Bart Peeters komt op de proppen met I’m into folk.
Tijdens een optreden van The Pogues op Pinkpop had Bart Peeters gezien hoe een duidelijk door de folk geïnspireerde groep als The Pogues het publiek kon begeesteren, beter nog dan de Red Hot Chili Peppers. Als het mij nu eens zou lukken, dacht Bart, al die folkclichés in één liedje te vatten. Hij ging op zoek naar een geschikt doordeweeks riedeltje op zijn gitaar, zo eentje, of het nu folk is, of flamenco of wat dan ook, dat vlot in het gehoor ligt. Daarmee zou de song moeten beginnen en dan zouden de clichés de revue mogen passeren. I’m into folk moest , dat wou Bart , cabaretesk klinken, grotesk zelfs. Het nummer werd uiteindelijk een pastiche, een doelbewuste slechte nabootsing van de oerdegelijke Ierse folkmuziek. Begin 1989 geraakten The Radios met I’m into folk tot in de staart van de BRT Top 30
“Amsterdam” is a song by Jacques Brel. It combines a powerful melancholic crescendo with a rich poetic account of the exploits of sailors on shore leave in Amsterdam.
Brel never recorded this for a studio album, and his only version was released on the live album Enregistrement Public à l’Olympia 1964. Despite this, it has been one of his most enduringly popular works.It was one of the songs Mort Shuman translated into English for the musical Jacques Brel is Alive and Well and Living in Paris.
Brel worked on the song at his house overlooking the Mediterranean at Roquebrune-Cap-Martin, the house he shared with Sylvie Rivet, a publicist for Philips; a place she had introduced him to in 1960. “It was the ideal place for him to create, and to indulge his passion for boats and planes. One morning at six o’clock he read the words of Amsterdam to Fernand, a restaurateur who was about to set off fishing for scorpion fish and conger eels for the bouillabaisse. Overcome, Fernand broke out in sobs and cut open some sea urchins to help control his emotion.
Originally the song was situated in Antwerp, but moved to Amsterdam as ‘Dans le port D’Anvers’ does not fit the meter. Noteworthy is that in modern Amsterdam there is still a port, but owing to widespread automation and decline in crew sizes, there are far fewer sailors on shore leave.
In writing the lyrics to “Lord of the Dance” in 1963,
Sydney Carter was inspired partly by Jesus, but also partly by a statue of the Hindu God Shiva as Nataraja (Shiva’s dancing pose) which sat on his desk, and was partly intending simply to give tribute to Shaker music. He later stated, “I did not think the churches would like it at all. I thought many people would find it pretty far flown, probably heretical and anyway dubiously Christian. But in fact people did sing it and, unknown to me, it touched a chord … Anyway, it’s the sort of Christianity I believe in.”
“Drunken Sailor” is a sea shanty, also known as “What Shall We Do with a/the Drunken Sailor?”
The shanty was sung to accompany certain work tasks aboard sailing ships, especially those that required a bright walking pace. It is believed to originate in the early 19th century or before, during a period when ships’ crews, especially those of military vessels, were large enough to permit hauling a rope whilst simply marching along the deck. With the advent of merchant packet and clipper ships and their smaller crews, which required different working methods, use of the shanty appears to have declined or shifted to other, minor tasks.
“Drunken Sailor” was revived as a popular song among non-sailors in the 20th century, and grew to become one of the best-known songs of the shanty repertoire among mainstream audiences. It has been performed and recorded by many musical artists and appeared in many popular media.
Although the song’s lyrics vary, they usually contain some variant of the question, “What shall we do with a drunken sailor, early in the morning?”
In some styles of performance, each successive verse suggests a method of sobering or punishing the drunken sailor. In other styles, further questions are asked and answered about different people.