are better than you – you’ll learn that way. And remember – you never stop learning”
Music in the house influenced Gordon when he was growing up – and similarly Gordon’s own children have become involved in various ways. His eldest son fraser (17) plays pipes and whistles, younger son Alan (15) plays in the Drum Corps of Perth and District Pipe Band and daughter Caroline (12) is a Highland Dancer. In October 2004, Gordon and his wife June celebrated their 20th wedding anniversary.
Indeed, Fraser is the newest addition to his dad’s Ceilidh Band –
And makes his debut on the latest album Hand Made in Scotland, which is available now. Along with Gordon we have Angie MacEachern (fiddle), John Crawford (piano), Billy Young (guitar and banjo), Brian Cruickshank (bass), Billy Thom (drums) and Fraser Pattullo (small-pipes and whistles). The album includes music that Gordon plays at concerts, Accordion and Fiddle Clubs, dances and ceilidhs. It is really a ceilidh band sound with a few little deviations here and there – so there is something to please everyone.
Perhaps one day he will finally realize his unfulfilled ambitions – to play a gig with La Bottine Souriante, or a duet with Gerry O’Connor. But until then, Gordon Pattullo will continue to be one of the most popular and busiest musicians in the music scene – and we wish him All the Best.
Scottish Trad Music Awards
by
Hands up for Trad in asociation with BBC Scotland Interactive.........
Ayrshire Scottish Music Association
16th Annual Accordion & Fiddle Festival
For anyone ………….
The Lothian Scottish Country Dance Index
by George Meikle
I originally started my own dance index (The Lothian Scottish Country Dance Index) around 1980 as a reference point when playing for Scottish Country Dancing and it quickly grew to over 5,000 dances. My initial intention was that it would be a source of useful information for myself and other musicians playing for Scottish Country Dances on a regular basis, giving correct dance title, bars, repeats, sources of music and some info on square sets, round the room dances, double chords etc etc.
Initially the data was stored on a Sinclair spectrum, but was very quickly transferred to a BBC ‘B’ computer so that I had the wonderful storage of a real floppy disc drive. As PCs became more common and cheaper, I got more and more involved with them as part of my work in BT, I eventually transferred all the data over onto a PC using various database software, finally settling on ‘Rapidfile’ because of its similarity to ‘dBase’. It was around this period that I became involved with Barry Priddey of the Sutton Coldfield Branch when we were doing recordings in the late 70s early 80s. Barry was a great source of information and regularly gave me updates to my database and this helped me get to around the 5,9090 dance mark. Barry then thought he would like to have a copy of the source data for his own use on his newly acquired PC. I gave Barry copies of all the data and he transferred all of it into ‘Masterfile’. The database then grew to 7,758 dances prior to Barry’s death in april 1996 – up to this time we had been regularly swapping information. When Barry died I was obviously concerned that his information would be lost. I mentioned to Andrina Rose of the Sutton Coldfield Branch that I was very concerned that all Barry’s efforts could possibly be lost if somebody did not try to retrieve all the data from Barry’s PC which had been left to his sister (a non S.C. Dancer). The Branch approached Barry’s sister and got permission to keep all of his books and associated SCD info, including the data on his PC but not the machine itself. As nobody in the Branch knew how to get the info off the DOS based software on the PC, I offered to help out and managed to retrieve Barry’s dance database. The Branch knew that Barry and I had been regularly exchanging information and they accepted my offer to keep the index going in Barry’s name. One difference between my database and Barry’s was that I included all dances, even those that I did not actually hold the instruction books for ; whereas Barry’s file only contained those dances he actually held the books for. As the index was to help find dances, the decision was then taken to go along my route and include all dances rather than include only dances in books/leaflets held by the local branch. After all, the idea of the index was to let people know where to find dances and not what the actual instructions were for any particular dance.
I then spent around six months going through the data retrieved from Barry’s PC and combining and cross checking it with my own database which was by this time well established using Microsoft Access. The work involved was horrendous and I was glad to see the end of it all when the two databases were eventually combined to form the current index. Although I have probably put a lot more work into it than Barry did, the index has always been attributed to Barry and I have no problem with that. I have subsequently produced three updates for Barry’s original index and have also changed the original layout to help improve usability. Since taking over the combined raw data of both indexes, I have managed to expand the index to around 12,600 dances. It also references out to around 950 dance books and also has info on about 7,000 dance recordings from 600 dance records. The record and recordings side of the database is an area that is still being worked on at present.
I still continue to add to the main database which now produces both the Sutton Coldfield Country Dance Index and my own Lothian Scottish Country Dance Index which to date I have never sold commercially. However I have given ‘freebie’ copies of it to many well-known names in the dance and danceband scene including John Drewry, Derek Haynes, Jennifer Wilson, Robbie Shepherd (BBC), Sandy Nixon, Iain MacPhail, Colin Dewar, Jack Delaney, David Oswald, Ian Muir, Alan Ross, Alastair Hunter, Marian Anderson, Robert Whitehead, David Sturgeon, Callum Wilson, Alastair Wood, and The Box and Fiddle, to name but a few. Why I should help my competitors I will never know! If only the dancing public knew!!
From the above you will see that I have done all this work for the pleasure of it and not to make any money! Over the years I felt that it was important that dance band leaders had a reference point as to the information about each dance, especially in view of the large amount of dances now published. It is a bit disappointing that I do not get much feedback from users of my index as to new dances to be included and to errors and corrections required. The indexes will never be up-to-date nor 100% accurate, it is just not possible to achieve that, but I would hope that they are as near to that situation as is humanly possible. Maybe everybody is quite happy with the content?
I would dearly love to put the information onto the WEB for everyone’s benefit, but I have never had the time or the knowledge as to how to carry this out satisfactorily. I have spent such a lot of time over the years on this database that I am loath to allow others free use to expand their indexes at my expense! I have had many bad experiences over the years in the dancing and dance band field of others benefiting from my hard work and I do not want to see the same happen with the index.
Blair Douglas – Man of Many Hats
by Malcolm Jones
To those of you reading this article, the name of Blair Douglas will probably be best known for two things : as the composer of Kate Martin’s Waltz, a tune that has become a standard amongst traditional musicians, and as a founder member of Runrig.
This represents only a fraction of his long and varied career, of which the following is an overview, seen from my perspective as friend and some-time colleague.
Blair hails from the same corner of the Highlands as me – the Isle of Skye, rich in centuries- old traditions of piping, Gaelic song and poetry – and was brought up in a family steeped in music.
In her younger days, Blair’s mother Ina, sang with the famous Orpheus choir, conducted choirs in Cumbernauld and Portree, and was known as a fine piano accompanist, both in a vocal and dance band setting.
In later life Ina could also lay claim, with some justification, to instigating the formation of Runrig, more of which later!
Blair’s uncle Iain was a Mod Gold Medalist and fiddler, and despite six months of tuition, the young Douglas’s fiddling aspirations came to nothing.
At the age of fifteen, Blair moved with the family from Skye to Glasgow, and it was at a ceilidh in Rutland Crescent that he heard accordionists John Carmichael and Neil ‘Keose’ MacLeod, and from that moment on he was hooked on ‘the box’.
After much pestering, Blair’s parents relented and bought him a Baile 48-bass, packing him off to the Jimmy Blair School of Music in Berkeley Street for lessons with Norman Currie.
Soon he had mastered tunes such as Campbell’s Farewell to Redcastle and The Sweet Maid of Glendaruel and, whilst at school started to play in pubs around Glasgow, often having to accompany, at the drop of a hat, wayward vocalists who would sing anything ranging from My Way to Mairi’s Wedding.
Along with a stint playing in an Irish pub, this was to be a great grounding for Blair’s later career in music.
Blair’s heroes at the time were Bobby MacLeod, for his peerless interpretation of pipe music, and Will Starr for his brilliant playing.
Indeed, Blair’s own box style is also uniquely ‘pipey’, with careful study of the grace-notes used by pipers, and the exclusive use of the top ‘G’ natural for all bagpipe tunes, in contrast to the so-called East coast style of box player who will use a ‘G#’ a note alien to the pipe scale.
Blair stayed on in Glasgow to study, and it was then he met up with old pals from Portree, Calum and Rory Macdonald, down amongst the bright lights to further their own education.
Calum and Rory also were mad keen on making music and, whilst round at Blair’s house one evening, Ina suggested that the three of them form a band to play at the up and coming North Uist and Bernera Association ceilidh dance in The Kelvin Hall.
A word plucked from Blair’s Celtic studies notes provided the name, and the ‘Runrig Dance Band’ was duly formed!
Blair’s musical education now took a radical turn on being exposed to Calum and Rory’s record collection, in particular the music of folk rock band Fairport Convention, who were pioneering the use of traditional tunes and songs in a more rock orientated setting, using electric guitars, drums, et, along with the fiddle and accordion.
To some this was heresy, but it was only natural that the music of the past should be influenced by that of the present, and it was no different for the lads from Skye, brought up on a diet of Calum Kennedy and The Rolling Stones.
From these beginnings, the line can be traced from Fairport convention through to Na-h-Oganaich, Runrig, Capercaillie, Wolfstone, Shoogelnifty, The Peat Bog Faeries – the list is endless.
So, now armed with an electronic Victoria accordion, Blair and the boys hit the ceilidh trail round the Highlands.
Blair remembers the dances the fledgling Runrig played at as a great training ground, especially in the art of pointing a tune for the dancers, something he feels is often lacking in today’s young players who, whilst technically brilliant, play in a ‘folk session’ style and tempo most suited to listening than dancing.
Blair has the unique distinction (or misfortune!) of having been a member of Runrig twice, and he left the three-piece in the mid 1970s to pursue other musical challenges, including the wonderfully named Electric Ceilidh Band who, along with the revamped Runrig, were a constant fixture on the Highland circuit.
My first memories of Blair the musician were as part of The Electric Ceilidh Band, playing in my home town of Portree.
This band featured the towering talents of local boys Blair and legendary guitarist Neil ‘MacBeat’ Campbell.
Neil has done it all – from playing with Scots bass virtuoso Jack Bruce and the BBC Big Band, to stints with Billy Anderson’s Albany.
Both musicians were a revelation to me; Blair playing standing up, his heavily amplified accordion every bit a match for Neil’s raucous guitar, as they blasted through their repertoire of marches, reels and jigs, interspersed with songs.
These were heady days, and as a keen ‘bedroom guitarist’ I would gaze longingly at the stage, wishing I was up there too.
Several years later my wish was fulfilled and, with Blair back in place for the second time, I was asked to join Runrig, who then took the plunge and turned professional.
We were all young and foolish, and expected to resume studies and careers within a year or so, once things went horribly wrong, but here we are, still going strong after all these years!
Whilst Blair was in the band I learnt a lot, including using the guitar as a vamping instrument, a style at the time not so common (apart from the celebrated Shetland style of Peerie Willie Johnston), and the seeds were sown for my decision some years later to take up the accordion.
Eventually Blair became restless, and moved on to fresh challenges, although our paths would continue to cross.
In the early 80s Arthur Cormack arrived on the scene as the youngest ever winner of the Mod gold Medal, and soon formed a musical partnership with Blair which lasted many years, both as a duo and as part of two Gaelic ‘supergroups’.
Mactalla boasted the cream of Gaeldom’s musicians – Blair, Arthur, Christine Primrose, Eilidh MacKenzie and Alison Kinnaird.
After recording one classic album, they eventually split up and Blair and Arthur went on to form the band Cliar, who are to this day highly acclaimed, although Blair, ever restless, soon moved on.
Blair’s solo career has gone from strength to strength, and he has emerged as a songwriter and composer of note, with the aforementioned Kate Martin’s Waltz entering the tradition, and tunes such as Nelson Mandela’s Welcome to Glasgow from his landmark Summer in Skye album becoming firm favourites with pipe bands.
Blair has written widely for television and film and was one of the first ever tutors in the huge success that is the Feisean movement.
Currently he is a member of staff at the Plockton School of Musical Excellence.
Over the years I’ve continued to play with Blair, either to ‘have a tune’ or as a guest on his albums; this summer events turned full circle when Runrig invited him over to Denmark and Germany as special guest at two of our outdoor concerts – the years rolled back and we could easily have been treading the boards in some far off Highland village hall, full of excitement and promise. Blair’s latest album is called Angels from the Ashes and is another fine collection of his own tunes, plus some songs reflecting his great interest in Cajun music, with Blair playing a specially made Cajun button-box from Louisiana, and accompanied by some genuine Cajun musicians.
Blair seesa great connection between his own Celtic heritage and that of the Cajuns, a melting pot of many influences, including Scots and Irish.
The title track was written in response to the events of 9/11 and is already becoming a film favourite, to the extent that the charity Glasgow the Caring City has adopted it as their theme tune and it will be released as a single in December, the bulk of the proceeds going to help the bereaved families of the New York Fire Department, with whom the charity has very strong links. Blair is happily settled in his native Skye with his family, the perfect place to inspire him and his music for years to come.
Solo discography
Celtology 1984
Beneath the Beret 1990
Summer in Skye 1996
Angels from the Ashes 2004
Angels from the Ashes (single) 2004
CD Reviews – See Hear with Judith Linton
Angels from the Ashes – Blair Douglas – RR029 – Ridge Records
Fiddling with a Piano – Perdy and Joan – PSGJB1 – Bunnscroft Recordings
The Western Light of Home – Iain Peterson Trio – SMCD02 – Independent
The Dark Island – Simon howie SDB – SHIEL CD022 – Shielburn Associates
Legacy of the Scottish Fiddle – Tunes from the life and land of Robert Burns – Alasdair Fraser, Muriel Johnstone, Natalie Haas – CUL120 – Culburnie Records
Letters to the Editor
Dear Karin
I have just received my copy of RSCDS Book 44 and I was dismayed by the choice of music. It isn’t that there is anything wrong with any of the tunes – far from it. All of them are worth playing and some of them are outstandingly good. So why am I complaining? As I see it, there are two problems.
The first is that many of the tunes such as Kenny Wilson’s Jig, Major Thomas of Cairnleith and Bill Cormack of Blair have been around a long time and because they are such fine tunes, have already found their way into the sets of many of our top bands.
The second point is that many of these tunes (Bill Cormack is a good example) sound to my ear at least, as if they were intended to follow originals, rather than be used as originals in their own right. Composers like Angus Cameron, Ian Holmes and Lindsay Ross (to name but 3 with tunes in Book 44) were very skilled at writing tunes that would flow naturally from a preceding tune usually in a closely related key. (Think of that magic moment in Jimmy Shand’s recording of Jenny’s Bawbee when the maestro changes from the rather humdrum original into Sidlaw Hills).
The rot set in long before Book 44 but previous examples were sporadic (e.g. using Forbes Morrison as an original). With Book 44, the problem has reached the stage where no half decent tune is safe from being Shanghaied into service as the original for some dance devised in one of the Society’s more exotic outposts, where presumably composers versed in the Scots musical tradition are in short supply.
Some of the Society’s self-appointed guardians of all that is decent are quite vociferous (sometimes to the point of outright rudeness) about the impropriety of using original tunes in the middle of sets. Given the Society’s unique ability to allocate great original tunes (like Miss Betty Hunter) to dreary dances (like ‘Miss Bennett’s Jig’) the upshot of rigid adherence to this policy is to take some real musical gems out of circulation. The offence would be a lot less heinous if the Society’s selected tune and the dance to which it is assigned had some historical connection but in the Society’s more recent publications, this has rarely been the case. The original Miss Bennett’s Jig although no match for Miss Betty Hunter is quite a reasonable tune. The fact that it was clearly designed to be taken at a statelier pace than today’s dancing conventions demand may account for its rejection by the powers that be in Coates Crescent. Such pragmatism does nothing to excuse the Society’s policy of attempting to limit the use of the tunes that it has appropriated in this way to the dances to which it has, in its self-assumed wisdom, assigned them.
If the Society is so keen on keeping original tunes exclusively for their own dances, it should never create a situation, which in legal terms is tantamount to retroactive legislation. For example, Archibald Duff’s strathspey Crawhillock was around long before the RSCDS allocated it to ‘Locheil’s Rant’ after converting the original dance from a reel to a strathspey. (As a point in passing, Book 19 is remarkably short on scholarly footnotes regarding this particular piece of sleight of hand).
The Society will no doubt argue as it has in the past, that it chooses its tunes with great care to fit the form of the dance. This is a very worth argument or it would be if it bore any relevance to reality. Unfortunately it does no such thing.
A very reliable (I would go as far as to say infallible) source on the dance front, informs me that the dance ‘Crathes Castle’ started life under the title ‘One for the Millennium’. In its first incarnation, the tune was Ian Holmes’s ‘Caerlaverock Castle’, a tune in a very different style from the converted slow air now bestowed upon the renamed dance. Did the devisor make a serious error of judgment when selecting the original tune or is this just a case of trying to give some kind of moral authority to personal preferences?
On the basis of the Society’s stated policy (to which I do not wholly subscribe) somebody must have got it wrong.
Once again, there are no footnotes, scholarly or otherwise, to enlighten us about the Society’s sudden conversion to recycling either here or elsewhere in Book 44. I can see the logic in changing the dance’s decidedly ephemeral original title to something a bit more enduring but surely an explanatory footnote would have been in order.
At the present time, Scotland has no shortage of good composers of dance tunes. Most of them are bandleaders who play regularly for Scottish Country Dancing and are very well versed in the nuances and subtleties of Scottish dance music.
Why not commission them to write a tune especially for each dance? The chances of getting a poor tune would be remote and at least the results would sound like original tunes.
Finlay Forbes
Take the Floor – Saturday Evenings 19.05 – 20.30 with Robbie Shepherd
6th Nov 2004 – Ian Hutson SDB (55th Perth All-Scotland Accordion & Fiddle Festival)
13th Nov 2004 – Gordon Shand SDB (Glenfiddich Fiddle Championships Part 1)
20th Nov 2004 – Lomond Ceilidh Band (Glenfiddich Fiddle Championships Part 2)
27th Nov 2004 – Iain Anderson SDB (OB from Albert Hall, Stirling with guests Beneche)
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 30th Nov 04 – Tom Orr SDB
Alnwick (The Farrier’s Arms – Shilbottle) 10th Nov 04 – Robert Menzies Reel Rhythm
Annan (St Andrew’s Social Club) - 21st Nov 04 – The Occasionals
Arbroath (Viewfield Hotel) - 7th Nov 04 - GiveWay
Armadale (Masonic Hall) – 4th Nov 04 – William Paterson
Balloch (St. Kessog’s Church Hall) – 21st Nov 04 – Jim MacKay SDB
Banchory (Burnett Arms Hotel) – 29th Nov 04 – Dochie McCallum SDB
Banff & District (Banff Springs Hotel) – 24th Nov 04 – Scott Gordon SDB
Beith & District (Anderson Hotel) – 15th Nov 04 – Ross MacPherson SDB
Belford (Community Centre) – 25th Nov 04 – Gary Forrest
Biggar (Municipal Hall) – 14th Nov 04 – Roger Dobson SDB
Blairgowrie (Moorfield Hotel) - 9th Nov 04 – John Stuart SDB
Bromley (Trinity United Reform Church) - 9th Nov 04 – Bob Murphy
Button Key (Windygates Institute) – 11th Nov 04 - tbc
Campsie (Glazert Country House Hotel) - 2nd Nov 04 – Duncan Black SDB
Carlisle (St Margaret Mary’s Social Club) - 4th Nov 04 – Tommy Ford
Castle Douglas (Urr Valley Country House Hotel) – 16th Nov 04 – Stuart Adamson
Coalburn (Miners’ Welfare) - 18th Nov 04 – Bill Black SDB
Crathes (Crathes Hall, Banchory) - Nov 04
Crieff & District (Crieff Hotel) 4th Nov 04 – David Cunningham Jnr SDB
Cults (Culter Sports & Social Club)
Dalriada (Argyll Hotel, Lochgilphead) 16th Nov 04 – Stuart Cameron SDB
Dingwall (National Hotel) – 3rd Nov 04 – Jennifer Forrest SDB
Dunblane (Victoria Hall) – 17th Nov 04 – Graeme Mitchell SDB
Dunfermline (Headwell Bowling Club) – 9th Nov 04 – Gary Donaldson
Dunoon & Cowal (McColl’s Hotel)
Duns (Masonic Lodge, Newtown St) 15th Nov 04 – Neil Hardie SDB
East Kilbride (Masonic Hall, Kittoch St) – 25th Nov 04 – Burns Brothers Trio
Ellon (Station Hotel) – 19th Nov 04 – 21st Anniv Dance to Nicol McLaren SDB 23rd Nov David Bowen Trio
Fintry (Fintry Sports Centre) – 22nd Nov 04 – John Lightbody CB
Forfar (Plough Inn) - 28th Nov 04 – Lomond CB
Forres (Victoria Hotel) – 10th Nov 04 – John Stuart SDB
Galashiels (Abbotsford Arms Hotel) – 4th Nov 04 – Tommy Walker
Galston (Barr Castle Social Club) – 8th Nov 04 – Deirdre Adamson
Glendale (Black Bull Hotel, Wooler) – 18th Nov 04 – Freeland Barbour
Glenfarg (Lomond Hotel) - 3rd Nov 04 – Ian Muir Trio
Glenrothes (Victoria Hall, Coaltown of Balgownie) -
Gretna (Halcrow Stadium) - 7th Nov 04 – Iain MacPhail Trio
Highland (Drumossie Hotel) – 15th Nov 04 – Tom Alexander
Inveraray (Argyll Hotel) - 10th Nov 04 - tbc
Isle of Skye – (The Royal Hotel, Portree) - 4th Nov 04 – Allan McIntosh & the Heather SDB
Islesteps (The Embassy Hotel) – 2nd Nov 04 – Stuart Anderson Trio
Kelso (Cross Keys Hotel) – 24th Nov 04 – John Morgan
Kintore (Torryburn Hotel) – 3rd Nov 04 – Ian Hutson Trio
Lanark (Ravenstruther Hall) - 22nd Nov 04 – David Vernon
Langholm (Crown Hotel) – 10th Nov 04 – James Coutts SDB
Lesmahagow (Masonic Hall) – 11th Nov 04 – David Ross Trio
Lewis & Harris (Stornoway Legion) - 4th Nov 04 – Annual Ian Crichton Charity Memorial Night
Livingston (Hilcroft Hotel, Whitburn) 16th Nov 04 – West Telferton Cale SDB
Lockerbie (Queen’s Hotel) - 30th Nov 04 – Johnny Duncan Duo
Mauchline (Harry Lyle Suite) - 16th Nov 04 – Susan MacFadyen Trio
Montrose (Park Hotel) – 3rd Nov 04 – Billy Anderson & Albany
Newburgh (The Ship Inn) - 25th Nov 04 – Gary Sutherland SDB
Newmill-on-Teviot (Newmill Country Inn) - 3rd Nov 04 – Ian Cruickshanks SDB
Newtongrange (Dean Tavern) – 29th Nov 04 – Bruce Lindsay Trio
North East (Royal British Legion, Keith) – 2nd Nov 04 – Susan & Scott Gordon
Oban (McTavish’s Kitchen) – 4th Nov 04 – Robert Whitehead & the Danelaw SDB
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Rugby Club) – 25th Nov 04 – Lindsay Weir Trio
Perth (Salutation Hotel) – 16th Nov 04 – Simon Howie SDB 21st Nov Jack Emblow & Tony compton
Premier NI (Chimney Corner Hotel) -
Renfrew (Masonic Hall, Broadloan) – 9th Nov 04 – Laurie Accordion Orchestra
Rothbury (Queen’s Head) - 4th Nov 04 – Iain Anderson Trio
Scottish Accordion Music (Banchory) - 14th Nov 04 – All Players Welcome
Selkirk (Cricket Club) - 11th Nov 04 – Michael Philip SDB
Shetland (Shetland Hotel, Lerwick) -
Thornhill (Bowling Club Hall) - 9th Nov 04 – Calum Wilson SDB
Thurso (Pentland Hotel) – 1st Nov 04 – Jim MacKay SDB
Turriff (Royal British Legion) – 4th Nov 04 – Paul Anderson
Tynedale (Hexham Ex Service Club) – 18th Nov 04 – John Morgan
West Barnes (West Barnes Inn) 11th Nov 04 – Ian Hutson SDB
Wick (MacKay’s Hotel) – 16th Nov 04 – Tom Alexander
THERE WERE CLUB REPORTS FROM :-
1, Aberdeen
2. Alnwick
3. Annan
4. Arbroath
5. Armadale
6. Balloch
7. Banchory
8. Beith
9. Belford
10. Biggar
11. Blairgowrie
12. Carlisle
13. Castle Douglas
14. Cults
15. Dingwall
16. Dunblane
17. Duns
18. East Kilbride
19. Ellon
20. Fintry
21. Forfar
22. Forres
23. Galashiels
24. Galston
25. Glendale
26. Glenrothes
27. Gretna
28. Highland
29. Inveraray
30. Isle of Skye
31. Islesteps
32. Kelso
33. Kintore
34. Lanark
35. Langholm
36. Lesmahagow
37. Lewis & Harris
38. Livingston
39. Lockerbie
40. Mauchline
41. Montrose
42. Newburgh
43. Newtongrange
44. North East
45. Oban
46. Peebles
47. Premier
48. Renfrew
49. Thornhill
50. Thurso
51. Turriff
52. Tynedale
53. West Barnes
54. Wick
CLUB DIRECTORY AS AT OCT 2004
(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 early 08-09
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. Brittania B&F Club ( joined 07-08
14. Bromley A&F Club (joined 95-96 – closed early 08-09)
15. Button Key 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. Duns A&F Club (formed 20th Sept 04 – present)
29. East Kilbride A&F Club (Sept 1980 – Closed 04/05)
30. Ellon A&F Club (
31. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
32. Forfar A&F Club (
33. Forres A&F Club (Jan 1978)
34. Galashiels A&F Club (joined Sept 1982 - present)
35. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
36. Glendale Accordion Club (Jan 1973)
37. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
38. Glenrothes A&F Club (Mar 93?
39. 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)
40. Haddington A&F Club (formed 04/05 )
41. Highland A&F Club (Inverness) (Nov 1973 – present)
42. Inveraray A&F Club (Feb 1991 - present)
43. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
44. Isle of Skye A&F Club (June 1983 – present)
45. Kelso A&F Club (May 1976 – present)
46. Kintore A&F Club (
47. Ladybank A&F Club (joined Apr 98 but formed earlier
48. Lanark A&F Club (joined Sept 96 – closed March 2015)
49. Langholm A&F Club (Oct 1967 - present)
50. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
51. Lewis & Harris A&F Club (Aug 1994 -
52. Livingston A&F Club (Sept 1973 – present)
53. Lockerbie A&F Club (Nov 1973 - present)
54. Mauchline A&F Club (Sept 1983 - present)
55. Montrose A&F Club (joined Sept 1982 - present)
56. Newburgh A&F Club (joined 2002 but founded
57. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
58. Newtongrange A&F Club (joined Sept 1977 - present)
59. North East A&F Club aka Keith A&FC (Sept 1971 - present)
60. Oban A&F Club (Nov 1975 - present)
61. Orkney A&F Club (Mar 1978 - present)
62. Peebles A&F Club (26 Nov 1981 - present)
63. Perth & District A&F Club (Aug 1970 - present)
64. Premier A&F Club NI (April 1980)
65. Renfrew A&F Club (1984 -
66. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
67. Selkirk A&F Club (
68. Shetland A&F Club (Sept 1978 - present)
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. West Barnes ( - present)
75. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
76. Acharacle & District A&F Club (cMay 1988)
77. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
78. Bonchester Accordion Club (Closed?)
79. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
80. Brigmill A&F Club (Oct 1990) Closed
81. Buchan A&F Club
82 Callander A&F Club (
83 Campbeltown & District A&F Club (c Dec 1980)
84 Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
85 Club Accord
86 Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
87. Coupar Angus A&F Club (cSept 1978 - ?)
88. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
89. Denny & Dunipace A&F Club (Feb 1981)
90. Derwentside A&F Club
91. Dornoch A&F Club (first mention in directory 1986)
92. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
93. Dunbar Cement Works A&F Club (Closed?)
94. Dundee & District A&F Club (1970? – 1995?)
95. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
96. Falkirk A&F Club (Sept 1978 - )
97. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
98. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
99. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
100. Islay A&F Club (23 Apr 93 -
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. Muirhead A&F Club (Dec 1994 -
106. Mull A&F Club
107. Newcastleton Accordion Club
108. New Cumnock A&F Club (cMarch 1979)
109. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
110. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
111. Reading Scottish Fiddlers (cMarch 1997
112. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
113. Stirling A&F Club (Oct 1991 – closed 20000/01?)
114. Straiton Accordion Club (c1968 – closed March 1979)
115. Stranraer & District Accordion Club (1974 – per first edition)
116. Torthorwald A&F Club (near Dumfries)
117. Tranent A&F Club
118. Vancouver
119. Walmer (Bridge of Allan) A&F Club
120. Wellbank A&F Club
121. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – closed 2001/02)
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The
Karin Ingram
Gordon Pattullo
by Karyn McCulloch
Gordon Pattullo is one of the most renowned accordionists in Scotland. He is always in great demand at Accordion and Fiddle Clubs as guest artiste. He is just as much at home playing solo at the Clubs, as he is when he’s surrounded by the other top class musicians who join him in his ceilidh band. He has recorded more than fifteen albums (so far) and has a wealth of experience both in radio and television broadcasts – but how did it al begin?
Like so many other musicians, the interest began at a young age - in the family home. Gordon’s parents were always interested in accordion music – his mother played piano and his father played the melodeon. They encouraged him to go for accordion lessons – and after a few lessons he was hooked. This was when he was eleven years old – the same time he got his first accordion, a 3 voice, 120 bass Sonola. The bulk of his musical tuition was from the late Jim Marshall (“a superb teacher”) at the Dundee Accordion School of Music. Jim taught him a wide range of music including Continental and classical – the examinations required these styles as well. He also had a few lessons from John Huband and ex World Champion Louis Cabrelli.
He remembers feeling a wee bit nervous at his first public performance. It was at his own school in 1973 – Kettins Primary School, near Coupar Angus – and he had only been playing for about six months!! (No wonder he was a little nervous!) He still has the odd case of nerves (but usually only when the bride’s father forgets the cheque!)
Jimmy Shand, Arthur Spink, Ian Powrie and Jimmy Blue – these were just a few of the records that were played at home. The first LP he bought was Music with a Kick by Will Starr, his all-time hero. To this day he still listens to that album – although he now has a copy on CD.
Gordon had only been playing for a couple of years when he entered his first competition. It was the Junior Scottish Traditional section at Perth – he was only thirteen years old – and he won it! He has since won various other competitions, including Own Composition.
Nowadays he is regularly asked to adjudicate at Festivals from Musselburgh to Oban – and he says it’s always a pleasure to help out at Bill Wilkie’s All Scotland Championships in Perth.
Gordon is a prolific composer and to date he has had one book of tunes published – and has written enough for another two or more! Frequently he will write a tune to fit into a set, or in a certain style – perhaps for a new album. He is often asked to write a tune for a particular person, or a special occasion. One of the most memorable was when Producer Bryce Laing commissioned him to write a tune to celebrate Jimmy Shand’s fifty years in recording. Bryce had two copies pressed at Abbey Road Studios in London – and Gordon got the other.
In 1977, the late Jimmy Blue introduced Gordon to Andy Stewart. This led to a whole host of engagements – and the first was an eight-week tour of Canada and America. For the next ten years Gordon was involved in theatre shoes almost every week. Most of these were with the late Andy Stewart, “a hard worker who kept many entertainers and musicians in work for several years”. Gordon has many happy memories of working with Andy and feels exceptionally lucky and glad he had the chance to work with him. Other famous names Gordon has worked with include Moira Anderson, Kenneth McKellar, Dana, Lulu and George Hamilton IV.
Gordon’s first radio broadcast was in the late 1970’s – it was for a series on Accordion and Fiddle Clubs, produced by Ben Lyons and hosted by Alasdair Gillies. He has broadcast many times since then – on BBC Radio, Radio Forth and Radio Clyde. TV work includes the Jim MacLeod Show, Andy’s Party and Northern Nights (all for Grampian); Thingummyjig (STV) and several Hogmanay shows for all three Scottish Stations.
As well as playing and composing, Gordon writes all his own musical arrangements – and he does them on the piano. He can also “knock out a tune” from the penny whistle and the diatonic harmonica, but he stresses “just for fun”. So, although he may not play Whistling Rufus on the penny whistle when he’s on stage, you may very well see him playing a tune on a small 12 bass accordion he owns. The rest of his accordion collection includes a 1930’s Casali, a V Soprani (which he enjoys playing) and the one he plays most often – his trusty Victoria accordion, which he bought from Bill Wilkie some nineteen years ago. (Unfortunately it is out of warranty now!)
Gordon has had many engagements abroad – mostly as a solo artiste, however he had two memorable trips to Abu Dhabi with the Jim Johnstone Band and went to the Lorient Celtic Festival in France with the Angus Cameron Band. (I believe this was Gordon’s first time on an aeroplane. The band members had taken their seats on the plane and it was about to take off. The engines were revving up and it was getting pretty noisy, as you can imagine. Gordon – who was sitting next to Angus – said “I cannae stand the noise, it’s terrible. Will it make this same noise when we’re up in the air?”
Apart from traditional Scottish music, Gordon likes to hear solo accordionists, fiddlers and pipers. He also listens to a lot of Irish music and pipe band music – and particularly admires the piping of Gordon Duncan.
Here are a few things about Gordon you probably didn’t know –
His favourite album of all time is by the Victoria Police Pipe Band – the album is called Masterblasters.
His favourite band is a French Canadian group called La Bottine Souriante – he saw them live at Celtic Connections. “Brilliant”
His favourite musician is ‘Irish Banjo Wizard’ Gerry O’Connor.
When he’s not busy with his music, he somehow still finds time to work in the farming industry!
Gordon really likes playing at Accordion and Fiddle Clubs, because the audience listen and appreciate the music. It’s good to meet up again with people that he’s met over the years – and probably won’t get a chance to see at any other time. It also gives him a chance to hear some young players who are learning the ropes – and he suggests that you “HAVE FUN! .Try to play with and listen to musicians who are better than you – you’ll learn that way. And remember – you never stop learning”
Music in the house influenced Gordon when he was growing up – and similarly Gordon’s own children have become involved in various ways. His eldest son fraser (17) plays pipes and whistles, younger son Alan (15) plays in the Drum Corps of Perth and District Pipe Band and daughter Caroline (12) is a Highland Dancer. In October 2004, Gordon and his wife June celebrated their 20th wedding anniversary.
Indeed, Fraser is the newest addition to his dad’s Ceilidh Band –
And makes his debut on the latest album Hand Made in Scotland, which is available now. Along with Gordon we have Angie MacEachern (fiddle), John Crawford (piano), Billy Young (guitar and banjo), Brian Cruickshank (bass), Billy Thom (drums) and Fraser Pattullo (small-pipes and whistles). The album includes music that Gordon plays at concerts, Accordion and Fiddle Clubs, dances and ceilidhs. It is really a ceilidh band sound with a few little deviations here and there – so there is something to please everyone.
Perhaps one day he will finally realize his unfulfilled ambitions – to play a gig with La Bottine Souriante, or a duet with Gerry O’Connor. But until then, Gordon Pattullo will continue to be one of the most popular and busiest musicians in the music scene – and we wish him All the Best.
Scottish Trad Music Awards
by
Hands up for Trad in asociation with BBC Scotland Interactive.........
Ayrshire Scottish Music Association
16th Annual Accordion & Fiddle Festival
For anyone ………….
The Lothian Scottish Country Dance Index
by George Meikle
I originally started my own dance index (The Lothian Scottish Country Dance Index) around 1980 as a reference point when playing for Scottish Country Dancing and it quickly grew to over 5,000 dances. My initial intention was that it would be a source of useful information for myself and other musicians playing for Scottish Country Dances on a regular basis, giving correct dance title, bars, repeats, sources of music and some info on square sets, round the room dances, double chords etc etc.
Initially the data was stored on a Sinclair spectrum, but was very quickly transferred to a BBC ‘B’ computer so that I had the wonderful storage of a real floppy disc drive. As PCs became more common and cheaper, I got more and more involved with them as part of my work in BT, I eventually transferred all the data over onto a PC using various database software, finally settling on ‘Rapidfile’ because of its similarity to ‘dBase’. It was around this period that I became involved with Barry Priddey of the Sutton Coldfield Branch when we were doing recordings in the late 70s early 80s. Barry was a great source of information and regularly gave me updates to my database and this helped me get to around the 5,9090 dance mark. Barry then thought he would like to have a copy of the source data for his own use on his newly acquired PC. I gave Barry copies of all the data and he transferred all of it into ‘Masterfile’. The database then grew to 7,758 dances prior to Barry’s death in april 1996 – up to this time we had been regularly swapping information. When Barry died I was obviously concerned that his information would be lost. I mentioned to Andrina Rose of the Sutton Coldfield Branch that I was very concerned that all Barry’s efforts could possibly be lost if somebody did not try to retrieve all the data from Barry’s PC which had been left to his sister (a non S.C. Dancer). The Branch approached Barry’s sister and got permission to keep all of his books and associated SCD info, including the data on his PC but not the machine itself. As nobody in the Branch knew how to get the info off the DOS based software on the PC, I offered to help out and managed to retrieve Barry’s dance database. The Branch knew that Barry and I had been regularly exchanging information and they accepted my offer to keep the index going in Barry’s name. One difference between my database and Barry’s was that I included all dances, even those that I did not actually hold the instruction books for ; whereas Barry’s file only contained those dances he actually held the books for. As the index was to help find dances, the decision was then taken to go along my route and include all dances rather than include only dances in books/leaflets held by the local branch. After all, the idea of the index was to let people know where to find dances and not what the actual instructions were for any particular dance.
I then spent around six months going through the data retrieved from Barry’s PC and combining and cross checking it with my own database which was by this time well established using Microsoft Access. The work involved was horrendous and I was glad to see the end of it all when the two databases were eventually combined to form the current index. Although I have probably put a lot more work into it than Barry did, the index has always been attributed to Barry and I have no problem with that. I have subsequently produced three updates for Barry’s original index and have also changed the original layout to help improve usability. Since taking over the combined raw data of both indexes, I have managed to expand the index to around 12,600 dances. It also references out to around 950 dance books and also has info on about 7,000 dance recordings from 600 dance records. The record and recordings side of the database is an area that is still being worked on at present.
I still continue to add to the main database which now produces both the Sutton Coldfield Country Dance Index and my own Lothian Scottish Country Dance Index which to date I have never sold commercially. However I have given ‘freebie’ copies of it to many well-known names in the dance and danceband scene including John Drewry, Derek Haynes, Jennifer Wilson, Robbie Shepherd (BBC), Sandy Nixon, Iain MacPhail, Colin Dewar, Jack Delaney, David Oswald, Ian Muir, Alan Ross, Alastair Hunter, Marian Anderson, Robert Whitehead, David Sturgeon, Callum Wilson, Alastair Wood, and The Box and Fiddle, to name but a few. Why I should help my competitors I will never know! If only the dancing public knew!!
From the above you will see that I have done all this work for the pleasure of it and not to make any money! Over the years I felt that it was important that dance band leaders had a reference point as to the information about each dance, especially in view of the large amount of dances now published. It is a bit disappointing that I do not get much feedback from users of my index as to new dances to be included and to errors and corrections required. The indexes will never be up-to-date nor 100% accurate, it is just not possible to achieve that, but I would hope that they are as near to that situation as is humanly possible. Maybe everybody is quite happy with the content?
I would dearly love to put the information onto the WEB for everyone’s benefit, but I have never had the time or the knowledge as to how to carry this out satisfactorily. I have spent such a lot of time over the years on this database that I am loath to allow others free use to expand their indexes at my expense! I have had many bad experiences over the years in the dancing and dance band field of others benefiting from my hard work and I do not want to see the same happen with the index.
Blair Douglas – Man of Many Hats
by Malcolm Jones
To those of you reading this article, the name of Blair Douglas will probably be best known for two things : as the composer of Kate Martin’s Waltz, a tune that has become a standard amongst traditional musicians, and as a founder member of Runrig.
This represents only a fraction of his long and varied career, of which the following is an overview, seen from my perspective as friend and some-time colleague.
Blair hails from the same corner of the Highlands as me – the Isle of Skye, rich in centuries- old traditions of piping, Gaelic song and poetry – and was brought up in a family steeped in music.
In her younger days, Blair’s mother Ina, sang with the famous Orpheus choir, conducted choirs in Cumbernauld and Portree, and was known as a fine piano accompanist, both in a vocal and dance band setting.
In later life Ina could also lay claim, with some justification, to instigating the formation of Runrig, more of which later!
Blair’s uncle Iain was a Mod Gold Medalist and fiddler, and despite six months of tuition, the young Douglas’s fiddling aspirations came to nothing.
At the age of fifteen, Blair moved with the family from Skye to Glasgow, and it was at a ceilidh in Rutland Crescent that he heard accordionists John Carmichael and Neil ‘Keose’ MacLeod, and from that moment on he was hooked on ‘the box’.
After much pestering, Blair’s parents relented and bought him a Baile 48-bass, packing him off to the Jimmy Blair School of Music in Berkeley Street for lessons with Norman Currie.
Soon he had mastered tunes such as Campbell’s Farewell to Redcastle and The Sweet Maid of Glendaruel and, whilst at school started to play in pubs around Glasgow, often having to accompany, at the drop of a hat, wayward vocalists who would sing anything ranging from My Way to Mairi’s Wedding.
Along with a stint playing in an Irish pub, this was to be a great grounding for Blair’s later career in music.
Blair’s heroes at the time were Bobby MacLeod, for his peerless interpretation of pipe music, and Will Starr for his brilliant playing.
Indeed, Blair’s own box style is also uniquely ‘pipey’, with careful study of the grace-notes used by pipers, and the exclusive use of the top ‘G’ natural for all bagpipe tunes, in contrast to the so-called East coast style of box player who will use a ‘G#’ a note alien to the pipe scale.
Blair stayed on in Glasgow to study, and it was then he met up with old pals from Portree, Calum and Rory Macdonald, down amongst the bright lights to further their own education.
Calum and Rory also were mad keen on making music and, whilst round at Blair’s house one evening, Ina suggested that the three of them form a band to play at the up and coming North Uist and Bernera Association ceilidh dance in The Kelvin Hall.
A word plucked from Blair’s Celtic studies notes provided the name, and the ‘Runrig Dance Band’ was duly formed!
Blair’s musical education now took a radical turn on being exposed to Calum and Rory’s record collection, in particular the music of folk rock band Fairport Convention, who were pioneering the use of traditional tunes and songs in a more rock orientated setting, using electric guitars, drums, et, along with the fiddle and accordion.
To some this was heresy, but it was only natural that the music of the past should be influenced by that of the present, and it was no different for the lads from Skye, brought up on a diet of Calum Kennedy and The Rolling Stones.
From these beginnings, the line can be traced from Fairport convention through to Na-h-Oganaich, Runrig, Capercaillie, Wolfstone, Shoogelnifty, The Peat Bog Faeries – the list is endless.
So, now armed with an electronic Victoria accordion, Blair and the boys hit the ceilidh trail round the Highlands.
Blair remembers the dances the fledgling Runrig played at as a great training ground, especially in the art of pointing a tune for the dancers, something he feels is often lacking in today’s young players who, whilst technically brilliant, play in a ‘folk session’ style and tempo most suited to listening than dancing.
Blair has the unique distinction (or misfortune!) of having been a member of Runrig twice, and he left the three-piece in the mid 1970s to pursue other musical challenges, including the wonderfully named Electric Ceilidh Band who, along with the revamped Runrig, were a constant fixture on the Highland circuit.
My first memories of Blair the musician were as part of The Electric Ceilidh Band, playing in my home town of Portree.
This band featured the towering talents of local boys Blair and legendary guitarist Neil ‘MacBeat’ Campbell.
Neil has done it all – from playing with Scots bass virtuoso Jack Bruce and the BBC Big Band, to stints with Billy Anderson’s Albany.
Both musicians were a revelation to me; Blair playing standing up, his heavily amplified accordion every bit a match for Neil’s raucous guitar, as they blasted through their repertoire of marches, reels and jigs, interspersed with songs.
These were heady days, and as a keen ‘bedroom guitarist’ I would gaze longingly at the stage, wishing I was up there too.
Several years later my wish was fulfilled and, with Blair back in place for the second time, I was asked to join Runrig, who then took the plunge and turned professional.
We were all young and foolish, and expected to resume studies and careers within a year or so, once things went horribly wrong, but here we are, still going strong after all these years!
Whilst Blair was in the band I learnt a lot, including using the guitar as a vamping instrument, a style at the time not so common (apart from the celebrated Shetland style of Peerie Willie Johnston), and the seeds were sown for my decision some years later to take up the accordion.
Eventually Blair became restless, and moved on to fresh challenges, although our paths would continue to cross.
In the early 80s Arthur Cormack arrived on the scene as the youngest ever winner of the Mod gold Medal, and soon formed a musical partnership with Blair which lasted many years, both as a duo and as part of two Gaelic ‘supergroups’.
Mactalla boasted the cream of Gaeldom’s musicians – Blair, Arthur, Christine Primrose, Eilidh MacKenzie and Alison Kinnaird.
After recording one classic album, they eventually split up and Blair and Arthur went on to form the band Cliar, who are to this day highly acclaimed, although Blair, ever restless, soon moved on.
Blair’s solo career has gone from strength to strength, and he has emerged as a songwriter and composer of note, with the aforementioned Kate Martin’s Waltz entering the tradition, and tunes such as Nelson Mandela’s Welcome to Glasgow from his landmark Summer in Skye album becoming firm favourites with pipe bands.
Blair has written widely for television and film and was one of the first ever tutors in the huge success that is the Feisean movement.
Currently he is a member of staff at the Plockton School of Musical Excellence.
Over the years I’ve continued to play with Blair, either to ‘have a tune’ or as a guest on his albums; this summer events turned full circle when Runrig invited him over to Denmark and Germany as special guest at two of our outdoor concerts – the years rolled back and we could easily have been treading the boards in some far off Highland village hall, full of excitement and promise. Blair’s latest album is called Angels from the Ashes and is another fine collection of his own tunes, plus some songs reflecting his great interest in Cajun music, with Blair playing a specially made Cajun button-box from Louisiana, and accompanied by some genuine Cajun musicians.
Blair seesa great connection between his own Celtic heritage and that of the Cajuns, a melting pot of many influences, including Scots and Irish.
The title track was written in response to the events of 9/11 and is already becoming a film favourite, to the extent that the charity Glasgow the Caring City has adopted it as their theme tune and it will be released as a single in December, the bulk of the proceeds going to help the bereaved families of the New York Fire Department, with whom the charity has very strong links. Blair is happily settled in his native Skye with his family, the perfect place to inspire him and his music for years to come.
Solo discography
Celtology 1984
Beneath the Beret 1990
Summer in Skye 1996
Angels from the Ashes 2004
Angels from the Ashes (single) 2004
CD Reviews – See Hear with Judith Linton
Angels from the Ashes – Blair Douglas – RR029 – Ridge Records
Fiddling with a Piano – Perdy and Joan – PSGJB1 – Bunnscroft Recordings
The Western Light of Home – Iain Peterson Trio – SMCD02 – Independent
The Dark Island – Simon howie SDB – SHIEL CD022 – Shielburn Associates
Legacy of the Scottish Fiddle – Tunes from the life and land of Robert Burns – Alasdair Fraser, Muriel Johnstone, Natalie Haas – CUL120 – Culburnie Records
Letters to the Editor
Dear Karin
I have just received my copy of RSCDS Book 44 and I was dismayed by the choice of music. It isn’t that there is anything wrong with any of the tunes – far from it. All of them are worth playing and some of them are outstandingly good. So why am I complaining? As I see it, there are two problems.
The first is that many of the tunes such as Kenny Wilson’s Jig, Major Thomas of Cairnleith and Bill Cormack of Blair have been around a long time and because they are such fine tunes, have already found their way into the sets of many of our top bands.
The second point is that many of these tunes (Bill Cormack is a good example) sound to my ear at least, as if they were intended to follow originals, rather than be used as originals in their own right. Composers like Angus Cameron, Ian Holmes and Lindsay Ross (to name but 3 with tunes in Book 44) were very skilled at writing tunes that would flow naturally from a preceding tune usually in a closely related key. (Think of that magic moment in Jimmy Shand’s recording of Jenny’s Bawbee when the maestro changes from the rather humdrum original into Sidlaw Hills).
The rot set in long before Book 44 but previous examples were sporadic (e.g. using Forbes Morrison as an original). With Book 44, the problem has reached the stage where no half decent tune is safe from being Shanghaied into service as the original for some dance devised in one of the Society’s more exotic outposts, where presumably composers versed in the Scots musical tradition are in short supply.
Some of the Society’s self-appointed guardians of all that is decent are quite vociferous (sometimes to the point of outright rudeness) about the impropriety of using original tunes in the middle of sets. Given the Society’s unique ability to allocate great original tunes (like Miss Betty Hunter) to dreary dances (like ‘Miss Bennett’s Jig’) the upshot of rigid adherence to this policy is to take some real musical gems out of circulation. The offence would be a lot less heinous if the Society’s selected tune and the dance to which it is assigned had some historical connection but in the Society’s more recent publications, this has rarely been the case. The original Miss Bennett’s Jig although no match for Miss Betty Hunter is quite a reasonable tune. The fact that it was clearly designed to be taken at a statelier pace than today’s dancing conventions demand may account for its rejection by the powers that be in Coates Crescent. Such pragmatism does nothing to excuse the Society’s policy of attempting to limit the use of the tunes that it has appropriated in this way to the dances to which it has, in its self-assumed wisdom, assigned them.
If the Society is so keen on keeping original tunes exclusively for their own dances, it should never create a situation, which in legal terms is tantamount to retroactive legislation. For example, Archibald Duff’s strathspey Crawhillock was around long before the RSCDS allocated it to ‘Locheil’s Rant’ after converting the original dance from a reel to a strathspey. (As a point in passing, Book 19 is remarkably short on scholarly footnotes regarding this particular piece of sleight of hand).
The Society will no doubt argue as it has in the past, that it chooses its tunes with great care to fit the form of the dance. This is a very worth argument or it would be if it bore any relevance to reality. Unfortunately it does no such thing.
A very reliable (I would go as far as to say infallible) source on the dance front, informs me that the dance ‘Crathes Castle’ started life under the title ‘One for the Millennium’. In its first incarnation, the tune was Ian Holmes’s ‘Caerlaverock Castle’, a tune in a very different style from the converted slow air now bestowed upon the renamed dance. Did the devisor make a serious error of judgment when selecting the original tune or is this just a case of trying to give some kind of moral authority to personal preferences?
On the basis of the Society’s stated policy (to which I do not wholly subscribe) somebody must have got it wrong.
Once again, there are no footnotes, scholarly or otherwise, to enlighten us about the Society’s sudden conversion to recycling either here or elsewhere in Book 44. I can see the logic in changing the dance’s decidedly ephemeral original title to something a bit more enduring but surely an explanatory footnote would have been in order.
At the present time, Scotland has no shortage of good composers of dance tunes. Most of them are bandleaders who play regularly for Scottish Country Dancing and are very well versed in the nuances and subtleties of Scottish dance music.
Why not commission them to write a tune especially for each dance? The chances of getting a poor tune would be remote and at least the results would sound like original tunes.
Finlay Forbes
Take the Floor – Saturday Evenings 19.05 – 20.30 with Robbie Shepherd
6th Nov 2004 – Ian Hutson SDB (55th Perth All-Scotland Accordion & Fiddle Festival)
13th Nov 2004 – Gordon Shand SDB (Glenfiddich Fiddle Championships Part 1)
20th Nov 2004 – Lomond Ceilidh Band (Glenfiddich Fiddle Championships Part 2)
27th Nov 2004 – Iain Anderson SDB (OB from Albert Hall, Stirling with guests Beneche)
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 30th Nov 04 – Tom Orr SDB
Alnwick (The Farrier’s Arms – Shilbottle) 10th Nov 04 – Robert Menzies Reel Rhythm
Annan (St Andrew’s Social Club) - 21st Nov 04 – The Occasionals
Arbroath (Viewfield Hotel) - 7th Nov 04 - GiveWay
Armadale (Masonic Hall) – 4th Nov 04 – William Paterson
Balloch (St. Kessog’s Church Hall) – 21st Nov 04 – Jim MacKay SDB
Banchory (Burnett Arms Hotel) – 29th Nov 04 – Dochie McCallum SDB
Banff & District (Banff Springs Hotel) – 24th Nov 04 – Scott Gordon SDB
Beith & District (Anderson Hotel) – 15th Nov 04 – Ross MacPherson SDB
Belford (Community Centre) – 25th Nov 04 – Gary Forrest
Biggar (Municipal Hall) – 14th Nov 04 – Roger Dobson SDB
Blairgowrie (Moorfield Hotel) - 9th Nov 04 – John Stuart SDB
Bromley (Trinity United Reform Church) - 9th Nov 04 – Bob Murphy
Button Key (Windygates Institute) – 11th Nov 04 - tbc
Campsie (Glazert Country House Hotel) - 2nd Nov 04 – Duncan Black SDB
Carlisle (St Margaret Mary’s Social Club) - 4th Nov 04 – Tommy Ford
Castle Douglas (Urr Valley Country House Hotel) – 16th Nov 04 – Stuart Adamson
Coalburn (Miners’ Welfare) - 18th Nov 04 – Bill Black SDB
Crathes (Crathes Hall, Banchory) - Nov 04
Crieff & District (Crieff Hotel) 4th Nov 04 – David Cunningham Jnr SDB
Cults (Culter Sports & Social Club)
Dalriada (Argyll Hotel, Lochgilphead) 16th Nov 04 – Stuart Cameron SDB
Dingwall (National Hotel) – 3rd Nov 04 – Jennifer Forrest SDB
Dunblane (Victoria Hall) – 17th Nov 04 – Graeme Mitchell SDB
Dunfermline (Headwell Bowling Club) – 9th Nov 04 – Gary Donaldson
Dunoon & Cowal (McColl’s Hotel)
Duns (Masonic Lodge, Newtown St) 15th Nov 04 – Neil Hardie SDB
East Kilbride (Masonic Hall, Kittoch St) – 25th Nov 04 – Burns Brothers Trio
Ellon (Station Hotel) – 19th Nov 04 – 21st Anniv Dance to Nicol McLaren SDB 23rd Nov David Bowen Trio
Fintry (Fintry Sports Centre) – 22nd Nov 04 – John Lightbody CB
Forfar (Plough Inn) - 28th Nov 04 – Lomond CB
Forres (Victoria Hotel) – 10th Nov 04 – John Stuart SDB
Galashiels (Abbotsford Arms Hotel) – 4th Nov 04 – Tommy Walker
Galston (Barr Castle Social Club) – 8th Nov 04 – Deirdre Adamson
Glendale (Black Bull Hotel, Wooler) – 18th Nov 04 – Freeland Barbour
Glenfarg (Lomond Hotel) - 3rd Nov 04 – Ian Muir Trio
Glenrothes (Victoria Hall, Coaltown of Balgownie) -
Gretna (Halcrow Stadium) - 7th Nov 04 – Iain MacPhail Trio
Highland (Drumossie Hotel) – 15th Nov 04 – Tom Alexander
Inveraray (Argyll Hotel) - 10th Nov 04 - tbc
Isle of Skye – (The Royal Hotel, Portree) - 4th Nov 04 – Allan McIntosh & the Heather SDB
Islesteps (The Embassy Hotel) – 2nd Nov 04 – Stuart Anderson Trio
Kelso (Cross Keys Hotel) – 24th Nov 04 – John Morgan
Kintore (Torryburn Hotel) – 3rd Nov 04 – Ian Hutson Trio
Lanark (Ravenstruther Hall) - 22nd Nov 04 – David Vernon
Langholm (Crown Hotel) – 10th Nov 04 – James Coutts SDB
Lesmahagow (Masonic Hall) – 11th Nov 04 – David Ross Trio
Lewis & Harris (Stornoway Legion) - 4th Nov 04 – Annual Ian Crichton Charity Memorial Night
Livingston (Hilcroft Hotel, Whitburn) 16th Nov 04 – West Telferton Cale SDB
Lockerbie (Queen’s Hotel) - 30th Nov 04 – Johnny Duncan Duo
Mauchline (Harry Lyle Suite) - 16th Nov 04 – Susan MacFadyen Trio
Montrose (Park Hotel) – 3rd Nov 04 – Billy Anderson & Albany
Newburgh (The Ship Inn) - 25th Nov 04 – Gary Sutherland SDB
Newmill-on-Teviot (Newmill Country Inn) - 3rd Nov 04 – Ian Cruickshanks SDB
Newtongrange (Dean Tavern) – 29th Nov 04 – Bruce Lindsay Trio
North East (Royal British Legion, Keith) – 2nd Nov 04 – Susan & Scott Gordon
Oban (McTavish’s Kitchen) – 4th Nov 04 – Robert Whitehead & the Danelaw SDB
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Rugby Club) – 25th Nov 04 – Lindsay Weir Trio
Perth (Salutation Hotel) – 16th Nov 04 – Simon Howie SDB 21st Nov Jack Emblow & Tony compton
Premier NI (Chimney Corner Hotel) -
Renfrew (Masonic Hall, Broadloan) – 9th Nov 04 – Laurie Accordion Orchestra
Rothbury (Queen’s Head) - 4th Nov 04 – Iain Anderson Trio
Scottish Accordion Music (Banchory) - 14th Nov 04 – All Players Welcome
Selkirk (Cricket Club) - 11th Nov 04 – Michael Philip SDB
Shetland (Shetland Hotel, Lerwick) -
Thornhill (Bowling Club Hall) - 9th Nov 04 – Calum Wilson SDB
Thurso (Pentland Hotel) – 1st Nov 04 – Jim MacKay SDB
Turriff (Royal British Legion) – 4th Nov 04 – Paul Anderson
Tynedale (Hexham Ex Service Club) – 18th Nov 04 – John Morgan
West Barnes (West Barnes Inn) 11th Nov 04 – Ian Hutson SDB
Wick (MacKay’s Hotel) – 16th Nov 04 – Tom Alexander
THERE WERE CLUB REPORTS FROM :-
1, Aberdeen
2. Alnwick
3. Annan
4. Arbroath
5. Armadale
6. Balloch
7. Banchory
8. Beith
9. Belford
10. Biggar
11. Blairgowrie
12. Carlisle
13. Castle Douglas
14. Cults
15. Dingwall
16. Dunblane
17. Duns
18. East Kilbride
19. Ellon
20. Fintry
21. Forfar
22. Forres
23. Galashiels
24. Galston
25. Glendale
26. Glenrothes
27. Gretna
28. Highland
29. Inveraray
30. Isle of Skye
31. Islesteps
32. Kelso
33. Kintore
34. Lanark
35. Langholm
36. Lesmahagow
37. Lewis & Harris
38. Livingston
39. Lockerbie
40. Mauchline
41. Montrose
42. Newburgh
43. Newtongrange
44. North East
45. Oban
46. Peebles
47. Premier
48. Renfrew
49. Thornhill
50. Thurso
51. Turriff
52. Tynedale
53. West Barnes
54. Wick
CLUB DIRECTORY AS AT OCT 2004
(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 early 08-09
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. Brittania B&F Club ( joined 07-08
14. Bromley A&F Club (joined 95-96 – closed early 08-09)
15. Button Key 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. Duns A&F Club (formed 20th Sept 04 – present)
29. East Kilbride A&F Club (Sept 1980 – Closed 04/05)
30. Ellon A&F Club (
31. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
32. Forfar A&F Club (
33. Forres A&F Club (Jan 1978)
34. Galashiels A&F Club (joined Sept 1982 - present)
35. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
36. Glendale Accordion Club (Jan 1973)
37. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
38. Glenrothes A&F Club (Mar 93?
39. 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)
40. Haddington A&F Club (formed 04/05 )
41. Highland A&F Club (Inverness) (Nov 1973 – present)
42. Inveraray A&F Club (Feb 1991 - present)
43. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
44. Isle of Skye A&F Club (June 1983 – present)
45. Kelso A&F Club (May 1976 – present)
46. Kintore A&F Club (
47. Ladybank A&F Club (joined Apr 98 but formed earlier
48. Lanark A&F Club (joined Sept 96 – closed March 2015)
49. Langholm A&F Club (Oct 1967 - present)
50. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
51. Lewis & Harris A&F Club (Aug 1994 -
52. Livingston A&F Club (Sept 1973 – present)
53. Lockerbie A&F Club (Nov 1973 - present)
54. Mauchline A&F Club (Sept 1983 - present)
55. Montrose A&F Club (joined Sept 1982 - present)
56. Newburgh A&F Club (joined 2002 but founded
57. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
58. Newtongrange A&F Club (joined Sept 1977 - present)
59. North East A&F Club aka Keith A&FC (Sept 1971 - present)
60. Oban A&F Club (Nov 1975 - present)
61. Orkney A&F Club (Mar 1978 - present)
62. Peebles A&F Club (26 Nov 1981 - present)
63. Perth & District A&F Club (Aug 1970 - present)
64. Premier A&F Club NI (April 1980)
65. Renfrew A&F Club (1984 -
66. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
67. Selkirk A&F Club (
68. Shetland A&F Club (Sept 1978 - present)
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. West Barnes ( - present)
75. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
76. Acharacle & District A&F Club (cMay 1988)
77. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
78. Bonchester Accordion Club (Closed?)
79. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
80. Brigmill A&F Club (Oct 1990) Closed
81. Buchan A&F Club
82 Callander A&F Club (
83 Campbeltown & District A&F Club (c Dec 1980)
84 Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
85 Club Accord
86 Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
87. Coupar Angus A&F Club (cSept 1978 - ?)
88. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
89. Denny & Dunipace A&F Club (Feb 1981)
90. Derwentside A&F Club
91. Dornoch A&F Club (first mention in directory 1986)
92. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
93. Dunbar Cement Works A&F Club (Closed?)
94. Dundee & District A&F Club (1970? – 1995?)
95. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
96. Falkirk A&F Club (Sept 1978 - )
97. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
98. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
99. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
100. Islay A&F Club (23 Apr 93 -
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. Muirhead A&F Club (Dec 1994 -
106. Mull A&F Club
107. Newcastleton Accordion Club
108. New Cumnock A&F Club (cMarch 1979)
109. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
110. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
111. Reading Scottish Fiddlers (cMarch 1997
112. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
113. Stirling A&F Club (Oct 1991 – closed 20000/01?)
114. Straiton Accordion Club (c1968 – closed March 1979)
115. Stranraer & District Accordion Club (1974 – per first edition)
116. Torthorwald A&F Club (near Dumfries)
117. Tranent A&F Club
118. Vancouver
119. Walmer (Bridge of Allan) A&F Club
120. Wellbank A&F Club
121. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – closed 2001/02)
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