A Folk Song A Day

Jon says, “I heard this first round a campfire on FSC sung beautifully by Meg. I later heard a version on the Fellside Anne Briggs compilation – this is a conflation of the two versions I think.”

Anne’s A Collection CD is still available via Topic in a slightly expanded form. The notes from Bert Lloyd are interesting on this and you can read those at Mainly Norfolk. This Mudcat thread picks up the idea of it being a shanty. Whilst I can’t say categorically that it’s Anne’s version being discussed the suggestion of a slow tempo shanty being quite serviceable is interesting. It does however seems a little mournful and I also think Bert’s idea of a surviving ballad fragment is possible, but having also read he was prone to putting his own spin on things, I wonder. As a ballad it surely belongs in the night visiting group.
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It’s been a while since we’ve had a Kipling/Bellamy number and Jon says, “I first heard this from Jess Arrowsmith who has just recorded it on a rather splendid CD of children’s songs featuring, amongst many others, yours truly contributing a deeply unconvincing pig sound effect in Old Macdonald. I actually learnt this to record at Bateman’s, Kipling’s house, now owned by the National Trust. Duncan Miller from Vulcan Recordings recorded me straight to wax cylinder and has now pressed the recording onto vinyl cylinder, and it is part of a hands-on phonograph sound exhibit in the museum. Certainly the best excuse I’ve ever been able to give for missing a meeting was ‘Sorry, can’t be there, have to record a song on wax cylinder in Rudyard Kipling’s front room.’”

I’ve said before how much I’ve enjoyed these Kipling adaptations. There’s something very straightforward about the way he writes, capturing so much with equally great economy. This is no disappointment either, delighting in the moral ambiguity that the subject deserved. It led me to this link about Sussex smugglers and another of those “I really do know nothing” moments. I’d never considered the wool trade as being at the root of it. Anyway, it’s the turn a blind eye sentiment that’s telling in this song, with “Baccy for the Parson, brandy for the clerk” (or vice versa!), as two figures of respectability benefit from the illicit trade. I wonder how many of us haven’t also benefited in some little way. At the same time there’s menace to the instruction to “watch the wall as the gentlemen go by.” Clearly the gangs involved were prone to violence back then, perhaps because of the ultimate sanction if caught. But it’s a lot harder to be ambivalent about smuggling these days. The cargo has changed and much misery results. Even the avoidance of duty impacts on the welfare state and more, whereas perhaps the levy was once bound to simply swell the coffers of war. As an aside and to end on a brighter note, those with young children might appreciate this link.
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One from Jon’s solo album and he says, “Following on from yesterday this will be the only self-composed number I will be including on AFSAD (promise), but there are two or three songs on Songs From The Floodplain that work unaccompanied and have (I understand) begun to make the odd appearance in folk club floors spots. Don’t think anyone’s had a go at this one yet so thought I might as well have a go myself.”

I’ll add that Jon’s ambitious album is a treat, although on reflection I’ve realised it’s something that I still need to spend more time with and here’s the inspiration to do just that. I missed the tour of this as well, something I hope I get the chance to rectify.
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Jon says, “I believe this is the only song Nic Jones wrote in its entirety. A grim but moving summary of human existence, the subtext of which is, I suspect, carpe diem.”

I can add that I’ve come across two other sole writing credits, the songs Green to Grey and Rapunzel, not that it’s especially important. Given his output, however, this may not be exclusive but is pretty rare none the less (should you wish it Mainly Norfolk has a very good discography here.) A shame I think, although Jones may well have felt there was more of merit in the tradition (as some do here.) I don’t have his original to compare, but I like the way that this works. It seems to me part carpe diem and part lament to lost spirituality overtaken by worldly trappings.
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Here’s a little insight into the Boden repertoire as Jon says, “Arthur Knevett is a wonderful revival singer who Fay introduced me to (on cassette, not in person.) He’s got a similar approach to Lou Killen but with his own individual style and, perhaps most importantly, he digs up some great obscure songs, such as this one.”

Sadly Arthur remains elusive on the web so I can’t add much detail about him, although he sings a version of Lord Bateman on the Fellside Ballads CD. His style is described as “straightforward declamatory” in the sleeve notes. What that means I’m not exactly sure, but having given it a spin, I think he handles that particular epic with aplomb. This song is from the Copper’s collection and their site has this collected by Bob in Stopham, Sussex in 1954 from a council roadman called George Attrill. You can link here to the Copper’s web entry and note that it was published in Southern Songs And Breezes and Mainly Norfolk covers the Topic LP of the same name.  You’ll see George’s version was included on that release.  It’s a curiously jaunty little number that ends in tragedy and a cautionary tale to all. Finally, if you know more about Arthur Knevett please add to this as I’m intigued.
You can buy the January digital album now from all good download stores.