Song Information and Liner Notes
Saltpetre Shanty, 3:06
Rope Girls, 4:28
Every Sailor, 4:00
Boys, Away, 1:10
Gallant Frigate Amphitrite, 5:23
& Samuelson, 6:57
Clumsy Lover, 4:07
Female Rambling Sailor, 4:54
of Dreams, 5:11
Bransle De Bourgogne,
George Sands, Last Chance
There's one port I've never sighted
out of all the ports there be:
It's a place a feller talked of as was shipmates once with
An' this feller said the drinks there
are the best a man could find.
An' a sailor's always welcome, an' the girls are
An' the days are never scorchin' an' the
nights are never hot,
In that port he used to yarn of with the name I've clean
An' I'll never fetch that harbour, but
it's maybe for the best,
For I daresay if I found it it'd be like all the rest,
An' I like to think it's waitin', waitin'
all the while for me,
With the red wine an' the white wine an' the dancin'
an' the spree
C. Fox Smith
In our view, one sign of an exceptional song or tune is its
ability to be played in a variety of styles and approaches while
maintaining its inherent quality. Many classical themes have
withstood the translation into pop songs or rock music, and ethnic
folk melodies have been turning up in classical music for many
years. We have taken songs and tunes that we like and given them
a twist in our own direction.
These songs all have a nautical theme.
Five of them are actual shanties, or work songs.
Boys, Away and Hooker
John are sung unaccompanied in the traditional style, John
Damaray adds guitar, while The
Salpetre Shanty and the French shanty, Roulez
go all out with instruments. Though not truly shanties, The
Gallant Frigate Amphitrite and The
Female Rambling Sailor are traditional songs from the age
of sail that might have been sung during sailors' leisure
time aboard ship.
On to the more contemporary songs.
In 1920, C. Fox Smith (a female rambling sailor, herself)
wrote the words to The
Tow Rope Girls which William wed to the melody of another
traditional song, Queen Bungle Rye. We first
heard the true saga of Harbo
& Samuelson from its author Jerry Bryant at Mystic
Seaport's Festival of the Sea in 1989 and had to have
Every Sailor was written by nautical songwriter extraordinaire,
In a 1990's update of the folk tradition,
our friend Bob Walser sent us the words to Roulez
via fax machine. Because of Felicia's recent conversion
to hurdy-gurdyism, he included some suitable music, amoung which
we found the The Three Bourrées and the
set we call Port of Dreams. Quite recently we
learned that amoung these &quo;traditional" tunes were some
contemporary composed melodies. The first tune in Three
Bourrées is a version of a melody by Pierre
Imbert and the tune Last Chance is by Nigel
Eaton. We never heard the original versions of these and
our own interpretations grew in the playing. The Clumsy
Lover was written by Canadian bagpiper Neil Dickie.
It came to us by way of a Saint Patrick's Day gig in Seattle,
when a kilted piper played it for us. Again, our version varies
quite a bit from the original. Enjoy!
Produced by William Pint & Felicia Dale
Recorded at OMB Studios, Port Orchard, WA.,
Engineered by Rob Folsom
Executive Producer Annette Brigham
Cover art Vielle-à-Voile by W. Pint
& F. Dale
Photo by Dale Blindheim
Graphic design by Adrienne Robineau
The poem Port o' Dreams by C. Fox Smith from
Ships and Folks 1920 Houghton Mifflin Co.
John Peekstok appears courtesy of Telynor
Tom Lewis appears courtesy of Self-Propelled Music, and Flying
Port of Dreams, a Self Release Record #IEZ 734
©1991 William Pint & Felicia Dale
Felicia Dale vocals, hurdy-gurdy, penny whistles;
bodhran, keyboards on Inside Every Sailor
William Pint vocals, acoustic and electric guitar,
mandola, keyboards on The Gallant Frigate Amphitrite
Tom Lewis harmony vocals
John Peekstok synthesizer, bodhran, dumbek,
Jill Kennon clarinet on Three Bourrées
Special thanks to:
John &Anna Peekstok for advice and support,
Annette Brigham for making it possible,
Adrienne Robineau for graphic expertise,
Tom &Lynn Lewis for more than we can begin
Lori Marmon for all that hospitality, not to
mention the cats!
Dan Maher for abuse and encouragement,
and you for not making bootleg copies
of our recordings.
We simply couldn't continue making music or even survive
without CD and tape sales.
Thank you, thank you, thank you!!!