The band expressed Denny's vision of the potential of folk rock to express complex meaning and deep personal emotion, using traditional ballad forms, but with the power of a rock band. Their self-titled first album (Fotheringay) was also only one of two albums, as they broke up a year later, in January 1971, while working on their second (recently released). The cause appears to have been personal difficulties, made worse by lack of success and thus income! Oddly for such talented musicians the band were widely reported to have been poor in live performance, which may well have also contributed to their short life as a band. Tracks later surfaced on her three-disc compilation.
The rhythm section was formed by Gerry Conway and Pat Donaldson, lauded by Denny as the best in the business. In the absence of Richard Thompson, who was prepared to tour with her, and act as session musician but wanted to follow his own career, lead guitar was taken by Jerry Donahue, whose transatlantic country roots and softer personality brought a different, less edgy feel to the music. However he was a skilled technician, with great feel, as he showed on their album, and later Fairport Convention records. The group was completed by rhythm guitarist and second lead vocalist Australian Trevor Lucas, whom Denny was to marry, and who also later accompanied her back into Fairport.
Fotheringay contains a majority of tracks by Sandy Denny, with one each by Bob Dylan, Gordon Lightfoot and Trevor Lucas, as well as the atmospheric trad arr. Fotheringay, The Banks of the Nile.
In 2007 the BBC announced that Donahue would be attempting to complete the abandoned project (which he accomplished using previously unheard takes from the original archived tapes). Permission had finally been granted and the work was completed by summer of the following year. The resulting album, titled Fotheringay 2, was released by Fledg'ling Records on 29 September 2008.
Banks Of The Nile
Fotheringay Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The bugle-horns are sounding clear, and we must march away.
We're ordered down to Portsmouth, and it's many is the weary mile.
To join the British Army on the banks of the Nile.
Oh Willie, dearest Willie, don't leave me here to mourn,
Don't make me curse and rue the day that ever I was born.
For the parting of our love would be like parting with my life.
Oh my Nancy, dearest Nancy, sure that will never do.
The government has ordered, and we are bound to go.
The government has ordered, and the Queen she gives command.
And I am bound on oath, my love, to serve in a foreign land.
Oh, but I'll cut off my yellow hair, and I'll go along with you.
I'll dress myself in uniform, and I'll see Egypt too.
I'll march beneath your banner while fortune it do smile,
And we'll comfort one another on the banks of the Nile.
But your waist it is too slender, and your fingers they are too small.
In the sultry suns of Egypt your rosy cheeks would spoil.
Where the cannons they do rattle, when the bullets they do fly,
And the silver trumpets sound so loud to hide the dismal cries.
Oh, cursed be those cruel wars, that ever they began,
For they have robbed our country of manys the handsome men.
They've robbed us of our sweethearts while their bodies they feed the lions,
On the dry and sandy deserts which are the banks of the Nile.
The Fotheringay song "Banks of the Nile" tells the story of a young couple forced to part as the man is called to serve in the British Army on the banks of the Nile. The woman pleads with him to stay, but he is honor-bound to go. She offers to follow him and dress in uniform, but he warns her of the dangers of war and tells her that their physical differences would make it difficult for her to endure the harsh conditions. They both express their disdain for war as they mourn the loss of their love.
The song is a poignant commentary on the human cost of war, and the toll it takes on both those who serve and those they leave behind. It also touches on themes of duty, honor, and sacrifice. The lyrics evoke vivid images of the battles fought along the Nile, with references to drums beating, bugle horns sounding, and cannons rattling. The song is a haunting reminder of the toll war takes on individuals and society as a whole.
Line by Line Meaning
Oh hark! the drums do beat, my love, no longer can we stay.
Listen! The sound of drums signals that we must leave. We cannot delay any longer.
The bugle-horns are sounding clear, and we must march away.
The bugles are playing clearly, signaling that it is time to depart and begin our march.
We're ordered down to Portsmouth, and it's many is the weary mile.
We have received orders to go to Portsmouth, and the journey will be long and tiring.
To join the British Army on the banks of the Nile.
Our ultimate destination is the Nile, where we will join the British Army.
Oh Willie, dearest Willie, don't leave me here to mourn,
Willie, my beloved, please don't abandon me to sorrow,
Don't make me curse and rue the day that ever I was born.
I beg you, do not cause me to regret the day I was born.
For the parting of our love would be like parting with my life.
Separating from you would be like losing a part of myself.
So stay at home, my dearest love, and I will be your wife.
If you stay with me, my dearest love, I will marry you and be your wife.
Oh my Nancy, dearest Nancy, sure that will never do.
My sweet Nancy, that is not an option.
The government has ordered, and we are bound to go.
We are duty-bound to obey the orders of the government.
The government has ordered, and the Queen she gives command.
We must obey the commands of the Queen and her government.
And I am bound on oath, my love, to serve in a foreign land.
I have taken an oath to serve my country in a foreign land, my love.
Oh, but I'll cut off my yellow hair, and I'll go along with you.
I am willing to cut off my hair and accompany you to war.
I'll dress myself in uniform, and I'll see Egypt too.
I will put on a uniform and come with you to see Egypt.
I'll march beneath your banner while fortune it do smile,
I will march under your flag while fortune favors us.
And we'll comfort one another on the banks of the Nile.
We will provide comfort and support to each other while on the banks of the Nile.
But your waist it is too slender, and your fingers they are too small.
However, your waist is too small and your fingers are too delicate.
In the sultry suns of Egypt your rosy cheeks would spoil.
In the hot sun of Egypt, your lovely cheeks would be spoiled.
Where the cannons they do rattle, when the bullets they do fly,
Where cannons rattle and bullets fly.
And the silver trumpets sound so loud to hide the dismal cries.
The trumpets sound so loudly to disguise the sounds of painful cries.
Oh, cursed be those cruel wars, that ever they began,
The wars that began are cursed and cruel.
For they have robbed our country of manys the handsome men.
The wars have deprived our country of many fine men.
They've robbed us of our sweethearts while their bodies they feed the lions,
Our sweethearts are taken away and their bodies left for the lions to feed on.
On the dry and sandy deserts which are the banks of the Nile.
These atrocities are taking place on the barren and dusty banks of the Nile.
Lyrics Β© BMG Rights Management, Warner Chappell Music, Inc.
Written by: HEATHER WOOD, PETER BELLAMY, ROYSTON WOOD
Lyrics Licensed & Provided by LyricFind
@dannygoring6722
This is perhaps the most perfect interpretation and delivery of a traditional folk song I have ever heard. Sandy sings with such tenderness and emotion and the musicianship is first class in its subtlety ebbing and flowing with the story. It blows me away!
@robertcope629
If this doesn't break your heart you are not human. Quite simply the most painfully sublime love song ever written and sung by surely the UK's finest female singer. Must stop now as my tears are staining my mobile.
@yolandehow2574
Me too
@sfedroid
The genius of Sandy was that she never, ever oversang a song. She was intense and involved for sure, and could do dynamics and hit the notes, but only ever in service to the song. She was restraint personified. Even in smouldering, passionate songs like this one, there's a quiet assurance about her performance that allows the drama of the story to come through without histrionics or too much of the singer's cult of personality.
@peterrandall9523
Spot on Steve. I saw her a few times back in the day, and remember being entranced.
@2visiondigital
Brilliant sentiment, thank you.
@kariyam2202
feel like Duane Allman was like that as a guitarist, imagine them as a duo, would've been magical.
@michaelfraser5723
Please, tell it to the goat who stole her daughter and took her to sodding Mel bourne. A whole day away from her loving mom.
@laurencedavies1104
Sandy has a lovely voice? Larry and Judy Davies
@paulfrindle7144
Such a brilliant track which I will never forget. It brings back precious memories of better times. Her vocal performance is totally hypnotic.