Peter Franklyn Bellamy (8 September 1944 – 24 September 1991) was an English folk singer. He was a founding member of The Young Tradition but also had a long solo career, recording numerous albums and touring folk clubs and concert halls. He committed suicide in 1991.

Contents 1 Early years 2 Solo work 3 Recording Kipling's ballads 4 Suicide 5 Vocal singing style 6 Discography 7 Trivia 8 References

Early years

Peter Bellamy spent his formative years in his native North Norfolk, living in the village of Wighton and attending Fakenham Grammar School in the late 1950s/early 1960s. His father worked as a foreman on the local farm. He studied at the Royal College of Art 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.

He dropped out of college in 1965 to become a member of "The Young Tradition" with Royston Wood and Heather Wood. 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 accompanied himself on the anglo concertina and 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 then wrote a ballad-opera: The Transports. It was a huge act of faith for the Free Reed record label to produce this. 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 story of the early transportation ships, taking convicts to Australia. 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.

One of his best traditional albums was "Fair Annie" (1983), re-released on CD in 2004.

"Wake The Vaulted Echoes" is a set of 3 CDs covering his whole career.

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 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.

”

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 Source: Peter Bellamy discography
• Peter was a right-wing folk singer. Karl Dallas wrote an obituary containing these words: "But Conservative though he may have been in politics (or, more probably, completely apolitical, if such a thing be possible ..." (Ref: http://www.folkmusic.net/htmfiles/inart511.htm). The website www.thesession.org contains this opinion; "he was a rabid right-winger" (Ref: http://www.thesession.org/discussions/display/9873). One of his ancestors, Surgeon-Commander Bellamy, had served with Nelson.

References

1. Cupid's Garden is one of the songs in Jim Copper's song book, reproduced in Bob Copper's book A Song for Every Season, Heinnemann, London, 1971. pp.252-253