Early years
Peter Bellamy spent his formative years in his native North Norfolk, living in the village of Warham and attending Fakenham Grammar School in the late 1950s/early 1960s. His father worked as a foreman on the local farm. He studied at Norwich Art College and later at Maidenhead Art College after the Norwich school was closed under Peter Blake and decades later still retained something of the flamboyant art student image, being described as looking like a latter-day Andy Warhol, with blond hair, a scarlet jacket and yellow trousers.
Encouraged by his friend Anne Briggs he dropped out of college in 1965 to become a member of The Young Tradition with Royston Wood and Heather Wood (no relation to Royston). The trio recorded mainly traditional songs in close harmony and mostly without accompaniment. The Young Tradition projected their voices powerfully, clearly influenced by The Watersons, the Copper Family and Ewan MacColl. They recorded three albums together plus a collaboration with Shirley Collins called The Holly Bears The Crown. Although recorded in 1969 it was not released in full until the 90s.
The Young Tradition's final concert was at Cecil Sharp House in October 1969, after which they split up, with Bellamy wanting to concentrate on traditional English music, whilst the other members had developed interests in mediaeval music.
In 1971, Bellamy recorded a collaboration with Louis Killen: "Won't You Go My Way?".
Solo work
Peter Bellamy's first solo album "Mainly Norfolk" (1968) indicated his desire to promote the folk music of his native part of England. It drew heavily on the repertoire of Harry Cox, still alive at that time, who was the most famous traditional singer of Norfolk songs. On the album, Bellamy sang all songs unaccompanied. Beginning on his second album, "Fair England's Shore" (1968), he began to accompany himself on the Anglo concertina. Still later, he occasionally recorded with guitar.
It wasn't until Bellamy's eighth album in 1975 that he recorded any of his own compositions. In the same year he recorded a collection of Rudyard Kipling's Barrack Room Ballads (see below).
Having mastered the art of putting new words to a traditional song and his own words to a traditional tune, he wrote a ballad-opera: The Transports in 1973 and it took him 4 years to find a company willing to produce it in 1977. It then became the folk record of the year for 1977 vindicating his long wait and many efforts to get it released. Many prominent names in the folk scene collaborated on the project Dolly Collins (a composer, the sister of Shirley Collins), Martin Carthy, Mike Waterson, Norma Waterson, June Tabor, Nic Jones, A.L. Lloyd, Cyril Tawney and Dave Swarbrick. It told the true story of the first transport ship to land in Australia and the first couple to marry on Australian soil. Based on a story Peter found in the local newspaper in Norfolk and followed by his research into the details at the city museum and library. Descendants of the Kabel family still live in Sydney and became friends of Peter. In 2004 it was re-released together with a new production involving Simon Nicol and Fairport Convention. In 1986 Sid Kipper and others devised a ballad opera called "Crab Wars". It was partly a parody of "The Transports", but Bellamy took it in good humour and even sang the role of narrator.
Another of Bellamy's ambitious projects, "The Maritime Suite", was broadcast on BBC Radio 2 but never issued on record.
The economics of folk singing meant that Bellamy sold his own limited edition cassettes at folk clubs, and many performances exist only as pirated tapes. It is said that Celtic Records have a large cache of quality recordings that are unlikely to be issued.
Continuing his early talents with the visual arts, Bellamy generally designed his own album jackets and also drew cartoons for Karl Dallas's national paper "Folk Review". He continued to exhibit and sell his paintings throughout his life.
Sydney Opera House once hosted a concert by him and he toured in the USA.
Although at folk clubs, and in private, he often sang blues on bottleneck guitar, these performances rarely appeared on his albums.
Recording Kipling's ballads
Bellamy started his exploration of Kipling as a source for songs, not with the Barrack Room Ballads but with the songs from Kipling's Children's books, (Puck of Pooks Hill and Rewards and Fairies) from which he produced two albums, Oak Ash and Thorn and Merlyn's Isle of Gramarye.
Kipling's Barrack Room Ballads were published in 1892, and Bellamy started setting them to music in 1973. He was struck by people's misconceptions about Kipling, who many perceived as (in Bellamy's words) "one of the reactionary old guard, and therefore obviously a writer of no merit whatsoever". In reality, Kipling had captured a real insight into the attitudes of the ordinary soldiers, such as their contempt for those who sent them off to fight and die:
"It's Tommy this, an' Tommy that, an' 'Chuck him out, the brute!'
But it's 'Saviour of 'is country' when the guns begin to shoot.
An' it's Tommy this, an' Tommy that, an' anything you please;
An' Tommy ain't a bloomin' fool - you bet that Tommy sees!" (Tommy)
When composing the musical settings for Kipling's poetry, Bellamy had a theory, shared with many others, that highly metrical poets like Kipling used song tunes to keep their poems flowing properly. Some of Kipling's contemporaries confirm that he was in the habit of humming and whistling as he composed. It has, for example, been claimed that in The Loot, there is a "hidden" tune being worked to, and that nothing else can explain the strange refrains. Bellamy became excited when the line in Dutch in the Medway "our ships in every harbour...." reminded him of the line in the song Cupid's Garden "Twas down in Portsmouth Harbour...". This observation suggested the tune for the Kipling poem and made him wonder whether Kipling had actually composed to that tune, it being a common folk song in the 19th century and certainly part of the repertoire of the remarkable Copper family of Sussex who had lived in Rottingdean when Kipling was also living there. It has also been suggested that Kipling's "My name is O'Kelly, I've heard the reveille.." was written to the common Irish song and Army marching tune Lillibullero. Bellamy found a different tune but agreed that Lillibullero was more likely to have been on Kiplings mind at the time of composition.
Initially, Bellamy's proposal to record the Ballads was vetoed by Kipling's daughter, and he had to wait until her death in 1976 before permission was finally granted by the Kipling Society.
The Barrack Room Ballads album was recorded by Bill Leader, with Chris Birch on fiddle and Tony Hall on melodeon. The Kipling Society went on to appreciate Bellamy's contribution to Kipling's legacy and he was elected a Fellow of the Kipling Society, becoming a vice-president in 1981.
Suicide
Peter Bellamy committed suicide on 24 September 1991, an event that baffled the folk music community. At the time, he was working with Fellside Records on a project to record major British unaccompanied singing talents. His obituary, published in The Guardian concluded with the words:
“ Though his roots were obvious to anyone with half an ear, he added much of himself to what he inherited, and was a giant in a world where the pygmy is the standard by which all must be measured. It was unable to contain him, but now he is dead he will no doubt be consigned to the pantheon where the more threatening icons of our time can be tucked away safely, as relics of a past golden age. Peter Bellamy knew that the golden age is now, and he made it more glorious with his presence. His vast recorded output will be all inspiration to all who follow after. ”
His life and work was fondly celebrated by a day of performances including 'The Transports' at Conway Hall in London on October 2nd 1992, 13 months after his death.
Vocal singing style
Bellamy had a distinctive singing style. At Whitby folk festival in the 1980s an anagram competition came up with "Elmer P Bleaty" for Peter Bellamy, a humorous comment on the slightly nasal vibrato of his voice.
Jon Boden of the duo Spiers and Boden is a fan of Peter's bellowing style. He has jocularly put on his website "Bellamists subscribe to a belief in the absolute purity and oneness of all things Bellamy, and bleat daily incantations in the hope of advancing the day when he will finally return to reign in ever-lasting glory."
Discography
The Young Tradition
* - The Young Tradition (1966)
* - So Cheerfully Round (1967)
* - Galleries (1968)
The Young Tradition and Shirley and Dolly Collins
* - The Holly Bears The Crown (1969)
Louis Killen and Peter Bellamy
* - Won't You Go My Way? (1971)
Solo albums
* - Mainly Norfolk (1968)
* - Fair England's Shore (1968)
* - The Fox Jumped Over The Parson's Gate (1969)
* - Oak Ash and Thorn (1970)
* - Won't You Go My Way (1971)
* - Merlin's Island Of Gramarye (1972)
* - Barrack Room Ballads of Rudyard Kipling (1975)
* - Peter Bellamy (1975)
* - Tell It Like It Was (1975)
* - Both Sides Then (1979)
* - Keep On Kipling (1982)
* - Fair Annie (1983)
* - Second Wind (1985)
* - Mr Kipling Made Exceedingly Good Songs (1989)
* - Soldiers Three (1990)
* - Songs and Rummy Conjurin' Tricks (1991)
Compilation
* - Wake The Vaulted Echoes
Various artists including Peter Bellamy
* - The Transports (1977)
"Friends of Peter Bellamy"
* - The Transports (2004)
Trivia
* Bellamy bought an Amish hat in Pennsylvania and wore it at folk festivals.
* In 1967, when Judy Collins was recording "Marat Sade", a "rabble" was called for. Peter Bellamy and the Young Tradition were roped in to provide a suitable noise.
Ford O' Kabul River
Peter Bellamy Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Blow the trumpet, draw the sword --
There I lef' my mate for ever,
Wet an' drippin' by the ford.
Ford, ford, ford o' Kabul river,
Ford o' Kabul river in the dark!
There's the river up and brimmin', an' there's 'arf a squadron swimmin'
'Cross the ford o' Kabul river in the dark.
Kabul town's a blasted place --
Blow the trumpet, draw the sword --
'Strewth I shan't forget 'is face
Wet an' drippin' by the ford!
Ford, ford, ford o' Kabul river,
Ford o' Kabul river in the dark!
Keep the crossing-stakes beside you, an' they will surely guide you
'Cross the ford o' Kabul river in the dark.
Kabul town is sun and dust --
Blow the trumpet, draw the sword --
I'd ha' sooner drownded fust
'Stead of 'im beside the ford.
Ford, ford, ford o' Kabul river,
Ford o' Kabul river in the dark!
You can 'ear the 'orses threshin', you can 'ear the men a-splashin',
'Cross the ford o' Kabul river in the dark.
Kabul town was ours to take --
Blow the trumpet, draw the sword --
I'd ha' left it for 'is sake --
'Im that left me by the ford.
Ford, ford, ford o' Kabul river,
Ford o' Kabul river in the dark!
It's none so bloomin' dry there; ain't you never comin' nigh there,
'Cross the ford o' Kabul river in the dark?
Kabul town'll go to hell --
Blow the trumpet, draw the sword --
'Fore I see him 'live an' well --
'Im the best beside the ford.
Ford, ford, ford o' Kabul river,
Ford o' Kabul river in the dark!
Gawd 'elp 'em if they blunder, for their boots'll pull 'em under,
By the ford o' Kabul river in the dark.
Turn your 'orse from Kabul town --
Blow the trumpet, draw the sword --
'Im an' 'arf my troop is down,
Down an' drownded by the ford.
Ford, ford, ford o' Kabul river,
Ford o' Kabul river in the dark!
There's the river low an' fallin', but it ain't no use o' callin'
'Cross the ford o' Kabul river in the dark.
The song "Ford O' Kabul River" by Peter Bellamy tells the story of a soldier who left his mate in Kabul town and crossed the treacherous Kabul River. The soldier left his mate for good at the ford, wet and dripping. Throughout the song, the soldier expresses his disdain for Kabul town and its dusty landscape, blaming the town for his mate's death at the ford.
The repetition of "blow the trumpet, draw the sword" throughout the song emphasizes the soldier's military background, and the urgency of war. The soldier seems to be haunted by his decision to leave his mate at the ford, as he repeatedly mentions his mate's wet and dripping state. The soldier also expresses regret for leaving Kabul, stating that he would have left it for his mate's sake.
Line by Line Meaning
Kabul town's by Kabul river --
Kabul city is located next to Kabul river, which flows through the city.
Blow the trumpet, draw the sword --
Prepare for battle.
There I lef' my mate for ever, Wet an' drippin' by the ford.
I had to leave my friend permanently after he was soaked and dripping on the side of the ford.
Ford, ford, ford o' Kabul river, Ford o' Kabul river in the dark!
We must cross the Kabul river by the ford even at night.
There's the river up and brimmin', an' there's 'arf a squadron swimmin' 'Cross the ford o' Kabul river in the dark.
Half of my squadron is swimming, and the river is overflowing as we cross the ford at night.
Kabul town's a blasted place --
Kabul city is an utterly destroyed place.
'Strewth I shan't forget 'is face Wet an' drippin' by the ford!
I will never forget his face as he was soaking wet and shivering by the ford.
Keep the crossing-stakes beside you, an' they will surely guide you 'Cross the ford o' Kabul river in the dark.
Always keep the crossing-stakes at your side to find your way through the ford of Kabul river even while it is dark.
Kabul town is sun and dust --
Kabul city is a place filled with nothing but dust and hot sun.
I'd ha' sooner drownded fust 'Stead of 'im beside the ford.
I would have preferred to drown in the river than lose him at the ford.
You can 'ear the 'orses threshin', you can 'ear the men a-splashin', 'Cross the ford o' Kabul river in the dark.
You can hear the horses and the men making their way through the ford of Kabul river even at night.
Kabul town was ours to take --
We had the power to conquer Kabul city.
I'd ha' left it for 'is sake -- 'Im that left me by the ford.
I would have willingly given up the city for the sake of the person who left me behind at the ford.
It's none so bloomin' dry there; ain't you never comin' nigh there, 'Cross the ford o' Kabul river in the dark?
The place by the ford is not entirely dry. Do you ever plan to come near the Kabul river's ford even at night?
Kabul town'll go to hell --
Kabul city will suffer a terrible fate.
'Fore I see him 'live an' well -- 'Im the best beside the ford.
I would rather see him alive and well than conquer Kabul city. He is the best person beside the ford.
Gawd 'elp 'em if they blunder, for their boots'll pull 'em under, By the ford o' Kabul river in the dark.
God help them if they make a mistake because the ford of the Kabul river can be dangerous, and their boots can pull them down.
Turn your 'orse from Kabul town --
Stop going towards Kabul city.
'Im an' 'arf my troop is down, Down an' drownded by the ford.
He and half of my troop drowned at the ford.
There's the river low an' fallin', but it ain't no use o' callin' 'Cross the ford o' Kabul river in the dark.
The river is low and receding, but it is pointless to call for help while crossing the Kabul river's ford at night.
Contributed by Elizabeth Y. Suggest a correction in the comments below.