Box and Fiddle
Year 22 No 01
September 1998
Price £1
32 Page Magazine
7 month subscription £10.00
Editor – Charlie Todd, 63 Station Road, Thankerton, Biggar, ML12 6NZ
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian, EH22 2NL
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
Well, here we go for another season. No doubt you will have noticed a price increase which was proposed and endorsed from the floor at the AGM in June and justified, I hope, on the following grounds.
There has been no price increase for the B&F for three years, the B&F has increased in size this season, to allow a larger print size for easier reading, postage costs have soared because of the increased weight of the B&F, our printers are doing a great job and will, understandably, be looking for an increase in line with inflation, any surplus generated can go towards the ‘Jimmy Shand Scholarship’ at the R.S.A.M.D. (details to follow) and as if that’s not enough the Chairman pointed out that he had just paid £1 for a cup of coffee in the Station Hotel.
Let’s face it, you don’t get much for £1 these days and hopefully it won’t have to change for another few years. Advertising rates have been increased by 5%. Could I ask those of you who were quick off the mark in remitting their £8 for individual subscriptions to drop us another £2 please.
I haven’t exactly been inundated with interesting articles over the summer break (that was supposed to be a summer wasn’t it?) so as always, all contributions are welcome. Next months issue tends to be quieter after the high volume of Club Reports which appear in this issue. I hope therefore to publish the most up-to-date Guest Artiste List for the information of anyone organizing dances, or whatever, so I would ask that you notify me now of any additions/amendments/deletions you are aware of.
Having recently returned from a dance trip with New Scotland Country Dancers to Burg Ludwigstein in the Dortmund area of Germany, I would be interested to hear from any dance groups planning similar trips to ‘Folklore Festivals’ in Europe next year and who are looking for musicians. Perhaps we can put you in touch through the B&F.
Having been invited by many bands at A&F Clubs and elsewhere to ‘sing along’ but being of the age group who don’t know all the words to anything Scottish or Old Time, I was wondering if readers would be interested in having the words of a well known song or two published in each issue. That way we could gradually build up a library – just think of it, Community Singing at the AGM! Let me know what you think.
Charlie Todd
The Perth Weekend 1998
by Robin Ellis
The last weekend in June was once again the date chosen for the A.G.M. of the N.A.A.F.C. and it is also a time of sheer indulgence for all those who like our kind of music. Unbelievably in this summer of grey skies the sun actually shone on both days. What is it they say “The sun shines on the righteous?”
The events commenced on Saturday afternoon with a recording by B.B.C. for ‘Take the Floor’. The band was Bill Black’s and the guest artistes were Gordon Simpson, fiddle and The Burns Brothers, accordion duettists. Bill, although not enjoying the best of health, played superbly and proved that even after 48 years of entertaining us he is still up there with the best. The programme consisted of the usual mix of set dances, couple dances and a few just for listening. Gordon played in his well-known, smooth traditional style and the Burns Brothers contrasted well with their modern, very dynamic arrangements. As always the whole show was hosted by Robbie Shepherd. Anyone who has never been to a recording of this programme will be struck by the relaxed atmosphere of it all. This was almost certainly due to the sheer professionalism of both the artistes and the B.B.C. I gather that the programme is to be transmitted on Radio Scotland some time next October.
After dinner the assembled company made their way into the ballroom of the Station Hotel, Perth for an evening’s dancing to Alasdair MacCuish and the Black Rose Ceilidh Band. These are five young and very accomplished musicians, with a great selection of tunes and a very modern approach. They kept the dancers on their feet with a programme of mainly couple dances interspersed with a few set dances such as ‘The Duke of Perth’, ‘Shiftin bobbins’ and ‘Posties Jig’. Finally at 1.00 a.m., well and truly exhausted the dancers went off to bed or, for a few hardy souls, on to a party.
On Sunday morning after a leisurely breakfast there was time to catch up on all the news from old friends or maybe to look at the considerable collection of photographs from 1950 to the present day which Jack Cooper exhibits every year outside the ballroom. These are a wonderful historical record of those who play in the Scottish Dance Music world and it is to be hoped that they will be kept safely for many years to come. The A.G.M. was at 11.00 and as it lasted, this year, until 1.00 there was only time for a quick drink before entering the dining room. Although this is a formal occasion somehow the atmosphere seems delightfully relaxed, a great credit to the organizers. As usual there were some well known names at the top table – Jim Johnstone, Ian Powrie, Jimmy and Joan Blue, Ian and Margaret Holmes, Jack Stalker and Bobby Crowe – with other scattered throughout the room.
After the lunch the Chairman, Jim Johnstone, made a presentation to Ian Holmes, our Guest of Honour, for his services to Scottish Dance Music and in his reply Ian entertained us with a brief history of his playing career over the last 40 years. Then it was on to the ceilidh. I think, without doubt, this must be the greatest gathering of talent in the field of Scottish dance music. The compere for the afternoon was Nicol McLaren who seems to have a fund of stories even bigger than Jim Johnstone and Jimmy Blue. I think it must be a prerequisite for the post of Chairman. I just wish I could remember them all for those occasions when I need a story to tell! The programme opened with the resident Black Rose Ceilidh Band playing a few very spirited sets of jigs and reels. Next, after some persuasion I am told, it was lovely to see Jim Johnstone playing for us with just a little help from Nicol McLaren, Maureen Rutherford and Jack Cooper of course. Having just heard our Chairman we next heard our Past Chairman, Jimmy Blue, accompanied by Joan on the piano. Then on to our guest Ian Holmes who together with Ian Powrie, Gordon Simpson, Jim Clark and Jack Cooper gave us the real ‘big band’ sound for some 20 minutes with tunes from his repertoire over the years. Then came Bobby Coghill with his remarkably realistic electronic bagpipes (could he please invent an accordion that doesn’t have to be blown and is just about at portable!!) After that came Ian Thomson with his quartet and last but not least Morag Robertson who as always played so expertly and solo. By then time was marching on and it was up to the Black Rose Ceilidh Band to round off the occasion.
Once again thanks are due to Jack Cooper and the Committee for organising another wonderful weekend and here’s looking forward to the Perth Weekend 1999.
Angus Fitchet (19/07/10 – 15/05/98)
An Appreciation
Angus Fitchet of Dundee was one of Scotland’s foremost fiddlers and bandleaders. He was also a remarkably versatile musician whose range extended from village dances to network television shows accompanying high profile international guest artistes.
Despite having no formal tuition on violin, Angus started his musical career playing for the silent films. He went on to lead a five-piece orchestra in a restaurant in Largs, an engagement which came to an end with the outbreak of war when the Italian family who had engaged his group were interned for the duration. After the war he joined Jimmy Shand’s Band. This gave him a taste for Scottish band work and he formed his own highly successful Scottish Dance Band – but what other bandleader drove his band all over Scotland and England in an old Dodge Red Cross ambulance. There was the famous occasion when, at North Queensferry, the ferry had moved off but when it was noticed that an ambulance had missed the boat, the ferry turned back and Angus cheerfully drove his ‘band bus’ on board. Inside the members of the band were sitting playing dominos!! The band toured Scotland and England, playing in village halls and at large Scottish Country Dances. And many times angus wrote a new booking on a cigarette packet then, cigarettes finished, tossed it out of the bus window! With his legs invariably crossed, his small frame curled lovingly round his instrument, Angus never played a wrong note. He was fun to work with. One night when playing for a ‘Dashing White Sergeant’ he suggested that he and the two accordionists in the band take turns choosing the tunes. Jimmy Stephen led with ‘The Rose Tree’ followed by the second accordionist’s choice of ‘The Mason’s Apron’. When it was angus’ turn, with an irrepressible grin, he went straight in to ‘The Spey in Spate’, one of the most difficult reels ever written. He then laid his fiddle down, folded his arms, and sat back to watch the band furiously trying to get their fingers round the tune!
After some time with the band, Angus went back to playing solo fiddle and toured with many well known Scottish artistes such as Will Starr and Robert Wilson. He was in his sixties when he joined Jimmy Blue, whose band traveled full time with Andy Stewart and this was a wonderful partnership. Andy loved Angus’ humour and many a time ‘dried up’ on stage because of Angus’ witticisms. In H.M. Theatre, Aberdeen, in which Andy was dressed as one of the famous Glasgow ‘clippies’ for a sketch, he heard Angus’ Dundee accent from the orchestra pit, saying ‘Eeh, ye get mair like yer mither every day’. On another occasion, an English pop group guesting on the show was having great difficulty in their rehearsal due to some bars having been missed from their music. As the afternoon dragged on and the band waited for its run-through, Angus shouted to the group “Div ye no’ ken Danny Boy?” Andy Stewart’s weekly TV show, ‘Scotch Corner’, was going out nationwide at that time with guest stars such as George Hamilton IV, Rolf Harris, Dana and others. Angus loved the challenge of sight-reading the ‘dots’ placed in front of him and enjoyed the tours to Australia and New Zealand with the show, where on one wet Saturday he exhibited his prowess with a different kind on stick when he entertained the rest of the caste with a repertoire of most impressive tricks on the snooker table!
Having overcome deafness and a severe bout of arthritis when he was no longer able to play his beloved fiddle, Angus found relief with a course of ‘gold’ injections and all were delighted when he was once again able to produce his unique tone from his fiddle. With the advent of Accordion and Fiddle Clubs Angus found yet another new career, guesting with Bobby Crowe and his band at venues all over Scotland and in the North of England. Probably his last appearance at a Club was in Perth when he was 81 years of age. Angus, however, did not just make guest appearances. He was a regular at Duncee A&F Club where he often spent more time in the back room giving tips to young fiddlers who listened and learned. There is a wonderful memory of Angus at Banchory Club where he had finished his guest spot and invited all the young members of the Banchory S&R Society to join him on stage. Angus sat on the stage, legs dangling over the edge, and played along with the youngsters giving them wonderful encouragement as well as a night to remember.
The sweet tone Angus brought out brought out of his fiddle was always recognizable, no matter which band he was playing in. He did not have valuable fiddles but could coax the same tone out of whatever instrument he played. When asked once by a so-called expert “What make of fiddle are you playing, Mr Fitchet?”, Angus replied, in his broad Dundee accent, “Eeh, its just an auld bit o’ stick”.
To travel to ‘gigs’ with Angus was a delight. Every village brought a memorable story to relate which would digress into tales of characters he had met, or tunes he had played and always there was humour and laughter. He was eternally young at heart.
But Angus’ legend will live on in his music. He was a prolific and wonderful composer, who wrote his first tune ‘Mr Michie’ in 1926 – a March which is still popular with Festival competitors. His reel ‘J. B. Milne’ holds a record in that it has been played on radio more than any other Scottish tune. But his slow airs ‘Happy Retirement’, ‘Marjorie Jane Barclay’ and ‘Lament for Will Starr’, to name only three, like his many other compositions, make him comparable to the great James Scott Skinner. Hearing the news of the tragic Lockerbie air disaster, Jimmy Blue ‘phoned Angus and suggested he write a ‘Lament for Lockerbie’. Two days later, this moving slow air arrived in manuscript form from Angus.
When Bobby Crowe played his newly composed march ‘The Provost of Forgandenny’ over the telephone to Angus, he was amazed to receive next day, in the mail, another march complimentary to this tune in both idiom and key – although Angus had not even enquired in which key the original had been written.
When he died in May, aged 87, his funeral was attended by Scottish musicians from all over the country and during the service Robbie Shepherd of BBC Scotland read excerpts from the poem Andy Stewart wrote for Angus when he was honoured by the N.A.A.F.C. in 1981. One verse was particularly appropriate. It read
An’ when at last ar Heaven’s gate – whaur he will surely stand
I like to fancy Peter say as he hauds oot his hand
“A welcome Angus Fitchet here, my pleasure is to gie ye
An’ twice that welcome since I see, ye’ve brocht your fiddle wi’ ye!”
On Angus Fitchet
by Andy Stewart
Come rub the rosin on the bow and let the warl’ gae roon’
While I tae Angus Fitchet heed that coaxes up a tune
That coaxes up a bonnie tune an’ makes yon fiddle sing-
The verra lame when he begins wad dance the heilan’ fling
Syne when alow his elfin chin the trusty Hardy grips
The Merlin o’ the music he wi’ magic fingertips
Strathspeys sae stately and demure come singing frae his hand
While jigs and reels however gleg dance out at his command
Sae blithe and sweet his fiddle sings and brawly fills the air
His smiles and looks tells a’ the tale a long-matched love affair
Wha’ is sae wilted wi’ despair his backbane disna starch
When Angus plays a sojer’s air and fiddles up a march?
Wha’ is heavy-fitted then an’ weary as the Deil
But loups like ony skippin’ lamb when Fitchet plays a reel?
An’ wha’ cam keep frae beatin’ time I say he isna human
When Angus plies his skills upon ‘The Irish Washerwoman’?
In Cork one night, I tell the truth he caused a fightin’ fuss
When Paddy said “Yon man’s no Scot! He must be one of us!”
He plays a jig sae liltin’ sir a man condemned tae dee
Wad loup the thirteen steps an’ dance upon a gallows tree!
An’ fan a sweet sad bow he draws in some auld plaintive air
The sorrows of a lifetime come an’ stoun’ the senses there
‘Bovaglie’s Plaid’ or ‘Gow’s Lament’ baith hymns tae mak’ us mourn
Great sabs frae oot yet greater hearts for joys will ne’er return
In black and white these printed notes lie lost of what they seek
Yet cry aloud in haunting sound when Angus maks them speak
Auld Scotland kens naw brawer tunes and min’! she maks them well
Than when oor Angus plays tae her the yins he wrote himsel’
His repertoire’s an endless dance and were he aye sae clever
As nae need food or drink or sleep he could play on forever
Here’s tae him then! My prayer shall be that happy he may dwell
And a’ the wishes I wad gie that he could wish himsel’
Three score and more – I ken his age an’ Lord if it’s nae trouble
In years tae come – Ye ken the sum – I wish him mair than double!
An’ when at last ar Heaven’s gate – whaur he will surely stand
I like to fancy Peter say as he hauds oot his hand
“A welcome Angus Fitchet here, my pleasure is to gie ye
An’ twice that welcome since I see, ye’ve brocht your fiddle wi’ ye!”
But och there’s years o’ music yet, tae stir the dancers roon
Sae Angus rosin up your bow an’ gies anither tune
The hame-spun garb of native worth wi’ cloth of gold we’ll stitch it
And lay the makker’s mantle on this man ca’d Angus Fitchet
When he comes ben care hugs the wa’ an’ joy jinks in the middle
The doul’s awa! The dance is a’! when Angus plays the fiddle!
May a’ his ‘oors be sweet and sure, and happy a’ his days
As happy as I am mysel’ when Angus Fitchet plays!
Some Bygone Thoughts
by Jimmy Yeaman
In the words of the minister we were gathered here, at Dundee Crematorium, to celebrate the life of Angus Fitchet, a man not large in stature but a giant in Scottish fiddle music, band leadership and musical composition. The capacity attendance was a fitting tribute to his legacy of memories and airs which will live on for as long as Scottish dance music is performed and heard. For me the highlights of the service were the eulogy from Robbie Shepherd, which included the late Andy Stewart’s poem dedicated to Angus, and the performance from pianist, and organist for the day. Maureen Rutherford. Her renderings at the end of the service of slow airs and J. B. Milne’s Reel were quite moving and unforgettable.
Angus would not have wanted this to be a sad occasion and he would have approved of the get together of so many musicians mainly from a bygone era – a rare occasion. Driving home with ‘Fintry’ Frank Farquharson we indulged in nostalgic reminiscing about the ‘good old days’ of Scottish Country Dance Bands.
It was in the mid to late 1940’s that we were aware of the trail blazers who were to become super-stars as far as broadcasting and recording Scottish Country Dance Bands were concerned. The names of the following come to mind : Jimmy Shand, Jim Cameron, Bobby MKacLeod, Ian Powrie, Jack Forsyth, Angus Fitchet and Adam Rennie.
They packed the halls, town and country, and we looked on them as semi gods because they had ‘been on the wireless’ – a rare thing in those days for ordinary folk, a misnomer if ever there was one.
Then in the early to late 50’s an explosion of young musicians burst forth drawing heavily on inspiration from the above mentioned. They were role models and we listened and watched and marveled. We copied unashamedly but always contrived to sound different. Our heroes were professional full-time musicians while we had to rely on day jobs for survival. The young pretenders of that era would be mainly in their late teens and early twenties. They beat a well worn path to the BBC studios hopefully to pass the audition to be allowed to broadcast live and join the ranks, adding the word ‘broadcasting’ to their titles. A highly desirable magic formula then, and I suppose now.
And now some 40 to 50 years on some are still waving the flag but their ranks are becoming thinner. Fortunately for the continuance of our traditional music and dance, youth is filling the spaces and this is how it should and always will be.
Listed below are some of the ‘up and coming’ names from the fifties or thereabouts :-
Andrew Rankine, Lindsay Ross, Alex MacArthur, Bert Shorthouse, Ian Arnott, Jim Grogan, Bob Edwards, David Donaldson, John Johnstone, The Hawthorne, The Glendaruel (Tony Reid), East Neuk, Jim MacLeod, Jim Johnstone, The Tayside, Blue Bonnets, Cameron Kerr, Gie Gordons, John Ellis and the Highland, Alan Williams, Alisdair Downie, Max Houliston, Ian Holmes, The Heather, The Wick Scottish, The Olympian’s initially under the leadership of Bobby Crowe, then David Findlay and ultimately Dougie Maxwell.
No doubt the readers of the B&F will be able to add to both the above lists.
We are living in different times and the ways and styles of today’s troubadours vary in many ways from those of yore.
Another story, another day, perhaps.
Bob Edward – An Appreciation
by Joe McGhee
Bob Edward was one of the great characters of Scottish Music. Brought up in the Coldside area of Dundee he started playing classical violin at an early age and studies for his L.R.A.M. Diploma but unfortunately his studies were interrupted by the Second World War in which he saw active service at El Alamein and in Italy.
After the war Bob became interested in Scottish music and he had his own Broadcasting Band for many years. He was resident band at the Bruce Hotel, Carnoustie for over 20 years and was also Leader of the Dundee S&R Society where he was particularly interested in the junior members of the orchestra.
This led him to help form the Tayside Youth S&R Orchestra. He became Musical Director and under Bob’s baton the Orchestra enjoyed much success. They played at the opening of Discovery Point in Dundee. Bob wrote a Hornpipe for the occasion and this was played in the presence of the Duke of Edinburgh. The Orchestra also played for Prince Charles when he visited Dundee to celebrate the 50th Anniversary of V.E. Day. The Orchestra also recorded two very successful tapes, many of which have found their way all over the world.
Bob retired 21 years ago from his job as a sales rep with Unilever and since then offered music tuition with many of his pupils progressing to become accomplished musicians, like three times Glenfiddich Champion, Maureen Turnbull. Bob’s wife Ella died four year ago but he is survived by his son Bob, who lives in Canada, daughter Dorothy, three grandchildren and five great-grandchildren.
As a fitting final testament to Bob a book was recently published featuring his many compositions and I am very grateful that Bob lived to see the publication completed.
He will be sadly missed by many.
Angus Cameron – An Appreciation
by Sandy Ingram
April of this year (1998) saw the Scottish fiddle scene bereft of one of its most talented sons on the death of Angus Cameron of Kirriemuir.
He was born and brought up in the Angus town immortalised by the late Sir James Barrie of ‘Peter Pan’ fame, and renowned for its famous Ball. Angus Cameron came from a well-known local family of musicians, his father Will Cameron being himself a noted exponent of the fiddle. From an early age angus played, and competed successfully, at various fiddle festivals throughout Scotland. He went on to perform not only regularly on radio and television, but also at the Edinburgh Festival and at a number of prestigious gigs abroad. One of the highlights of his career was winning, in the late 1970’s, the Daily Record ‘Golden Fiddle Award’.
He was also an outstanding composer in the Scottish fiddle idiom, whose works were, and are, widely played by fiddlers throughout Scotland. Angus also had the honour of presenting to the Queen Mother – and having graciously accepted by her – one of his compositions written on the occasion of her 80th birthday. That took place in a tattie shed near Glamis – suitably converted and decorated for the purpose, of course! But that’s a different story……………
It was as a Conductor of the Angus S&R Society that I knew him best. He was a dynamic and greatly gifted maestro, who drew the best out of us, and then some more, and who led us to memorable victories in the Fiddle Festival scene. Indeed my abiding memory of Angus Cameron is of him standing in front of us, at a practice evening, with his eyes, as he would say “This is the way we’ll do it lads. Wait and see, it’ll knock them oot!” And do you know, he was invariably right!
A Blast from the Past – Jimmy Cassidy
by Charlie Todd
Until the sixties the household names in accordion and fiddle music were associated with the bands of the time. Thus it was a pleasure to meet up with Jimmy Cassidy during the summer months. Jimmy, as many will remember, was one of the first of a new breed of solo performers.
Jimmy started playing at the age of 8 under the tuition and inspiration of Bill Wilkie. Jim’s father worked down the pits in Fife in those days and to pay for lessons and to buy an instrument was a struggle. As Jim put’s it “Dad played the box for a sing-along in the pub for about 7/6d and thus the bills were paid”.
His talent was evident from the outset, because each time he entered a competition he invariably won. Three times Junior Scottish Champion between the ages of 12 – 14 speaks volumes.
At 15 Jimmy entered the senior ranks becoming the Senior Classical Champion and Runner-Up to Fraser McGlynn in the Senior Scottish. The following year (1967) saw him lift the Traditional title, and then as most do, he retired from competition.
Luckily for Jimmy an extra incentive for the winner that year was a recording test for C.B.S., from which two albums were released.
“It was in those days”, says Jimmy “when I had my first experience of Scottish Dance Bands my first long term ‘gig’ being with Willie Simpson. Many hours were spent in the back of an old Thames Trader van. The van was devoid of any heating apart from an old oil stove. The fumes and smell were awful. By the time we arrived at the venues we were all but comatose”.
Jimmy then spent a couple of years working with Lex McLean (Mr Glasgow). In his time with Lex, he played The Pavilion (Glasgow), The Gaiety (Ayr), The Kings (Edinburgh) and The Whitehall Theatre (Dundee).
It was after this that Jimmy joined the Jimmy Blue Band. “Those were exciting times for me” says Jim. “The band were a household name and still at the top of the tree to both enthusiasts and musicians alike, and to take the chair previously occupied by Mickie Ainsworth and Davie Stewart was like a dream come true. The stalwarts of the band, Pam Brough, Dave Barclay and Arthur Easson were still there along with that wonderful fiddler Ron Kerr.
“J. B.’s long association with Andy Stewart brought us recording sessions, TV shows, summer seasons and also a tour of New Zealand, Australia and South Africa”. Heady times for a young lad.
After Jim’s time with J.B. he felt he should broaden his musical horizons and thus became involved with various bands playing the modern music of the day. His time in Scotland ended with him putting together the resident band for the refurbished Salutation Hotel in Perth, and he admits to this as being “one of the most musically satisfying times of my career”.
This ended for ‘personal reasons’ and a job offer as Musical Director for a show in Guernsey. “So” says Jim “I packed my keyboards, a dinner suit, Dave Blyth and his drums and off we jolly well went”.
It was in Guernsey that Jim met an operatic tenor called Julian Jorg who asked him to be his M.D. when he returned to Australia. The offer was accepted and two happy years were spent ‘down under’ culminating in the unforgettable experience of playing in Sydney Opera House.
Jim then came back to work in England where he has now lived for some 20 years. He is now heavily involved in the ‘Hi-Tec’ side of music and does the cabaret circuit in a duo with his long term partner (Norma).
Last year (November) after a period of ill health, Jim underwent heart surgery and afterwards was forced to re-evaluate his life. He is now keen to bring his accordion talents back home and has already accepted several bookings for the new season. His approach, as he describes it, is ‘Traditional; meets Hi-Tec’.
So, if you’re looking for a new ‘old’ face give Jimmy a ring on 01207 231196.
New Group
Scottsh Accordion Music – Crathes
A new Scottish Accordion Music Group was former in November 1997…….
CD Reviews
The Caledonian Companion – CD TRAX 9051
Natalie McMaster – My Roots Are Showing – CD TRAX 163
Rob McKillop – Flowers of the Forrest – CD TRAX 155
Paul Anderson – The Journey Home – CDGR 162
Scottish fiddle Rally 1985 – 1995 – CD TRAX 154
Ian Cruickshanks and his Band – The Kirrie Lads – SMR074
Letters to the Editor
“Dear Auntie, It’s Time We Talked…..”
I think it’s high time someone put pen to paper regarding the state of the programme ‘Take The Floor’ and the general situation which Scottish Dance music finds itself in today. Before I go any further, I will state that I have appeared myself on the programme in the past, but feel I must remain anonymous in writing this letter, because what I have to say is probably going to provoke a response from those on high along the lines of ‘we are not amused’.
So, several aspects of the programme I feel need to be addressed and some home truths written.
Firstly, I think it fair to say that the standard of some of the Players who now feature on the programme, needs to be questioned. Week in, week out, we have fiddle players who scratch and squeal and simply cannot play a tune. (Ye, Robbie would have us believe that some of them are near the top of the tree in the scheme of things). We have bass players who do not play in tune and drag behind the rest of the band. Again, some of them – judging by the regularity of their appearance – would allegedly be people of some note. We have drummers who simply cannot keep time, who draw bands down to their level and who would only benefit the other players by not being there. We, the public, put up with far too much with what would not be tolerated from any other musical form which would wish to be taken even slightly seriously. Is it therefore time that a much more stringent appraisal of a band’s actual musical performance goes on before they can actually broadcast? Certainly, it’s time players were judged on what they can actually do, NOT who they are or what clique they hand about with. In reality, there are many super players who are not being given the exposure on air they should or could be getting.
Secondly, the question of what the Bands actually sound like when they broadcast needs to be approached. It is common knowledge that when recording a programme for ‘TTF’, the players involved have absolutely no say in how their music is recorded and how the band will actually sound when on air. Consequently, few, if any, bandleaders, are ever truly satisfied with the sound which the BBC achieves, with various common complaints arising e.g. inaudible second accordion, inaudible drums/hi-hat, too much fiddle etc. How difficult would it be, I wonder, for the production team to allow the bandleader to hear a couple of sets recorded during the band’s warm-up, and to allow him or her to give their thoughts on what they think needs changing, before the actual session begins?
This would give the players a huge amount of satisfaction knowing they were making a programme which they could be sure showed off their sound, style and originality the way they wished it to be heard. The dubious and sometimes downright shameful standard of editing on the programme could also benefit from more of the musician’s input, thus allowing the Band to have what takes, etc they wanted kept, to be broadcast.
Thirdly, a revue needs to be carried out into how those in charge of the programme make their selection of the bands which are allowed to play frequently. We all know that if Robbie reads out one single letter praising any band, then the BBC seems to think that this is also what the rest of the listening public thinks. I don’t think so. This is surely obviously not so. Likewise are the complains received from a few listeners regarding the levels of the various instruments in the bands. Just because the person (who is probably only interested in the melody) thinks that the second accordion is too loud, this does not mean to say that this is so or that the majority of listeners agree. Frankly, how dare any listener tell a bandleader how he thinks his band should sound. If they don’t like it, they know where the off switch is. This sort of reasoning is not fair on the players concerned and should be neither expected nor tolerated from as respected an organisation as the BBC. Give the people what they want, yes, but do not sacrifice the quality of the product on offer.
Lastly and generally, I think I must make some comment on why we should be trying to alter Scottish music’s image to the wider public. Like it or not, it is a reality the Scottish dance music is looked down upon by many people ; not just those involved in other types of music but the wider public also and the young in particular. That the BBC has kept it on the air for so long then, is a credit to those involved. However, to continually be harping back to the bad old ‘good old days’ when, let’s not hold back, all but a tiny minority of bands were musically pretty awful, playing the same old boring stuff in the same boring hee-drum ho-drum manner, is I think wrong. For the BBC to encourage this in the musical and performing standard of some of the so-called ‘top’ and ‘popular’ bands of today as I have tried to illustrate throughout my argument, is an insult to how good Scottish music can be. Who cares if a band plays too fast to dance to (an unrealistic proposition) other than for the most infirm) if we’re listening to them in our living rooms? Who cares if they play fast as long as they are playing well, together and with suitably musical correct arrangements to boot? Who cares if we hear the same tunes frequently, as long as they are good ones and crucially, are well played (I like Mrs McLeod as much as Mrs Mary Printy).
We need to start getting these things right if people are to stop treating Scottish dance music as a joke. Yes, there is more out there than boring 2/4 marches and all this Felix Burns nonsense, though we should remember that in the larger scheme of things, Scottish music is essentially a very simple and straightforward idiom. It should, however be played and arranged as well as it possibly can be, taking on board ideas from other musical styles and areas as time goes on. This can be done, I believe, within the bounds of taste and suitably high technical dexterity, while retaining a high degree of musicality.
Let’s get away from people of my age group (20s) being embarrassed to admit to their friends that they play in a Scottish dance band, turning up to gigs decked out like something from the 1950’s. Surely we can play this great music other than in black and white!? (Maybe we need shades…)
Perhaps a regular TV slot might help our music but NOT on programmes bedecked with heather and limp wrested old country dancers. (Oh, and at the other end, do BBC TV not realise that there are more players around than a certain duo of accordionist and fiddler?)
I don’t pretend to know all of the answers to this particular problem, but I think a much younger and fresher image all around for ‘TTF’ is a desperate must. Let’s not be afraid to say when the music is BAD, for fear of upsetting the apple cart. TV has its ‘Points of View’ after all. Come on Auntie, you’re 75, so let’s start clearing out the dead wood (and ‘Macallan’) but retaining and strengthening what we have which is good.
(name and address supplied)
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
5th Sept 98 – Hector MacFadyen SDB & guests from McTavish’s Kitchen, Oban (repeat)
12th Sept 98 – West Telferton SDB + feature on composer Robert Mathieson (repeat)
19th Sept 98 – Da Fustra + guests from the Sound Hall, Lerwick (repeat)
26th Sept 98 – Graeme Mitchell SDB + guests from the Learney Hall, Torphins (repeat)
3rd Oct 98 – Ian Cruickshank SDB
10th Oct 98 – OB Alan Gardiner SDB + guest William Williamson from the Ross Bandstand, Edinburgh
17h Oct 98 – Neil MacEachern SDB + feature
24th Oct 98 – Bill Black SDB + guest Gordon Simpson & George & John burns from the Station Hotel, Perth
CLUB DIARY
Aberdeen (Dee Motel) – 28th Sept 98 – Arbroath A&F Club
Alnwick (White Swan Hotel) – members only 9th Sept 98 – tbc
Annan (St Andrew’s Social Club) - 20th Sept 98 – Robert Whitehead & the Danelaw SDB
Arbroath (Viewfield Hotel) - 6th Sept 98 – Ian Cruickshanks
Armadale (Masonic Hall) – 3rd Sept 98 – Bruce Lindsay Trio
Ayr (Gartferry Hotel) – 6th Sept 98 - tbc
Balloch (St. Kessog’s Hall) – 20th Sept 98 - tbc
Banchory (Burnett Arms Hotel) – 28th Sept 98 – Graeme Mitchell SDB
Banff & District (Banff Springs Hotel) – 23rd Sept 98 – Lomond Ceilidh Band
Beith & District (Hotel de Croft, Dalry) – 21st Sept 98 – Judith Linton SDB
Belford (Community Club) – 24th Sept 98 - tbc
Biggar (Municipal Hall) – 13th Sept 98 – Alexander Brothers
Blairgowrie (Moorfield Hotel) - 8th Sept 98 – Charlie Kirkpatrick Trio
Bromley (Trinity United Reform Church) - No Meeting
Button Key (Windygates Institute) – 10th Sept 98 – Joe Hayes (Ireland)
Campbeltown (Royal or Argyll Hotel) - No Meeting
Campsie (Glazert House Hotel) - 1st Sept 98 – Simon Howir SDB
Carlisle (Border Regiment Club, Carlisle Castle) - 3rd Sept 98 – David Vernon
Castle Douglas (Ernespie House Hotel) – 15th Sept 98 - tbc
Coalburn (Miners’ Welfare) - 17th Sept 98 – Ian Muir Sound
Crathes (Crathes Hall, Banchory) - 13th Sept 98 – All Players Welcome
Crieff & District (Arduthie Hotel) 3rd Sept 98 - tbc
Dalriada (Argyll Arms Hotel, Lochgilphead) 15th Sept 98 - tbc
Dingwall (National Hotel) – 2nd Sept 98 - tbc
Dunblane (Westlands Hotel) – 15th Sept 98 - tbc
Dunfermline (Headwell Bowling Club) – 8th Sept 98 – Brian Griffin
Dunoon & Cowal (McColl’s Hotel) 11th Sept 98 – John Brockbank
East Kilbride (Sweepers, Cambuslang) – No Meeting
Ellon (Station Hotel) – 22nd Sept 98 – Ian Thomson SDB
Fintry (Fintry Sports Centre) – 28th Sept 98 - tbc
Forfar (Plough Inn) - 27th Sept 98 - tbc
Forres (Brig Motel) – 9th Sept 98 – tbc
Fort William (Alexandra Hotel) –
Galashiels (Abbotsford Arms Hotel) – No Meeting
Galston (Barr Castle Social Club) – No Meeting
Glendale (Black Bull Hotel – Wooler) – 17th Sept 98 – Bruce Lindsay Trio
Glenfarg (Lomond Hotel) - 2nd Sept 98 - tbc
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 29th Sept 98 - tbc
Gretna (Halcrow Stadium) - 6th Sept 98 – Andy Greig Band
Highland (Drumossie Hotel) – 21st Sept 98 - tbc
Inveraray (Loch Fyne Hotel) - No Meeting
Islay (White Hart Hotel) -
Isle of Skye – (The Royal Hotel, Portree) - 3rd Sept 98 - tbc
Islesteps (The Embassy Hotel) – 1st Sept 98 – Robert Whitehead & the Danelaw
Kelso (Ednam House Hotel) – 30th Sept 98 - tbc
Kintore (Torryburn Hotel) – 2nd Sept 98 - tbc
Lanark (Masonic Hall) - 28th Sept 98 – John Morgan
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 10th Sept 98 – David Ross Duo
Lewis & Harris (Stornoway Legion) - 3rd Sept 98 - tbc
Livingston (Cairn Hotel) - 15th Sept 98 – Max Houliston
Lockerbie (Queen’s Hotel) - 29th Sept 98 - tbc
Mauchline (Sorn Village Hall) No Meeting
Montrose (Park Hotel) – 2nd Sept 98 – Dick Black Band
Muirhead (Belmont Arms, Meigle) - 16th Sept 98 – Local Artistes
Newtongrange (Dean Tavern) – 28th Sept 98 – Jock Fraser SDB
North East (Royal British Legion, Keith) – 1st Sept 98 - tbc
Oban (McTavish’s Kitchen) – No Meeting
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 24th Sept 98 - tbc
Perth (Salutation Hotel) – 15th Sept 98 - tbc
Premier NI (Camlin Function Rooms) - 1st Sept 98 - tbc
Reading Fiddlers (Piggot School) -
Renfrew (Masonic Hall, Broadloan) – No Meeting
Rothbury (Queen’s Head) - No Meeting
Selkirk (Cricket Club) - 10th Sept 98 - tbc
Shetland (Shetland Hotel, Lerwick) - No Meeting
Stirling (Terraces Hotel) - 13th Sept 98 – Judith Linton Trio
Sutherland (Rogart Hall) - No Meeting
Thornhill (Masonic Hall) - 9th Sept 98 – Bill Black SDB
Thurso (Pentland Hotel) – 7th Sept 98 - tbc
Turriff (Royal Oak Hotel) – 3rd Sept 98 – Garioch Blend
Tynedale (Hexham Ex Service Club) – 1st Sept 98 – Wayne Robertson
Wick (McKay’s Hotel) – 15th Sept 98 - tbc
Yarrow (Gordon Arms) - 16th Sept 98 – Wendy Godfrey
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Annan
3. Arbroath
4. Banff & District
5. Beith & District
6. Biggar
7. Blairgowrie
8. Bromley
9. Button Key
10. Campsie
11. Carlisle
12. Castle Douglas
13. Coalburn
14. Dalriada
15. Dingwall & District
16. Dunblane
17. Dunfermline & District
18. Dunoon & Cowal
19. Forres
20. Glendale
21. Glenrothes & District
22. Gretna
23. Isle of Skye
24. Islesteps
25. Kelso
26. Lanark
27. Lesmahagow
28. Livingston
29. Lockerbie
30. Montrose
31. Newtongrange
32. North East
33. Oban
34. Peebles
35. Rothbury
36. Stirling
37. Thornhill
38. Thurso
39. Turriff
40. Tynedale
41. Wick
42. Yarrow
CLUB DIRECTORY AS AT SEPT 1997
(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. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
7. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
8. Banchory A&F Club (1978 – present)
9. Banff & District A&F Club (Oct 1973 – present)
10. Beith & District A&F Club (Sept 1972 – per first edition – present)
11. Belford A&F Club (joined Sept 1982)
12. Biggar A&F Club (Oct 1974 – present)
13. Blairgowrie A&F Club (
14. Bromley A&F Club
15. Button Key A&F Club (
16. Campbeltown A&F Club (
17. Campsie A&F Club (Nov 95 – present)
18. Carlisle A&F Club (joined Sept 1993 -
19. Castle Douglas A&F Club (c Sept 1980 – present)
20. Coalburn A&F Club (
21. Crieff A&F Club (cSept 1981)
22. Dalriada A&F Club (Feb 1981)
23. Dingwall & District A&F Club (May 1979 – per first report)
24. Dunblane & District A&F Club (1971 – present)
25. Dunfermline & District A&F Club (1974 – per first edition)
26. Dunoon & Cowal A&F Club (
27. East Kilbride A&F Club (Sept 1980)
28. Ellon A&F Club (
29. Etterick & Yarrow (Jan 1989 -
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
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. Highland A&F Club (Inverness) (Nov 1973 – present)
41. Inveraray A&F Club (Feb 1991 - present)
42. Islay A&F Club (23 Apr 93 -
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
48. Lanark A&F Club (joined Sept 96 – present)
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. Muirhead A&F Club (Dec 1994 -
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. Reading Scottish Fiddlers (cMarch 1997
67. Scottish Accordion Music – Crathes (Nov 1997 -
68. Selkirk A&F Club (
69. Shetland A&F Club (Sept 1978 - present)
70. Stirling A&F Club (Oct 1991 - )
71. Sutherland A&F Club (
72. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
73. Thurso A&F Club (Oct 1981 - present)
74. Turriff A&F Club (March 1982 - present)
75. Tynedale A&F Club (Nov 1980 - present)
76. Vancouver
77. 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?)
78. Acharacle & District A&F Club (cMay 1988)
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. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
99. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
100. Kirriemuir A&F Club (cSept 1981)
101. M.A.F.I.A. (1966 – 1993?)
102. Monklands A&F Club (Nov 1978 – closed cApril 1983)
103. Morecambe A&F Club (joined Sept 1982)
104. Mull A&F Club
105. Newcastleton Accordion Club
106. New Cumnock A&F Club (cMarch 1979)
107. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
108. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
109. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
110. Straiton Accordion Club (c1968 – closed March 1979)
111. Stranraer & District Accordion Club (1974 – per first edition)
112. Torthorwald A&F Club (near Dumfries)
113. Tranent A&F Club
114. Walmer (Bridge of Allan) A&F Club
115. Wellbank A&F Club
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B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian, EH22 2NL
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
Well, here we go for another season. No doubt you will have noticed a price increase which was proposed and endorsed from the floor at the AGM in June and justified, I hope, on the following grounds.
There has been no price increase for the B&F for three years, the B&F has increased in size this season, to allow a larger print size for easier reading, postage costs have soared because of the increased weight of the B&F, our printers are doing a great job and will, understandably, be looking for an increase in line with inflation, any surplus generated can go towards the ‘Jimmy Shand Scholarship’ at the R.S.A.M.D. (details to follow) and as if that’s not enough the Chairman pointed out that he had just paid £1 for a cup of coffee in the Station Hotel.
Let’s face it, you don’t get much for £1 these days and hopefully it won’t have to change for another few years. Advertising rates have been increased by 5%. Could I ask those of you who were quick off the mark in remitting their £8 for individual subscriptions to drop us another £2 please.
I haven’t exactly been inundated with interesting articles over the summer break (that was supposed to be a summer wasn’t it?) so as always, all contributions are welcome. Next months issue tends to be quieter after the high volume of Club Reports which appear in this issue. I hope therefore to publish the most up-to-date Guest Artiste List for the information of anyone organizing dances, or whatever, so I would ask that you notify me now of any additions/amendments/deletions you are aware of.
Having recently returned from a dance trip with New Scotland Country Dancers to Burg Ludwigstein in the Dortmund area of Germany, I would be interested to hear from any dance groups planning similar trips to ‘Folklore Festivals’ in Europe next year and who are looking for musicians. Perhaps we can put you in touch through the B&F.
Having been invited by many bands at A&F Clubs and elsewhere to ‘sing along’ but being of the age group who don’t know all the words to anything Scottish or Old Time, I was wondering if readers would be interested in having the words of a well known song or two published in each issue. That way we could gradually build up a library – just think of it, Community Singing at the AGM! Let me know what you think.
Charlie Todd
The Perth Weekend 1998
by Robin Ellis
The last weekend in June was once again the date chosen for the A.G.M. of the N.A.A.F.C. and it is also a time of sheer indulgence for all those who like our kind of music. Unbelievably in this summer of grey skies the sun actually shone on both days. What is it they say “The sun shines on the righteous?”
The events commenced on Saturday afternoon with a recording by B.B.C. for ‘Take the Floor’. The band was Bill Black’s and the guest artistes were Gordon Simpson, fiddle and The Burns Brothers, accordion duettists. Bill, although not enjoying the best of health, played superbly and proved that even after 48 years of entertaining us he is still up there with the best. The programme consisted of the usual mix of set dances, couple dances and a few just for listening. Gordon played in his well-known, smooth traditional style and the Burns Brothers contrasted well with their modern, very dynamic arrangements. As always the whole show was hosted by Robbie Shepherd. Anyone who has never been to a recording of this programme will be struck by the relaxed atmosphere of it all. This was almost certainly due to the sheer professionalism of both the artistes and the B.B.C. I gather that the programme is to be transmitted on Radio Scotland some time next October.
After dinner the assembled company made their way into the ballroom of the Station Hotel, Perth for an evening’s dancing to Alasdair MacCuish and the Black Rose Ceilidh Band. These are five young and very accomplished musicians, with a great selection of tunes and a very modern approach. They kept the dancers on their feet with a programme of mainly couple dances interspersed with a few set dances such as ‘The Duke of Perth’, ‘Shiftin bobbins’ and ‘Posties Jig’. Finally at 1.00 a.m., well and truly exhausted the dancers went off to bed or, for a few hardy souls, on to a party.
On Sunday morning after a leisurely breakfast there was time to catch up on all the news from old friends or maybe to look at the considerable collection of photographs from 1950 to the present day which Jack Cooper exhibits every year outside the ballroom. These are a wonderful historical record of those who play in the Scottish Dance Music world and it is to be hoped that they will be kept safely for many years to come. The A.G.M. was at 11.00 and as it lasted, this year, until 1.00 there was only time for a quick drink before entering the dining room. Although this is a formal occasion somehow the atmosphere seems delightfully relaxed, a great credit to the organizers. As usual there were some well known names at the top table – Jim Johnstone, Ian Powrie, Jimmy and Joan Blue, Ian and Margaret Holmes, Jack Stalker and Bobby Crowe – with other scattered throughout the room.
After the lunch the Chairman, Jim Johnstone, made a presentation to Ian Holmes, our Guest of Honour, for his services to Scottish Dance Music and in his reply Ian entertained us with a brief history of his playing career over the last 40 years. Then it was on to the ceilidh. I think, without doubt, this must be the greatest gathering of talent in the field of Scottish dance music. The compere for the afternoon was Nicol McLaren who seems to have a fund of stories even bigger than Jim Johnstone and Jimmy Blue. I think it must be a prerequisite for the post of Chairman. I just wish I could remember them all for those occasions when I need a story to tell! The programme opened with the resident Black Rose Ceilidh Band playing a few very spirited sets of jigs and reels. Next, after some persuasion I am told, it was lovely to see Jim Johnstone playing for us with just a little help from Nicol McLaren, Maureen Rutherford and Jack Cooper of course. Having just heard our Chairman we next heard our Past Chairman, Jimmy Blue, accompanied by Joan on the piano. Then on to our guest Ian Holmes who together with Ian Powrie, Gordon Simpson, Jim Clark and Jack Cooper gave us the real ‘big band’ sound for some 20 minutes with tunes from his repertoire over the years. Then came Bobby Coghill with his remarkably realistic electronic bagpipes (could he please invent an accordion that doesn’t have to be blown and is just about at portable!!) After that came Ian Thomson with his quartet and last but not least Morag Robertson who as always played so expertly and solo. By then time was marching on and it was up to the Black Rose Ceilidh Band to round off the occasion.
Once again thanks are due to Jack Cooper and the Committee for organising another wonderful weekend and here’s looking forward to the Perth Weekend 1999.
Angus Fitchet (19/07/10 – 15/05/98)
An Appreciation
Angus Fitchet of Dundee was one of Scotland’s foremost fiddlers and bandleaders. He was also a remarkably versatile musician whose range extended from village dances to network television shows accompanying high profile international guest artistes.
Despite having no formal tuition on violin, Angus started his musical career playing for the silent films. He went on to lead a five-piece orchestra in a restaurant in Largs, an engagement which came to an end with the outbreak of war when the Italian family who had engaged his group were interned for the duration. After the war he joined Jimmy Shand’s Band. This gave him a taste for Scottish band work and he formed his own highly successful Scottish Dance Band – but what other bandleader drove his band all over Scotland and England in an old Dodge Red Cross ambulance. There was the famous occasion when, at North Queensferry, the ferry had moved off but when it was noticed that an ambulance had missed the boat, the ferry turned back and Angus cheerfully drove his ‘band bus’ on board. Inside the members of the band were sitting playing dominos!! The band toured Scotland and England, playing in village halls and at large Scottish Country Dances. And many times angus wrote a new booking on a cigarette packet then, cigarettes finished, tossed it out of the bus window! With his legs invariably crossed, his small frame curled lovingly round his instrument, Angus never played a wrong note. He was fun to work with. One night when playing for a ‘Dashing White Sergeant’ he suggested that he and the two accordionists in the band take turns choosing the tunes. Jimmy Stephen led with ‘The Rose Tree’ followed by the second accordionist’s choice of ‘The Mason’s Apron’. When it was angus’ turn, with an irrepressible grin, he went straight in to ‘The Spey in Spate’, one of the most difficult reels ever written. He then laid his fiddle down, folded his arms, and sat back to watch the band furiously trying to get their fingers round the tune!
After some time with the band, Angus went back to playing solo fiddle and toured with many well known Scottish artistes such as Will Starr and Robert Wilson. He was in his sixties when he joined Jimmy Blue, whose band traveled full time with Andy Stewart and this was a wonderful partnership. Andy loved Angus’ humour and many a time ‘dried up’ on stage because of Angus’ witticisms. In H.M. Theatre, Aberdeen, in which Andy was dressed as one of the famous Glasgow ‘clippies’ for a sketch, he heard Angus’ Dundee accent from the orchestra pit, saying ‘Eeh, ye get mair like yer mither every day’. On another occasion, an English pop group guesting on the show was having great difficulty in their rehearsal due to some bars having been missed from their music. As the afternoon dragged on and the band waited for its run-through, Angus shouted to the group “Div ye no’ ken Danny Boy?” Andy Stewart’s weekly TV show, ‘Scotch Corner’, was going out nationwide at that time with guest stars such as George Hamilton IV, Rolf Harris, Dana and others. Angus loved the challenge of sight-reading the ‘dots’ placed in front of him and enjoyed the tours to Australia and New Zealand with the show, where on one wet Saturday he exhibited his prowess with a different kind on stick when he entertained the rest of the caste with a repertoire of most impressive tricks on the snooker table!
Having overcome deafness and a severe bout of arthritis when he was no longer able to play his beloved fiddle, Angus found relief with a course of ‘gold’ injections and all were delighted when he was once again able to produce his unique tone from his fiddle. With the advent of Accordion and Fiddle Clubs Angus found yet another new career, guesting with Bobby Crowe and his band at venues all over Scotland and in the North of England. Probably his last appearance at a Club was in Perth when he was 81 years of age. Angus, however, did not just make guest appearances. He was a regular at Duncee A&F Club where he often spent more time in the back room giving tips to young fiddlers who listened and learned. There is a wonderful memory of Angus at Banchory Club where he had finished his guest spot and invited all the young members of the Banchory S&R Society to join him on stage. Angus sat on the stage, legs dangling over the edge, and played along with the youngsters giving them wonderful encouragement as well as a night to remember.
The sweet tone Angus brought out brought out of his fiddle was always recognizable, no matter which band he was playing in. He did not have valuable fiddles but could coax the same tone out of whatever instrument he played. When asked once by a so-called expert “What make of fiddle are you playing, Mr Fitchet?”, Angus replied, in his broad Dundee accent, “Eeh, its just an auld bit o’ stick”.
To travel to ‘gigs’ with Angus was a delight. Every village brought a memorable story to relate which would digress into tales of characters he had met, or tunes he had played and always there was humour and laughter. He was eternally young at heart.
But Angus’ legend will live on in his music. He was a prolific and wonderful composer, who wrote his first tune ‘Mr Michie’ in 1926 – a March which is still popular with Festival competitors. His reel ‘J. B. Milne’ holds a record in that it has been played on radio more than any other Scottish tune. But his slow airs ‘Happy Retirement’, ‘Marjorie Jane Barclay’ and ‘Lament for Will Starr’, to name only three, like his many other compositions, make him comparable to the great James Scott Skinner. Hearing the news of the tragic Lockerbie air disaster, Jimmy Blue ‘phoned Angus and suggested he write a ‘Lament for Lockerbie’. Two days later, this moving slow air arrived in manuscript form from Angus.
When Bobby Crowe played his newly composed march ‘The Provost of Forgandenny’ over the telephone to Angus, he was amazed to receive next day, in the mail, another march complimentary to this tune in both idiom and key – although Angus had not even enquired in which key the original had been written.
When he died in May, aged 87, his funeral was attended by Scottish musicians from all over the country and during the service Robbie Shepherd of BBC Scotland read excerpts from the poem Andy Stewart wrote for Angus when he was honoured by the N.A.A.F.C. in 1981. One verse was particularly appropriate. It read
An’ when at last ar Heaven’s gate – whaur he will surely stand
I like to fancy Peter say as he hauds oot his hand
“A welcome Angus Fitchet here, my pleasure is to gie ye
An’ twice that welcome since I see, ye’ve brocht your fiddle wi’ ye!”
On Angus Fitchet
by Andy Stewart
Come rub the rosin on the bow and let the warl’ gae roon’
While I tae Angus Fitchet heed that coaxes up a tune
That coaxes up a bonnie tune an’ makes yon fiddle sing-
The verra lame when he begins wad dance the heilan’ fling
Syne when alow his elfin chin the trusty Hardy grips
The Merlin o’ the music he wi’ magic fingertips
Strathspeys sae stately and demure come singing frae his hand
While jigs and reels however gleg dance out at his command
Sae blithe and sweet his fiddle sings and brawly fills the air
His smiles and looks tells a’ the tale a long-matched love affair
Wha’ is sae wilted wi’ despair his backbane disna starch
When Angus plays a sojer’s air and fiddles up a march?
Wha’ is heavy-fitted then an’ weary as the Deil
But loups like ony skippin’ lamb when Fitchet plays a reel?
An’ wha’ cam keep frae beatin’ time I say he isna human
When Angus plies his skills upon ‘The Irish Washerwoman’?
In Cork one night, I tell the truth he caused a fightin’ fuss
When Paddy said “Yon man’s no Scot! He must be one of us!”
He plays a jig sae liltin’ sir a man condemned tae dee
Wad loup the thirteen steps an’ dance upon a gallows tree!
An’ fan a sweet sad bow he draws in some auld plaintive air
The sorrows of a lifetime come an’ stoun’ the senses there
‘Bovaglie’s Plaid’ or ‘Gow’s Lament’ baith hymns tae mak’ us mourn
Great sabs frae oot yet greater hearts for joys will ne’er return
In black and white these printed notes lie lost of what they seek
Yet cry aloud in haunting sound when Angus maks them speak
Auld Scotland kens naw brawer tunes and min’! she maks them well
Than when oor Angus plays tae her the yins he wrote himsel’
His repertoire’s an endless dance and were he aye sae clever
As nae need food or drink or sleep he could play on forever
Here’s tae him then! My prayer shall be that happy he may dwell
And a’ the wishes I wad gie that he could wish himsel’
Three score and more – I ken his age an’ Lord if it’s nae trouble
In years tae come – Ye ken the sum – I wish him mair than double!
An’ when at last ar Heaven’s gate – whaur he will surely stand
I like to fancy Peter say as he hauds oot his hand
“A welcome Angus Fitchet here, my pleasure is to gie ye
An’ twice that welcome since I see, ye’ve brocht your fiddle wi’ ye!”
But och there’s years o’ music yet, tae stir the dancers roon
Sae Angus rosin up your bow an’ gies anither tune
The hame-spun garb of native worth wi’ cloth of gold we’ll stitch it
And lay the makker’s mantle on this man ca’d Angus Fitchet
When he comes ben care hugs the wa’ an’ joy jinks in the middle
The doul’s awa! The dance is a’! when Angus plays the fiddle!
May a’ his ‘oors be sweet and sure, and happy a’ his days
As happy as I am mysel’ when Angus Fitchet plays!
Some Bygone Thoughts
by Jimmy Yeaman
In the words of the minister we were gathered here, at Dundee Crematorium, to celebrate the life of Angus Fitchet, a man not large in stature but a giant in Scottish fiddle music, band leadership and musical composition. The capacity attendance was a fitting tribute to his legacy of memories and airs which will live on for as long as Scottish dance music is performed and heard. For me the highlights of the service were the eulogy from Robbie Shepherd, which included the late Andy Stewart’s poem dedicated to Angus, and the performance from pianist, and organist for the day. Maureen Rutherford. Her renderings at the end of the service of slow airs and J. B. Milne’s Reel were quite moving and unforgettable.
Angus would not have wanted this to be a sad occasion and he would have approved of the get together of so many musicians mainly from a bygone era – a rare occasion. Driving home with ‘Fintry’ Frank Farquharson we indulged in nostalgic reminiscing about the ‘good old days’ of Scottish Country Dance Bands.
It was in the mid to late 1940’s that we were aware of the trail blazers who were to become super-stars as far as broadcasting and recording Scottish Country Dance Bands were concerned. The names of the following come to mind : Jimmy Shand, Jim Cameron, Bobby MKacLeod, Ian Powrie, Jack Forsyth, Angus Fitchet and Adam Rennie.
They packed the halls, town and country, and we looked on them as semi gods because they had ‘been on the wireless’ – a rare thing in those days for ordinary folk, a misnomer if ever there was one.
Then in the early to late 50’s an explosion of young musicians burst forth drawing heavily on inspiration from the above mentioned. They were role models and we listened and watched and marveled. We copied unashamedly but always contrived to sound different. Our heroes were professional full-time musicians while we had to rely on day jobs for survival. The young pretenders of that era would be mainly in their late teens and early twenties. They beat a well worn path to the BBC studios hopefully to pass the audition to be allowed to broadcast live and join the ranks, adding the word ‘broadcasting’ to their titles. A highly desirable magic formula then, and I suppose now.
And now some 40 to 50 years on some are still waving the flag but their ranks are becoming thinner. Fortunately for the continuance of our traditional music and dance, youth is filling the spaces and this is how it should and always will be.
Listed below are some of the ‘up and coming’ names from the fifties or thereabouts :-
Andrew Rankine, Lindsay Ross, Alex MacArthur, Bert Shorthouse, Ian Arnott, Jim Grogan, Bob Edwards, David Donaldson, John Johnstone, The Hawthorne, The Glendaruel (Tony Reid), East Neuk, Jim MacLeod, Jim Johnstone, The Tayside, Blue Bonnets, Cameron Kerr, Gie Gordons, John Ellis and the Highland, Alan Williams, Alisdair Downie, Max Houliston, Ian Holmes, The Heather, The Wick Scottish, The Olympian’s initially under the leadership of Bobby Crowe, then David Findlay and ultimately Dougie Maxwell.
No doubt the readers of the B&F will be able to add to both the above lists.
We are living in different times and the ways and styles of today’s troubadours vary in many ways from those of yore.
Another story, another day, perhaps.
Bob Edward – An Appreciation
by Joe McGhee
Bob Edward was one of the great characters of Scottish Music. Brought up in the Coldside area of Dundee he started playing classical violin at an early age and studies for his L.R.A.M. Diploma but unfortunately his studies were interrupted by the Second World War in which he saw active service at El Alamein and in Italy.
After the war Bob became interested in Scottish music and he had his own Broadcasting Band for many years. He was resident band at the Bruce Hotel, Carnoustie for over 20 years and was also Leader of the Dundee S&R Society where he was particularly interested in the junior members of the orchestra.
This led him to help form the Tayside Youth S&R Orchestra. He became Musical Director and under Bob’s baton the Orchestra enjoyed much success. They played at the opening of Discovery Point in Dundee. Bob wrote a Hornpipe for the occasion and this was played in the presence of the Duke of Edinburgh. The Orchestra also played for Prince Charles when he visited Dundee to celebrate the 50th Anniversary of V.E. Day. The Orchestra also recorded two very successful tapes, many of which have found their way all over the world.
Bob retired 21 years ago from his job as a sales rep with Unilever and since then offered music tuition with many of his pupils progressing to become accomplished musicians, like three times Glenfiddich Champion, Maureen Turnbull. Bob’s wife Ella died four year ago but he is survived by his son Bob, who lives in Canada, daughter Dorothy, three grandchildren and five great-grandchildren.
As a fitting final testament to Bob a book was recently published featuring his many compositions and I am very grateful that Bob lived to see the publication completed.
He will be sadly missed by many.
Angus Cameron – An Appreciation
by Sandy Ingram
April of this year (1998) saw the Scottish fiddle scene bereft of one of its most talented sons on the death of Angus Cameron of Kirriemuir.
He was born and brought up in the Angus town immortalised by the late Sir James Barrie of ‘Peter Pan’ fame, and renowned for its famous Ball. Angus Cameron came from a well-known local family of musicians, his father Will Cameron being himself a noted exponent of the fiddle. From an early age angus played, and competed successfully, at various fiddle festivals throughout Scotland. He went on to perform not only regularly on radio and television, but also at the Edinburgh Festival and at a number of prestigious gigs abroad. One of the highlights of his career was winning, in the late 1970’s, the Daily Record ‘Golden Fiddle Award’.
He was also an outstanding composer in the Scottish fiddle idiom, whose works were, and are, widely played by fiddlers throughout Scotland. Angus also had the honour of presenting to the Queen Mother – and having graciously accepted by her – one of his compositions written on the occasion of her 80th birthday. That took place in a tattie shed near Glamis – suitably converted and decorated for the purpose, of course! But that’s a different story……………
It was as a Conductor of the Angus S&R Society that I knew him best. He was a dynamic and greatly gifted maestro, who drew the best out of us, and then some more, and who led us to memorable victories in the Fiddle Festival scene. Indeed my abiding memory of Angus Cameron is of him standing in front of us, at a practice evening, with his eyes, as he would say “This is the way we’ll do it lads. Wait and see, it’ll knock them oot!” And do you know, he was invariably right!
A Blast from the Past – Jimmy Cassidy
by Charlie Todd
Until the sixties the household names in accordion and fiddle music were associated with the bands of the time. Thus it was a pleasure to meet up with Jimmy Cassidy during the summer months. Jimmy, as many will remember, was one of the first of a new breed of solo performers.
Jimmy started playing at the age of 8 under the tuition and inspiration of Bill Wilkie. Jim’s father worked down the pits in Fife in those days and to pay for lessons and to buy an instrument was a struggle. As Jim put’s it “Dad played the box for a sing-along in the pub for about 7/6d and thus the bills were paid”.
His talent was evident from the outset, because each time he entered a competition he invariably won. Three times Junior Scottish Champion between the ages of 12 – 14 speaks volumes.
At 15 Jimmy entered the senior ranks becoming the Senior Classical Champion and Runner-Up to Fraser McGlynn in the Senior Scottish. The following year (1967) saw him lift the Traditional title, and then as most do, he retired from competition.
Luckily for Jimmy an extra incentive for the winner that year was a recording test for C.B.S., from which two albums were released.
“It was in those days”, says Jimmy “when I had my first experience of Scottish Dance Bands my first long term ‘gig’ being with Willie Simpson. Many hours were spent in the back of an old Thames Trader van. The van was devoid of any heating apart from an old oil stove. The fumes and smell were awful. By the time we arrived at the venues we were all but comatose”.
Jimmy then spent a couple of years working with Lex McLean (Mr Glasgow). In his time with Lex, he played The Pavilion (Glasgow), The Gaiety (Ayr), The Kings (Edinburgh) and The Whitehall Theatre (Dundee).
It was after this that Jimmy joined the Jimmy Blue Band. “Those were exciting times for me” says Jim. “The band were a household name and still at the top of the tree to both enthusiasts and musicians alike, and to take the chair previously occupied by Mickie Ainsworth and Davie Stewart was like a dream come true. The stalwarts of the band, Pam Brough, Dave Barclay and Arthur Easson were still there along with that wonderful fiddler Ron Kerr.
“J. B.’s long association with Andy Stewart brought us recording sessions, TV shows, summer seasons and also a tour of New Zealand, Australia and South Africa”. Heady times for a young lad.
After Jim’s time with J.B. he felt he should broaden his musical horizons and thus became involved with various bands playing the modern music of the day. His time in Scotland ended with him putting together the resident band for the refurbished Salutation Hotel in Perth, and he admits to this as being “one of the most musically satisfying times of my career”.
This ended for ‘personal reasons’ and a job offer as Musical Director for a show in Guernsey. “So” says Jim “I packed my keyboards, a dinner suit, Dave Blyth and his drums and off we jolly well went”.
It was in Guernsey that Jim met an operatic tenor called Julian Jorg who asked him to be his M.D. when he returned to Australia. The offer was accepted and two happy years were spent ‘down under’ culminating in the unforgettable experience of playing in Sydney Opera House.
Jim then came back to work in England where he has now lived for some 20 years. He is now heavily involved in the ‘Hi-Tec’ side of music and does the cabaret circuit in a duo with his long term partner (Norma).
Last year (November) after a period of ill health, Jim underwent heart surgery and afterwards was forced to re-evaluate his life. He is now keen to bring his accordion talents back home and has already accepted several bookings for the new season. His approach, as he describes it, is ‘Traditional; meets Hi-Tec’.
So, if you’re looking for a new ‘old’ face give Jimmy a ring on 01207 231196.
New Group
Scottsh Accordion Music – Crathes
A new Scottish Accordion Music Group was former in November 1997…….
CD Reviews
The Caledonian Companion – CD TRAX 9051
Natalie McMaster – My Roots Are Showing – CD TRAX 163
Rob McKillop – Flowers of the Forrest – CD TRAX 155
Paul Anderson – The Journey Home – CDGR 162
Scottish fiddle Rally 1985 – 1995 – CD TRAX 154
Ian Cruickshanks and his Band – The Kirrie Lads – SMR074
Letters to the Editor
“Dear Auntie, It’s Time We Talked…..”
I think it’s high time someone put pen to paper regarding the state of the programme ‘Take The Floor’ and the general situation which Scottish Dance music finds itself in today. Before I go any further, I will state that I have appeared myself on the programme in the past, but feel I must remain anonymous in writing this letter, because what I have to say is probably going to provoke a response from those on high along the lines of ‘we are not amused’.
So, several aspects of the programme I feel need to be addressed and some home truths written.
Firstly, I think it fair to say that the standard of some of the Players who now feature on the programme, needs to be questioned. Week in, week out, we have fiddle players who scratch and squeal and simply cannot play a tune. (Ye, Robbie would have us believe that some of them are near the top of the tree in the scheme of things). We have bass players who do not play in tune and drag behind the rest of the band. Again, some of them – judging by the regularity of their appearance – would allegedly be people of some note. We have drummers who simply cannot keep time, who draw bands down to their level and who would only benefit the other players by not being there. We, the public, put up with far too much with what would not be tolerated from any other musical form which would wish to be taken even slightly seriously. Is it therefore time that a much more stringent appraisal of a band’s actual musical performance goes on before they can actually broadcast? Certainly, it’s time players were judged on what they can actually do, NOT who they are or what clique they hand about with. In reality, there are many super players who are not being given the exposure on air they should or could be getting.
Secondly, the question of what the Bands actually sound like when they broadcast needs to be approached. It is common knowledge that when recording a programme for ‘TTF’, the players involved have absolutely no say in how their music is recorded and how the band will actually sound when on air. Consequently, few, if any, bandleaders, are ever truly satisfied with the sound which the BBC achieves, with various common complaints arising e.g. inaudible second accordion, inaudible drums/hi-hat, too much fiddle etc. How difficult would it be, I wonder, for the production team to allow the bandleader to hear a couple of sets recorded during the band’s warm-up, and to allow him or her to give their thoughts on what they think needs changing, before the actual session begins?
This would give the players a huge amount of satisfaction knowing they were making a programme which they could be sure showed off their sound, style and originality the way they wished it to be heard. The dubious and sometimes downright shameful standard of editing on the programme could also benefit from more of the musician’s input, thus allowing the Band to have what takes, etc they wanted kept, to be broadcast.
Thirdly, a revue needs to be carried out into how those in charge of the programme make their selection of the bands which are allowed to play frequently. We all know that if Robbie reads out one single letter praising any band, then the BBC seems to think that this is also what the rest of the listening public thinks. I don’t think so. This is surely obviously not so. Likewise are the complains received from a few listeners regarding the levels of the various instruments in the bands. Just because the person (who is probably only interested in the melody) thinks that the second accordion is too loud, this does not mean to say that this is so or that the majority of listeners agree. Frankly, how dare any listener tell a bandleader how he thinks his band should sound. If they don’t like it, they know where the off switch is. This sort of reasoning is not fair on the players concerned and should be neither expected nor tolerated from as respected an organisation as the BBC. Give the people what they want, yes, but do not sacrifice the quality of the product on offer.
Lastly and generally, I think I must make some comment on why we should be trying to alter Scottish music’s image to the wider public. Like it or not, it is a reality the Scottish dance music is looked down upon by many people ; not just those involved in other types of music but the wider public also and the young in particular. That the BBC has kept it on the air for so long then, is a credit to those involved. However, to continually be harping back to the bad old ‘good old days’ when, let’s not hold back, all but a tiny minority of bands were musically pretty awful, playing the same old boring stuff in the same boring hee-drum ho-drum manner, is I think wrong. For the BBC to encourage this in the musical and performing standard of some of the so-called ‘top’ and ‘popular’ bands of today as I have tried to illustrate throughout my argument, is an insult to how good Scottish music can be. Who cares if a band plays too fast to dance to (an unrealistic proposition) other than for the most infirm) if we’re listening to them in our living rooms? Who cares if they play fast as long as they are playing well, together and with suitably musical correct arrangements to boot? Who cares if we hear the same tunes frequently, as long as they are good ones and crucially, are well played (I like Mrs McLeod as much as Mrs Mary Printy).
We need to start getting these things right if people are to stop treating Scottish dance music as a joke. Yes, there is more out there than boring 2/4 marches and all this Felix Burns nonsense, though we should remember that in the larger scheme of things, Scottish music is essentially a very simple and straightforward idiom. It should, however be played and arranged as well as it possibly can be, taking on board ideas from other musical styles and areas as time goes on. This can be done, I believe, within the bounds of taste and suitably high technical dexterity, while retaining a high degree of musicality.
Let’s get away from people of my age group (20s) being embarrassed to admit to their friends that they play in a Scottish dance band, turning up to gigs decked out like something from the 1950’s. Surely we can play this great music other than in black and white!? (Maybe we need shades…)
Perhaps a regular TV slot might help our music but NOT on programmes bedecked with heather and limp wrested old country dancers. (Oh, and at the other end, do BBC TV not realise that there are more players around than a certain duo of accordionist and fiddler?)
I don’t pretend to know all of the answers to this particular problem, but I think a much younger and fresher image all around for ‘TTF’ is a desperate must. Let’s not be afraid to say when the music is BAD, for fear of upsetting the apple cart. TV has its ‘Points of View’ after all. Come on Auntie, you’re 75, so let’s start clearing out the dead wood (and ‘Macallan’) but retaining and strengthening what we have which is good.
(name and address supplied)
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
5th Sept 98 – Hector MacFadyen SDB & guests from McTavish’s Kitchen, Oban (repeat)
12th Sept 98 – West Telferton SDB + feature on composer Robert Mathieson (repeat)
19th Sept 98 – Da Fustra + guests from the Sound Hall, Lerwick (repeat)
26th Sept 98 – Graeme Mitchell SDB + guests from the Learney Hall, Torphins (repeat)
3rd Oct 98 – Ian Cruickshank SDB
10th Oct 98 – OB Alan Gardiner SDB + guest William Williamson from the Ross Bandstand, Edinburgh
17h Oct 98 – Neil MacEachern SDB + feature
24th Oct 98 – Bill Black SDB + guest Gordon Simpson & George & John burns from the Station Hotel, Perth
CLUB DIARY
Aberdeen (Dee Motel) – 28th Sept 98 – Arbroath A&F Club
Alnwick (White Swan Hotel) – members only 9th Sept 98 – tbc
Annan (St Andrew’s Social Club) - 20th Sept 98 – Robert Whitehead & the Danelaw SDB
Arbroath (Viewfield Hotel) - 6th Sept 98 – Ian Cruickshanks
Armadale (Masonic Hall) – 3rd Sept 98 – Bruce Lindsay Trio
Ayr (Gartferry Hotel) – 6th Sept 98 - tbc
Balloch (St. Kessog’s Hall) – 20th Sept 98 - tbc
Banchory (Burnett Arms Hotel) – 28th Sept 98 – Graeme Mitchell SDB
Banff & District (Banff Springs Hotel) – 23rd Sept 98 – Lomond Ceilidh Band
Beith & District (Hotel de Croft, Dalry) – 21st Sept 98 – Judith Linton SDB
Belford (Community Club) – 24th Sept 98 - tbc
Biggar (Municipal Hall) – 13th Sept 98 – Alexander Brothers
Blairgowrie (Moorfield Hotel) - 8th Sept 98 – Charlie Kirkpatrick Trio
Bromley (Trinity United Reform Church) - No Meeting
Button Key (Windygates Institute) – 10th Sept 98 – Joe Hayes (Ireland)
Campbeltown (Royal or Argyll Hotel) - No Meeting
Campsie (Glazert House Hotel) - 1st Sept 98 – Simon Howir SDB
Carlisle (Border Regiment Club, Carlisle Castle) - 3rd Sept 98 – David Vernon
Castle Douglas (Ernespie House Hotel) – 15th Sept 98 - tbc
Coalburn (Miners’ Welfare) - 17th Sept 98 – Ian Muir Sound
Crathes (Crathes Hall, Banchory) - 13th Sept 98 – All Players Welcome
Crieff & District (Arduthie Hotel) 3rd Sept 98 - tbc
Dalriada (Argyll Arms Hotel, Lochgilphead) 15th Sept 98 - tbc
Dingwall (National Hotel) – 2nd Sept 98 - tbc
Dunblane (Westlands Hotel) – 15th Sept 98 - tbc
Dunfermline (Headwell Bowling Club) – 8th Sept 98 – Brian Griffin
Dunoon & Cowal (McColl’s Hotel) 11th Sept 98 – John Brockbank
East Kilbride (Sweepers, Cambuslang) – No Meeting
Ellon (Station Hotel) – 22nd Sept 98 – Ian Thomson SDB
Fintry (Fintry Sports Centre) – 28th Sept 98 - tbc
Forfar (Plough Inn) - 27th Sept 98 - tbc
Forres (Brig Motel) – 9th Sept 98 – tbc
Fort William (Alexandra Hotel) –
Galashiels (Abbotsford Arms Hotel) – No Meeting
Galston (Barr Castle Social Club) – No Meeting
Glendale (Black Bull Hotel – Wooler) – 17th Sept 98 – Bruce Lindsay Trio
Glenfarg (Lomond Hotel) - 2nd Sept 98 - tbc
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 29th Sept 98 - tbc
Gretna (Halcrow Stadium) - 6th Sept 98 – Andy Greig Band
Highland (Drumossie Hotel) – 21st Sept 98 - tbc
Inveraray (Loch Fyne Hotel) - No Meeting
Islay (White Hart Hotel) -
Isle of Skye – (The Royal Hotel, Portree) - 3rd Sept 98 - tbc
Islesteps (The Embassy Hotel) – 1st Sept 98 – Robert Whitehead & the Danelaw
Kelso (Ednam House Hotel) – 30th Sept 98 - tbc
Kintore (Torryburn Hotel) – 2nd Sept 98 - tbc
Lanark (Masonic Hall) - 28th Sept 98 – John Morgan
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 10th Sept 98 – David Ross Duo
Lewis & Harris (Stornoway Legion) - 3rd Sept 98 - tbc
Livingston (Cairn Hotel) - 15th Sept 98 – Max Houliston
Lockerbie (Queen’s Hotel) - 29th Sept 98 - tbc
Mauchline (Sorn Village Hall) No Meeting
Montrose (Park Hotel) – 2nd Sept 98 – Dick Black Band
Muirhead (Belmont Arms, Meigle) - 16th Sept 98 – Local Artistes
Newtongrange (Dean Tavern) – 28th Sept 98 – Jock Fraser SDB
North East (Royal British Legion, Keith) – 1st Sept 98 - tbc
Oban (McTavish’s Kitchen) – No Meeting
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 24th Sept 98 - tbc
Perth (Salutation Hotel) – 15th Sept 98 - tbc
Premier NI (Camlin Function Rooms) - 1st Sept 98 - tbc
Reading Fiddlers (Piggot School) -
Renfrew (Masonic Hall, Broadloan) – No Meeting
Rothbury (Queen’s Head) - No Meeting
Selkirk (Cricket Club) - 10th Sept 98 - tbc
Shetland (Shetland Hotel, Lerwick) - No Meeting
Stirling (Terraces Hotel) - 13th Sept 98 – Judith Linton Trio
Sutherland (Rogart Hall) - No Meeting
Thornhill (Masonic Hall) - 9th Sept 98 – Bill Black SDB
Thurso (Pentland Hotel) – 7th Sept 98 - tbc
Turriff (Royal Oak Hotel) – 3rd Sept 98 – Garioch Blend
Tynedale (Hexham Ex Service Club) – 1st Sept 98 – Wayne Robertson
Wick (McKay’s Hotel) – 15th Sept 98 - tbc
Yarrow (Gordon Arms) - 16th Sept 98 – Wendy Godfrey
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Annan
3. Arbroath
4. Banff & District
5. Beith & District
6. Biggar
7. Blairgowrie
8. Bromley
9. Button Key
10. Campsie
11. Carlisle
12. Castle Douglas
13. Coalburn
14. Dalriada
15. Dingwall & District
16. Dunblane
17. Dunfermline & District
18. Dunoon & Cowal
19. Forres
20. Glendale
21. Glenrothes & District
22. Gretna
23. Isle of Skye
24. Islesteps
25. Kelso
26. Lanark
27. Lesmahagow
28. Livingston
29. Lockerbie
30. Montrose
31. Newtongrange
32. North East
33. Oban
34. Peebles
35. Rothbury
36. Stirling
37. Thornhill
38. Thurso
39. Turriff
40. Tynedale
41. Wick
42. Yarrow
CLUB DIRECTORY AS AT SEPT 1997
(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. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
7. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
8. Banchory A&F Club (1978 – present)
9. Banff & District A&F Club (Oct 1973 – present)
10. Beith & District A&F Club (Sept 1972 – per first edition – present)
11. Belford A&F Club (joined Sept 1982)
12. Biggar A&F Club (Oct 1974 – present)
13. Blairgowrie A&F Club (
14. Bromley A&F Club
15. Button Key A&F Club (
16. Campbeltown A&F Club (
17. Campsie A&F Club (Nov 95 – present)
18. Carlisle A&F Club (joined Sept 1993 -
19. Castle Douglas A&F Club (c Sept 1980 – present)
20. Coalburn A&F Club (
21. Crieff A&F Club (cSept 1981)
22. Dalriada A&F Club (Feb 1981)
23. Dingwall & District A&F Club (May 1979 – per first report)
24. Dunblane & District A&F Club (1971 – present)
25. Dunfermline & District A&F Club (1974 – per first edition)
26. Dunoon & Cowal A&F Club (
27. East Kilbride A&F Club (Sept 1980)
28. Ellon A&F Club (
29. Etterick & Yarrow (Jan 1989 -
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
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. Highland A&F Club (Inverness) (Nov 1973 – present)
41. Inveraray A&F Club (Feb 1991 - present)
42. Islay A&F Club (23 Apr 93 -
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
48. Lanark A&F Club (joined Sept 96 – present)
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. Muirhead A&F Club (Dec 1994 -
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. Reading Scottish Fiddlers (cMarch 1997
67. Scottish Accordion Music – Crathes (Nov 1997 -
68. Selkirk A&F Club (
69. Shetland A&F Club (Sept 1978 - present)
70. Stirling A&F Club (Oct 1991 - )
71. Sutherland A&F Club (
72. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
73. Thurso A&F Club (Oct 1981 - present)
74. Turriff A&F Club (March 1982 - present)
75. Tynedale A&F Club (Nov 1980 - present)
76. Vancouver
77. 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?)
78. Acharacle & District A&F Club (cMay 1988)
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. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
99. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
100. Kirriemuir A&F Club (cSept 1981)
101. M.A.F.I.A. (1966 – 1993?)
102. Monklands A&F Club (Nov 1978 – closed cApril 1983)
103. Morecambe A&F Club (joined Sept 1982)
104. Mull A&F Club
105. Newcastleton Accordion Club
106. New Cumnock A&F Club (cMarch 1979)
107. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
108. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
109. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
110. Straiton Accordion Club (c1968 – closed March 1979)
111. Stranraer & District Accordion Club (1974 – per first edition)
112. Torthorwald A&F Club (near Dumfries)
113. Tranent A&F Club
114. Walmer (Bridge of Allan) A&F Club
115. Wellbank A&F Club
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