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.
The Gallant Frigate Amphitrite
Peter Bellamy Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Blue Peter at the fore-mast head for she was outward bound
We were waiting there for orders to send us far from home
Our orders came for Rio, and thence around Cape Horn
When we arrived at Rio we prepared for heavy gales
We set up all our rigging, boys, and bent on all new sails
From ship to ship they cheered us as we did sail along
When beating off Magellan it blew exceeding hard
While shortening sail, two gallant tars fell from the tops'l yard
By angry seas the ropes we threw from their poor hands was torn
We were forced to leave them for the sharks that prowl around Cape Horn
When we got round the Horn, my boys, we had some glorious days
And very soon our killick dropped into Valparaiso Bay
The pretty girls came round in flocks, I solemnly declare
They're far before the Plymouth girls with their long and their curly hair
For they love a jolly sailor when he spends his money free
They'll laugh and sing and merry merry be and have a jovial spree
And when your money is all gone, they won't on you impose
They're not like the Plymouth girls that'll pawn and sell your clothes
Farewell to Valparaiso, and farewell for a while
Likewise to all your Spanish girls along the coast of Chile
And if ever I live to be paid off, I'll sit and'll sing this song
God bless those pretty Spanish girls we left around Cape Horn
The Gallant Frigate Amphitrite is a traditional sea shanty that tells the tale of a British ship named Amphitrite that was stationed in Plymouth Sound waiting for orders. Blue Peter was hoisted at the fore-mast head, indicating the ship was preparing to set sail. The ship was finally given orders to sail for Rio and then around Cape Horn, the southernmost point of South America. As the ship sailed towards Rio, they prepared for heavy gales and storms by setting up their rigging and new sails. While they sailed along, people from other ships cheered them on and wished them good weather during the rounding of Cape Horn.
However, while they were beating off Magellan, two men fell from the topsail yard to their deaths. Due to the angry seas and strong winds, the ropes that were thrown to save them were torn, leaving them helpless to the mercy of the sharks that prowl around Cape Horn. Despite this tragic incident, they eventually made it around the Horn and reached Valparaiso Bay where they were greeted by the pretty Spanish girls who were eager to make their acquaintance. The sailors were astonished by their hospitality and friendliness. They found them to be far better than the girls they left in Plymouth, who were known for pawning and selling the sailors' clothes.
Line by Line Meaning
Our gallant ship the Amphitrite, she lay in Plymouth Sound
Our brave vessel, the Amphitrite, was moored in Plymouth Sound awaiting orders.
Blue Peter at the fore-mast head for she was outward bound
The Blue Peter flag was flying at the masthead indicating that we were preparing to leave port.
We were waiting there for orders to send us far from home
We anxiously awaited instructions to embark on a long journey far away from our loved ones.
Our orders came for Rio, and thence around Cape Horn
We were commanded to make our way to Rio and beyond, ultimately circumnavigating the treacherous Cape Horn.
When we arrived at Rio we prepared for heavy gales
Upon arriving at Rio, we readied ourselves and our vessel for fierce windstorms and rough seas.
We set up all our rigging, boys, and bent on all new sails
We made sure that all of our ropes and sails were securely fastened and functionally sound.
From ship to ship they cheered us as we did sail along
As we sailed between other vessels, they applauded and encouraged us along our journey.
And wished us pleasant weather in the rounding of Cape Horn
They hoped for us to have safe and clear weather conditions as we completed the daunting passage around Cape Horn.
When beating off Magellan it blew exceeding hard
During our voyage, as we sailed against the wind off the coast of Magellan, a fierce gale struck us with great force.
While shortening sail, two gallant tars fell from the tops'l yard
While we were in the process of reducing sail to better handle the storm, two courageous sailors fell from the topsail yard.
By angry seas the ropes we threw from their poor hands was torn
Due to the rough sea conditions, our efforts to rescue the fallen sailors by throwing ropes from the ship were thwarted as the waves forcefully pulled the ropes from their grasp.
We were forced to leave them for the sharks that prowl around Cape Horn
Sadly, we were unable to save the two sailors and were forced to leave them to their fate among the sharks that inhabit the waters around Cape Horn.
When we got round the Horn, my boys, we had some glorious days
Upon successfully navigating around Cape Horn, we enjoyed several beautiful and prosperous days.
And very soon our killick dropped into Valparaiso Bay
Shortly thereafter, we dropped anchor in the beautiful Valparaiso Bay.
The pretty girls came round in flocks, I solemnly declare
As we docked, a multitude of lovely women surrounded us, and I swear it to be true.
They're far before the Plymouth girls with their long and their curly hair
They were far more beautiful and desirable than the plain and unremarkable ladies of Plymouth, boasting long and curly hair.
For they love a jolly sailor when he spends his money free
These women have an affinity for gregarious sailors who spend their money generously.
They'll laugh and sing and merry merry be and have a jovial spree
They'll joyfully frolic and make merry, laughing and singing while enjoying a wild and entertaining night out.
And when your money is all gone, they won't on you impose
Unlike the women of Plymouth, these lovely señoritas won't force you into debt after your funds are depleted.
They're not like the Plymouth girls that'll pawn and sell your clothes
Plymouth's women, on the other hand, have a reputation for seizing and selling off the belongings of unfortunate sailors who cannot pay their debts.
Farewell to Valparaiso, and farewell for a while
Sadly, we must bid adieu to Valparaiso and its lovely inhabitants, at least for the time being.
Likewise to all your Spanish girls along the coast of Chile
We must also say farewell to all of the beautiful Spanish ladies along the Chilean coastline we encountered on our journey.
And if ever I live to be paid off, I'll sit and'll sing this song
Should I one day be released from my naval contract, I'll reflect on my travels and sing this song in remembrance.
God bless those pretty Spanish girls we left around Cape Horn
May God bless the beautiful Spanish ladies we met during our voyage, particularly those we left behind at Cape Horn.
Lyrics © DOMINO PUBLISHING COMPANY, BMG Rights Management
Written by: TRADITIONAL
Lyrics Licensed & Provided by LyricFind