Category Archives: Singer

“Kabul town’s by Kabul river”, and they’re both an awful long way away from the England where Kipling’s audience lived. Plus ça change eh?

This song commemorates a real military disaster from 1879, in which a cavalry squadron lost its way while fording the Kabul river at night and got swept away; 46 men were lost, and only 19 bodies were found. Kipling’s poem takes a few liberties with the story, suggesting that it took place just outside Kabul and in the course of a campaign to take the city; in fact it happened near Jalalabad, seventy miles away, and the cavalry in question had been sent out to put on a show of strength and intimidate rebellious locals.

What’s particularly striking about Kipling’s poem, and gives it far more power than the rather grubby story it’s based on, is the personal framing: it’s spoken by a man who lost his best friend in the river and is now beside himself with grief. After a while, the refrain’s cheery repetitions –

Ford, ford, ford!
Ford o’ Kabul River,
Ford o’ Kabul River in the dark!

take on an oppressive, nightmarish quality: in his mind, you feel, the speaker is still at the ford of Kabul river in the dark, and perhaps always will be.

Peter Bellamy’s arrangement of this song (on Keep on Kipling) is brisk and tuneful, with an uncluttered fiddle accompaniment from Chris Birch; Bellamy’s uncompromising, caustic delivery works well, together with the Mixolydian mode of the tune, to stop things getting too jolly. For myself I didn’t want to take any chances, so I slowed it down a bit and added some percussive noise (which may be familiar from a recent shanty).

This is another Bellamy arrangement of Kipling. The poem’s something of a tour de force in the sheer quantity of technical vocabulary that it manages to cram in, mostly but not exclusively in the odd-numbered verses; the ‘surface’ of the poem is at once off-putting and fascinating (“handsome to the cat-head now…”). The poet who this effect most puts me in mind of is W. H. Auden, of all people; I wonder if he ever acknowledged Kipling as an influence.

I haven’t been able to find any commentary on the poem. What seems to be going on is the launching of a small ship; the sail is unfurled in the first verse, after which attention switches to cables (I think) in the third, the eponymous anchor in the fifth and the wheel in the seventh. The terminology looks genuine, but I suspect it’s a bit overdone for effect; would anyone say “Up, well up the fluke of her!” when they could say “Raise the anchor”?

The tune is Bellamy’s; he took it at a similar pace. It’s an absolute sod to learn; even after I’d memorised it I had to sing it through several times before I was word-perfect. This recording was done in one take.

Let me put it on record here and now: I have no opinion on the virtues (personal, nautical, martial, political or literary) of Francis Drake. It’s not my period; I don’t know a lot about the man, and if I did I’m not sure I’d be a fan.

Kipling, however, was an admirer – or at least, he found it quite easy to put admiration of Drake into poetic form. Shanty form, even. Bellamy for his part had no particular objection to English patriotism, and he knew a good lyric when one stared him in the face.

And so we have this – and what a song it is. Every time I sing it I end up more than half persuaded that Drake was a great English hero, or at the very least that he was a very good sailor. Which may even be true. It’ll certainly seem true if you listen to the end.

Accompaniment: none. Arrangement: based on Bellamy’s simple but effective arrangement on Oak, Ash and Thorn, although I take it a bit quick.

This is another of Bellamy’s settings of Kipling. Unusually, this one isn’t from either of the Puck books or the Barrack-Room Ballads; it’s one of the poems interspersed through the Just-So Stories. There’s nothing really to it – it says one thing and then shuts up – but it has a simple eloquence which is very appealing. The last line probably relates to the age of the poem’s audience rather than its author; all the same, for me there’s a bit of poignancy in the realisation that I’m already older than Kipling when he wrote it, or Bellamy when he came up with the tune. Never been to Rio, either.

Accompaniment is English concertina, in a key that (I regret to say) suited my fingers better than my voice; I’ll do better (and go lower) another time. What with Bellamy’s brisk Anglo and Jon Boden’s beautifully wistful Maccann Duet accompaniment, this little song has now been recorded with all three of the main concertina systems. Anyone fancy setting it to a tango rhythm with bandoneon?

This is another of Kipling’s “romance of England” songs, the romance in this case taking an unusually literal – and sexual – form.

Anyone committed to a really long view of English history has to contend with a lot of discontinuities, particularly in the earlier parts of the story – population movements, changes of ruler, invasions. In 1066, England had to deal with “a French bastard landing with an armed Banditti and establishing himself king of England against the consent of the natives”, in Thomas Payne’s blunt formulation; within a couple of hundred years, the descendants of those same bandits were high-ranking landed gentry, none more English.

What had happened? One answer would be that the new ruling class had remoulded what it meant to be English in their own image, just as they had changed the language. Another answer – Kipling’s – is that the invaders had become English. Sir Richard’s song is about the moment when this starts to happen: when a Norman baron realises that he is no longer taking from England; instead, England has taken him. The phrase, obsessively repeated, has definite sexual overtones, which are entirely in keeping with the rest of the poem: what has taken Sir Richard is not the charm of the English countryside but the love of an English (Anglo-Saxon) woman. He’s helplessly besotted with her, and by extension with the country itself: a vividly appropriate image for the passion Kipling seems to have felt for England, or his idea of England.

Howe’er so great man’s strength be reckoned,
There are two things he cannot flee.
Love is the first, and Death is the second –
And Love in England has taken me!

The zither accompaniment is based loosely on Bellamy’s guitar accompaniment on Oak, Ash and Thorn (although it’s not played live, as you can tell). The flutes were inspired by Peter Gabriel’s “Here comes the flood”.

I’ve sung a few of Peter Bellamy’s settings of Rudyard Kipling already. The plan for the next few weeks is to get a few more done, and where possible to make links with traditional songs.

And where better to start than with this, Puck’s introduction – both of himself and of the deep history of England. There’s something cosy and reactionary about Kipling’s endless celebration of England, but also something enduringly strange. It’s not simply a matter of digging into the national history to demonstrate, Arthur Mee-ishly, that everything’s for the best in the best of all possible countries. There’s also a sense of being helplessly in love with everything about the country, past and present – all the way back to “the lines the Flint Men made to guard their wondrous towns”. The sense of history as something that’s left its traces on the landscape – something that’s still here – has never been conveyed more powerfully.

Accompaniment: C whistle and a concertina I’m still getting to grips with. There are also bees.