The divisional band served on the Desert front in Egypt, and then accompanied the Division right into Palestine, playing the leading battalion, the 4th K.O.S.B.'s, over the frontier to "Blue Bonnets over the Border."
Later on, more pipers and more Scottish units appeared; and so we find the 2nd London Scottish being played into Jerusalem, and "Dumbarton's Drums" sounding at the head of the Royal Scots as they took over the guard on the Holy Sepulchre—as is the right of "Pontius Pilate's Bodyguard."
SALONIKA
Opportunities for the employment of pipers as such were comparatively rare in the course of the Salonika operations, for obvious reasons. At Karadzakot Zir, however, the 1st Royal Scots pipers played their companies to the attack on the village, and the C.O. reported that, in his opinion,
"It was largely due to the presence of the pipers with the leading wave that the enemy evacuated their trenches and retired in disorder."
MESOPOTAMIA
Playing the pipes in the Golden East is a far greater effort than it is at home, and every piper who has soldiered there knows how the heat and the dryness of the atmosphere affect his bag and reeds. But the cult of piob mhor thrives east of Suez, and at least as much enthusiasm is shown by regiments stationed in India as in a home station.
And when Scottish troops were called upon to take their part in the Mesopotamia operations, we find the pipes as prominent a feature in the fighting as they were on the Western front. At Sheikh Saad on 7th January, 1916, the 1st Seaforths—the "Reismeid Caber Feidh"—were played to the attack across absolutely open ground by their Pipe Major Neil M'Kechnie and other pipers. An officer who was present describes the incident as follows:
"As we advanced over the dead flat open desert the Turks suddenly opened a very heavy fire from well concealed trenches at a range of from 600 to 800 yards. The battalion immediately advanced by rushes towards the enemy's position in spite of very heavy initial losses. Foremost among the men was our acting Pipe Major, M'Kechnie, who immediately struck up the regimental charge or 'onset,' 'Cabar Feidh.'
"His fine example as well as his music had a remarkable effect on the men at such a critical moment. He was shortly afterwards wounded, and had to drop behind as the lines went on."