We hope to make things easier for people interested mainly in the music we make.

For us, the songs we sing are crucially aligned to our movement through landscape. The old songs, in their simplest conception, are creative responses of people to life in place.

As such, an old song lives best in its place of birth, to be released spontaneously within the echoes of its original expression, to turn from history to breath, and meet ears.

That means live, unamplified, on the land, and to people…

But since this is only a website, and can only reproduce digitalized recordings, that’s all we can share with you, until we meet in person.

So if you want to hear everything the website has available, without having to trudge through writing and photographs, this page is for you.

(Press MORE for the songs…)

Songs of Ed and Will, and friends
Spenser the Rover, recorded in February 2009 for the ‘Songs’ album.

Albert Berry and the Coal, recorded in February 2009 for the ‘Songs’ album.

Will & Ed Podcast, recorded by the bakery boys in woods near Monmouth, July 09:

The Leaves of Life (Seven Virgins), singing down a 300ft well near Winchester, April 09:

Country Life, album out-takes, autumn and winter verses:

Ryb-an-avon, at a busk in Llandrindod Wells, December 2009 :

Grey Funnel Line underneath the aquaduct of dreams, with Ginger,winter 09/10:

Ramblings Interview on BBC Radio 4,  with Clare Balding, on the Wiltshire Downs, May 2009 :

Good Old Way, at an Easter church service in Radnorshire, 2010:

finishing Lord of the Dance, into 3 Drunken Maidens, a gig at the Fforest Inn, Llandegley, April 2010:

High Barbary, sung in the woods, winter 2009 :

O Lord Hear my Prayer, in Michelmersh church with Susie and Ayla, May 09:

Parting Glass, us with Sam Lee in a rainy dome, 2009:

Husband’s Courage, album out-take, last verse:

Fare thee well lovely Nancy, sung around a fire on the South Downs, April 09:

Turtle Dove, sung by Ayla’s mum Annette on the South Downs, April 09:

Supper Songs

recorded summer 2008 with Ed,Will and Ginger, our first crack at studio recording:

Harvest Song

Grey Funnel Line

Adieu Sweet Lovely Nancy

Diggers song

Fiddler’s Green

John Barleycorn

.

Drunken sailor with Ayla and Annette on the South Downs, April 09:

Drunken Sailor, actually drunk, October 2010:

Rage against the dying of the light, sung by Annette on the South Downs, April 09:

Radio feature, part of a series on characters from Kent, by Richard Dadd and Dan Fryer, the Bakery boys, for BBC Radio Kent, Monmouth, July 09:

Will’s silly song – Sebastien stan, and he really is very silly, February 2010:

Burning of Auchidoon, a gig at the Fforest Inn, Llandegley, April 2010:

My Husband’s Courage:

Good Old Way - beside the river, under the aquaduct with Ginge, winter 09/10:

Grey Funnel Line – Jamming in the echo, the aquaduct with Ginge, winter 09/10:

a final note at the aquaduct, with Ginge, winter 09/10:

Sound play at the aquaduct:

Introducing Elvis of Preseli, who played with us at the Fforest Inn:

Sam Lee

came out to see us in Wales, winter 2009/10, and here he is singing:

Van Dieman’s Land

Cherry Tree Carol

The Clydeswater

Robin Hood and the Pedlar

Gower Wassail

Henry Martin

These are a couple of the songs we have been learning.

Because they are not polished, there are mis-takes, but they are energetic and exciting, we think.

not always neat and pretty

Press More for more…

High Barbary

The first documented version of this song dates from 1595, and refers to ships named the ‘George Aloe’ and the ‘Sweepstake’.

This version is an updating from the last half of the 18th century, when North African pirates were causing huge problems for English and American shipping.

These problems eventually led to the Barbary Wars of the early 19th Century. North America refused to pay the tributes demanded by North African Barbary states, for safe-passage of their ships.

This song, promoting Anglo/European high-seas success, acts as a piece of pro-government propoganda, convincing would-be sailors and investors that the merchant ships could fight back. Perhaps this indicates to the canny historian that the usual state of affairs was in fact the opposite…

The Parting Glass

This is a classic farewell for friends. It was here sung with Sam Lee as a third part harmony, in our rained-upon dome house, this winter gone.

It was once allegedly the most popular song in Ireland and Scotland, and dates in its earliest records to 1605, when a verse of the song was written in a letter by one of the Border Reivers, who was executed a year later.

We learned it from a Robin Williamson recording, and we recommend that anyone, hearing it from us as a new song, should refer onwards to Robin’s excellent version.

Thankyou for listening.

But we got there. And then, just before we brought the thing out properly, the wind called us, and out the door we went.

fal dee raddle o

Well, the whole walk passed with its many adventures, and still we did not release the CD. But that is fine, it will come out when it is best suited. Soon we hope, for we’re broke, and need shiny pennies to re-sole boots, to buy girls red wine, to keep ourselves in bread and cheese.

But we trust that all will come as it is needed.

For now, we’re bandying about scraps of old recordings. It’s a strange job we have here, working flat out for YOU…whosoever you may be. A paycheque is not part of the bargain. But, we both agree, that makes the work more integral and fulfilling, and provides the proper motivation for furtherance (viz. honesty and education, not reward).

Still, if you like all this work, and you appreciate how we are doing it all in the middle of wherever we find ourselves around Britain, with nothing but busking money to sweeten our labours…and if you know sponsors, good folk with spare pound coins, or boots…consider putting our cause their way, please do.

Right then. Have these snippets:

(from: My husband’s got no courage in him)

(from: Country Life)

Please enjoy, and sing…

Action photo with Bakery boys

Back in July, Richard Dadd and Dan Fryer from The Bakery came to visit us. They came to take an interview, to form part of a mini series they were producing for BBC Radio Kent. This series was all about strange and exciting things, in and originating from Canterbury, the capital of East Kent. Our sing[-song wanderings apparently qualified.

So up to the woods, just above Monmouth, did Rich and Dan pop. We had been here a few days already, as many visitors were coming out all in rapid succession at that time. We had made a little camp, and an office, with a fern roof, ash poles, and pine rootlet and nettle binding. We had busked in the town, and met some lovely people. Details will come, soon we promise, just as soon as we’ve finished building our winter home (whose walls are being stuffed with straw right now).

So with Rich and Dan, a fine day and evening were spent wandering through the woods, finding springs and gathering food. Although strangers until now, the pair are friends of friends from our home town, Canterbury, so it was a little like going home to meet them.

Rich and Dan are also deft audio editors, and canny interviewers. After editing a radio-friendly 5 minute episode, culled from the hours of cherry-chatter with which we filled their audio recording device, Rich and Dan found themselves with a lump of excess material. Believing there were sufficient good-sounds to produce another 30 minute podcast, they set to.

Our great thanks to them, for this is what they made:

doon we sung

We sung this down a 350 ft well, in the Milburys pub, just before Winchester.

The reverb was superb, if a little much. It is pure analogue f/x.

It is a great Easter song, and was recorded by May Bradley in Shropshire, a Gypsy lady who sings in a unique and beautiful style.

A less echo-drenched version of the song appears on our album.

Here be lyrics:

All under the leaves, and the leaves of life,

i met with virgins seven,

and one of them was MAry mild,

our lord’s best mother in heaven.

O what are you seeking you seven pretty maids,

all under the leaves of life?

We are seeking for no leaves Thomas,

but for a friend of thine.

Go down, go down into yonder town,

and sit in the gallery,

and there you’ll see sweet Jesus Christ,

all nailed to an elder tree.

So down they went into yonder town,

as fast as foot could fall,

and many a bitter and a grievous tear

from them virgins eyes did fall.

O peace, mother, o peace mother,

your weeping does me grieve,

for i must suffer this, he says,

for Adam and for Eve.

O how can i my weeping cease,

my sorrows under gall,

when i must watch my own son die,

and sons i have no more.

He’s laid his head on his right shoulder,

and death has struck him nigh,

the Holy Ghost be with your soul,

sweet mother, now i die.

O the rose, the gentle rose,

the fennel it grows so strong,

Amen, sweet lord, your charity

is the ending of my song.

the ending of my song...

Nancy, i'm off...

We recorded this on our little gizmo while on the edge of the highest hill in Hampshire. We could not find anywhere to camp on such a steep gradient, and were walking up and down a footpath trying to peer down the slope for flatlands.

And then we realized that the footpath on which we stood was flat, and wide enough, and a perfectly suitable place to kip. So we did.

We could smell the sea, and hear Skylarks when we woke. We were accompanied by Ayla and her mother Annette, for whom it was an intense pleasure to sing.

The fire you can hear in the background was not a forest confalgration, but a safe little cooking fire all lifted from the ground on damp logs. It’s ok.

Here are the lyrics:

Fare thee well, my lovely Nancy, for i must now leave you,

unto the salt seas i am bound for to go,

but let my long absence be no trouble to you,

for i will return in the spring as you know.

Like some pretty little sea-boy i will dress and go with you,

in the deepest of dangers i shall stand your friend,

in the cold stormy weather when the winds they are a-lowing,

my love i’ll be willing to wait on you then.

Your pretty little fingers cannot handle our rigging,

your pretty little feet to our top mast can’t go,

and the cold stormy weather, love, you never could endure,

therefore, lovely Nancy, to the sea do not go.

So fare thee well, my lovely Nancy, for i must now leave you,

unto the salt seas i am bound for to go,

but let my long absence be no trouble to you,

for i will return in the spring, as you know.

It is a beautiful song, to which we have given the monniker ‘trad Nancy’. For a while we considered naming our group by this same name – the trad nancies – till we thought better of it.

The song is said to go back to the late 17th century, and has appeared all over the world in various forms. Vaughn Williams recorded it from a Hampshire man, George Lovett, in the early 20th century, and we first heard it sung on a recording by Tim Hart and Maddy Prior.

Please enjoy, and sing it up.

We recorded this selection of songs in the summer of 2008, the evening before Ed headed off overland to Mongolia. It was an all night, fairly inebriated affair, with our good friend Shlauff engineering.  Ed managed to leave in time the next morning, and we had a little CD to trumpet ourselves with.

To hear the recordings, please do click for more.

Harvest Song

This song is from the Eastern counties of England, and recounts the harvest as a time of full community involvement, with many hands working together to provide for all.

Here is a recording:

It is considered a part of the ritual of gratitude that would follow the harvest’s completion, but we feel this view valorises the past. A good song at harvest is always sung in gratitude, and also in simple celebratory joy and wild mirth, without a mask of solemn ritual humility. The ‘heritage’ explanation of this song’s purpose gives excessive emphasis to its being a deliberate and considered religious tool, and shows insufficient awareness of the ubiquity of the ritual element in singing today.

Likewise, theories talk of this song’s ‘harvest horn’ as a lost tool of ceremonial origin. We feel it probably had the same dual ritual/practical role that a good shout does today, being an effective and satisfying way to awaken drowsy workers.

We learned this song from a version recorded by the Waterson family, which was played to us by a fellow in Hampshire. We have since found that our lyrical version deviates from its source, as a result of mis-hearing. The results are satisfyingly enriching in the song’s narrative. We are now pondering the evolutionary significance of blocked ears, as a vital crux of the oral tradition.

This song’s tune is poly-morphous, adaptable, and happily exists with other lyrics attached. We have adapted it to many occasions, with lines like ‘as we celebrate la belle sophie’s birthday’ and ‘as he smokes the kohibar’ working well.

Grey Funnel Line

This again is twentieth century song, but we feel is undeniably ‘folk’. It is borne of an individual’s emotional response to a situation that must be undergone. This song describes life in the Royal Navy. The song-title is a bluejacket’s (sailor’s) nickname for the RN. We find it an absolute pleasure to lean back and let this song soar. Its sweetness causes regular comment.

Here is a recording:

“Oh yeah, butter wouldn’t melt in your mouths, boys”.

Adieu Sweet Lovely Nancy

This song laments and celebrates the cycle of young men going away to sea. It is best known as a Copper-Song, as it was maintained by the family singing traditions of the Copper Family, of Rottingdean. It was last revived in the 1960s by Tim Hart and Maddy Prior, on their seminal ‘Folk Songs of Olde England’ LP.

Here be recording:

The Diggers’ Song

We learned this song in a fireside night off the Ridgeway path. Performing it is necessarily an episode of wild gesture and shaken fist, and can cause a degree of alarm.

Written in 1649 by Gerrard Winstanley, this is a political song, seeking recognition for the plight of the Diggers’ cause. The Diggers were active during Oliver Cromwell’s Protectorate, and Winstanley was their leader and spokesman. They were people unwilling to pay the taxes needed by the state to pursue civil warfare. They squatted and farmed wastelands, built little communities, and probably sang.

Priests and Landlords sent wave after wave of militia to pull down their houses, to uproot their crops, to smash these people down. The Diggers were notoriously non-violent, and lasted only two years before dispersing.
This song, and their message, survives them.

Recording:

“The power of enclosing land and owning property was brought into the creation by your ancestors by the sword; which first did murder their fellow creatures, men, and after plunder or steal away their land, and left this land successively to you, their children. And therefore, though you did not kill or thieve, yet you hold that cursed thing in your hand by the power of the sword; and so you justify the wicked deeds of your fathers, and that sin of your fathers shall be visited upon the head of you and your children to the third and fourth generation, and longer too, till your bloody and thieving power be rooted out of the land.”
(Winstanley, A Declaration from the Poor Oppressed People of England)

“When Adam delved and Eve span, who was then the gentleman?”

Fiddler’s Green

This is technically a song of the modern era, but exists in the national consciousness happily alongside its older brethren. Written by John Connelly, it discusses the sailor’s paradise, which sits somewhere beyond the winds, where fishermen dance and drink on tranquil seas. This song is popular with 8 year olds and sea-dogs alike.

John Barleycorn

This song tells the life cycle of barley. It can be dated to the early 1600s, and is an anthem of the English Folk scene, and an iconic symbol of its links to paganism and ale.

Here hear song:

Such associations have a mixed past. Theorists assert that this song was propagated by the Saxon Church, its function being to ease the transference of Anglo-Saxon pantheism toward the newly arisen Christianity. Its lyrics use recognizable pagan symbols: the nature cycle; vegetation spirits; the sacrifice and renewal of a divine king…but it is bound to a single central figure, the Christ-like John Barleycorn. Robbie Burns also re-wrote it, infusing its lyrics with Masonic symbolism. It has also been cited academically as evidence for national Vegetation Cults, to prove the speculations of Frazer’s Golden Bough.
It seems to have been a propaganda vehicle for many causes, with success for each. We have found that when we sing it, we attract cattle, a phenomenon open for interpretation.

The “beat-boxing” on this recording was a one-off novelty, and represents the type of baseless modernization that traditionalists suffer with every new generation of folk singer.

coo

While near the Sustainability Centre, Ayla’s ma, Annette, taught us this classic little song:

We found it a beautiful and compellingly catchy one, which we’re trying to learn as a pair.

Here are lyrics:

Fare you well, my dear, i must be gone, and leave you for a while.
If i roam away i’ll come back again, though i roam 10,000 miles, my dear,
though i roam 10,000 miles.

So fair thou art my bonny lass, so deep in love am i,
but i never will prove false to the bonny lass i love,
till the stars fall down from the sky, my dear,
till the stars fall down from the sky.

The sea will never run dry, my dear, nor the rocks never melt with the sun,
but i never will prove false to the bonny lass i love,
till all these things be done, my dear,
till all these things be done.

O yonder sits that little turtle dove, that doth sit on yonder high tree,
a making a moan for the loss of his love,
as i will do for thee, my dear, as i will do for thee.

Please enjoy, and sing…

the drunken sailor/tibetan monk/festy decorator

This is the great classic folk song, the unifying corker that everyone can join to sing.

We tried to sing it here with unusual gentility and emotional resonance…but it kept slipping back it uproar.

Here is another more raucous version, recorded Christmas 2010:

This is univerasl culture stuff. Try it. Open up the song in the pub one night, with guts and gusto, and you will find a heightened time is had by all.

Here are the lyrics:

what shall we do with the drunken sailor (x3)

early in the morning?

[chor: Hoo-ray, and up she rises (x3)

early in the morning.

- take him shake him try and wake him…

- lock him in the cabin with the captain’s daughter…

- give him a dose of salt sea water…

- shave his belly with a rusty razor…

- throw him in the scuppers with the bilge-pipe on him…

- chuck him in the longboat till he’s sobered up…

- put him in a dress and throw him to his shipmates…

- turn him over and drive him windward…

etc…

- that’s what we do with the drunken sailor…

please enjoy responsibly, and sing it right up…