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.
Mandalay
Peter Bellamy Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There's a Burma girl a-settin', and I know she thinks o' me;
For the wind is in the palm-trees, and the temple-bells they say:
"Come you back, you British soldier; come you back to Mandalay!"
Come you back to Mandalay,
Where the old Flotilla lay:
Can't you 'ear their paddles chunkin' from Rangoon to Mandalay?
Where the flyin'-fishes play,
An' the dawn comes up like thunder outer China 'crost the Bay!
'Er petticoat was yaller an' 'er little cap was green,
An' 'er name was Supi-Yaw-Lat—jes' the same as Theebaw's Queen,
An' I seed her first a-smokin' of a whackin' white cheroot,
An' a-wastin' Christian kisses on an 'eathen idol's foot.
Bloomin' idol made o' mud—
Wot they called the Great Gawd Budd—
Plucky lot she cared for idols when I kissed 'er where she stud!
On the road to Mandalay,
Where the flyin'-fishes play,
An' the dawn comes up like thunder outer China 'crost the Bay!
When the mist was on the rice-fields an' the sun was sinkin' low,
She'd git 'er little banjo an' she'd sing "Kulla-lo-lo!"
With 'er arm upon my shoulder an' 'er cheek agin' my cheek
We useter watch the steamers an' the hathis pilin' teak.
Elephints a-pilin' teak
In the sludgy, squdgy creek,
Where the silence 'ung that 'eavy you was 'arf afraid to speak!
On the road to Mandalay,
Where the flyin'-fishes play,
An' the dawn comes up like thunder outer China 'crost the Bay!
But that's all shove be'ind me—long ago an' fur away,
An' there ain't no 'busses runnin' from the Bank to Mandalay;
An' I'm learnin' 'ere in London what the ten-year soldier tells:
"If you've 'eard the East a-callin', you won't never 'eed naught else."
No! you won't 'eed nothin' else
But them spicy garlic smells,
An' the sunshine an' the palm-trees an' the tinkly temple-bells;
On the road to Mandalay,
Where the flyin'-fishes play,
An' the dawn comes up like thunder outer China 'crost the Bay!
I am sick o' wastin' leather on these gritty pavin'-stones,
An' the blasted Henglish drizzle wakes the fever in my bones;
Tho' I walks with fifty 'ousemaids outer Chelsea to the Strand,
An' they talks a lot o' lovin', but wot do they understand?
Beefy face an' grubby 'and—
Law! wot do they understand?
I've a neater, sweeter maiden in a cleaner, greener land!
On the road to Mandalay,
Where the flyin'-fishes play,
An' the dawn comes up like thunder outer China 'crost the Bay!
Ship me somewheres east of Suez, where the best is like the worst,
Where there aren't no Ten Commandments an' a man can raise a thirst;
For the temple-bells are callin', an' it's there that I would be—
By the old Moulmein Pagoda, looking lazy at the sea;
On the road to Mandalay,
Where the old Flotilla lay,
With our sick beneath the awnings when we went to Mandalay!
On the road to Mandalay,
Where the flyin'-fishes play,
An' the dawn comes up like thunder outer China 'crost the Bay!
The lyrics of Peter Bellamy's "Mandalay" tell the story of a British soldier who reminisces about his time in Myanmar (formerly known as Burma) and his love affair with a local woman named Supi-Yaw-Lat. The soldier longs to return to Mandalay, where the couple used to watch the steamers and the hathis piling teak, and where the dawn comes up like thunder outer China 'crost the Bay. The soldier's vivid descriptions of his past experiences, from the smell of spicy garlic to the sound of the temple-bells, evoke a romanticized image of Myanmar that contrasts sharply with his current life in London, where he walks with fifty 'ousemaids and the English drizzle wakes the fever in his bones.
At its core, the song is about nostalgia and the power of memory. The soldier yearns to return to a time and place where he was happy and felt a sense of belonging. His love for Supi-Yaw-Lat and his attachment to Myanmar serve as a powerful reminder of the emotional connections that people can form with places and people. The song also raises questions about imperialism and the legacy of the British occupation of Myanmar. Despite the soldier's romanticized descriptions of his experiences in Mandalay, the reality is that the British presence in Myanmar was marked by violence, exploitation, and oppression.
Line by Line Meaning
By the old Moulmein Pagoda, lookin' eastward to the sea,
At the Moulmein Pagoda, looking towards the sea to the east,
There's a Burma girl a-settin', and I know she thinks o' me;
I can imagine a Burmese girl sitting and thinking of me here,
For the wind is in the palm-trees, and the temple-bells they say:
The wind in the palm trees is carried by the sound of temple bells calling out,
"Come you back, you British soldier; come you back to Mandalay!"
Asking me to come back to Mandalay as a British soldier,
Come you back to Mandalay,
Come back to Mandalay,
Where the old Flotilla lay:
Where the old flotilla used to lay,
Can't you 'ear their paddles chunkin' from Rangoon to Mandalay?
Can't you hear the sound of paddles from Rangoon to Mandalay?
On the road to Mandalay,
On the road leading to Mandalay,
Where the flyin'-fishes play,
Where the flying-fishes are found,
An' the dawn comes up like thunder outer China 'crost the Bay!
And the dawn breaks with a loud sound from China across the Bay!
'Er petticoat was yaller an' 'er little cap was green,
Her petticoat was yellow and her cap was green,
An' 'er name was Supi-Yaw-Lat—jes' the same as Theebaw's Queen,
Her name was Supi-Yaw-Lat, the same as Theebaw's Queen,
An' I seed her first a-smokin' of a whackin' white cheroot,
I first saw her smoking a big white cheroot,
An' a-wastin' Christian kisses on an 'eathen idol's foot.
And wasting Christian kisses on a heathen idol's foot.
Bloomin' idol made o' mud—
A blooming idol made of mud,
Wot they called the Great Gawd Budd—
What they called the Great God Buddha,
Plucky lot she cared for idols when I kissed 'er where she stud!
She didn't seem to care much for idols when I kissed her where she stood!
When the mist was on the rice-fields an' the sun was sinkin' low,
When there was mist in the rice fields and the sun was setting low,
She'd git 'er little banjo an' she'd sing "Kulla-lo-lo!"
She would take out her little banjo and sing "Kulla-lo-lo!"
With 'er arm upon my shoulder an' 'er cheek agin' my cheek
With her arm on my shoulder and her cheek against mine,
We useter watch the steamers an' the hathis pilin' teak.
We used to watch the steamers and the elephants piling up teak.
Elephints a-pilin' teak
Elephants piling teak,
In the sludgy, squdgy creek,
In the muddy creek,
Where the silence 'ung that 'eavy you was 'arf afraid to speak!
Where the silence was so heavy that you were afraid to speak!
But that's all shove be'ind me—long ago an' fur away,
But that's all behind me now, long ago and far away,
An' there ain't no 'busses runnin' from the Bank to Mandalay;
And there are no buses running from the Bank to Mandalay;
An' I'm learnin' 'ere in London what the ten-year soldier tells:
And now I'm learning here in London what the ten-year soldier told me:
"If you've 'eard the East a-callin', you won't never 'eed naught else."
"If you've heard the East calling, you won't be interested in anything else."
No! you won't 'eed nothin' else
No, you won't need anything else
But them spicy garlic smells,
But the smell of spicy garlic
An' the sunshine an' the palm-trees an' the tinkly temple-bells;
And the sunshine, palm trees, and the sound of tinkly temple-bells;
On the road to Mandalay,
On the road leading to Mandalay,
Where the flyin'-fishes play,
Where the flying-fishes are found,
An' the dawn comes up like thunder outer China 'crost the Bay!
And the dawn breaks with a loud sound from China across the Bay!
I am sick o' wastin' leather on these gritty pavin'-stones,
I am tired of walking on these gritty pavement stones,
An' the blasted Henglish drizzle wakes the fever in my bones;
And the blasted English drizzle is making my bones ache;
Tho' I walks with fifty 'ousemaids outer Chelsea to the Strand,
Even though I walk with fifty housemaids from Chelsea to the Strand,
An' they talks a lot o' lovin', but wot do they understand?
And they talk a lot about love, but what do they really know?
Beefy face an' grubby 'and—
With beefy faces and grubby hands—
Law! wot do they understand?
Oh, what do they really know?
I've a neater, sweeter maiden in a cleaner, greener land!
I have a neater, sweeter maiden in a cleaner and greener land!
On the road to Mandalay,
On the road leading to Mandalay,
Where the flyin'-fishes play,
Where the flying-fishes are found,
An' the dawn comes up like thunder outer China 'crost the Bay!
And the dawn breaks with a loud sound from China across the Bay!
Ship me somewheres east of Suez, where the best is like the worst,
Send me somewhere east of Suez, where the best is no different from the worst,
Where there aren't no Ten Commandments an' a man can raise a thirst;
Where there are no Ten Commandments and a man can quench his thirst;
For the temple-bells are callin', an' it's there that I would be—
Because the temple-bells are calling me there is where I want to be—
By the old Moulmein Pagoda, looking lazy at the sea;
By the old Moulmein Pagoda, lazily looking towards the sea;
On the road to Mandalay,
On the road leading to Mandalay,
Where the old Flotilla lay,
Where the old flotilla used to lay,
With our sick beneath the awnings when we went to Mandalay!
With our sick being sheltered by the awnings as we went to Mandalay!
On the road to Mandalay,
On the road leading to Mandalay,
Where the flyin'-fishes play,
Where the flying-fishes are found,
An' the dawn comes up like thunder outer China 'crost the Bay!
And the dawn breaks with a loud sound from China across the Bay!
Contributed by Carson P. Suggest a correction in the comments below.