Posted by: David Harley | August 25, 2025

‘Before I Fall’ video

Video of (Please don’t pick me up) Before I Fall posted to Inspiration Point. I rediscovered the video by accident, and now I’m wondering why I never sang it in public.

Too much like me, perhaps…

Posted by: David Harley | August 11, 2025

Thomas Anderson – the eBook

This is a free eBook in PDF format about (mostly) my research into the death of Thomas Anderson in 1752. Anderson was the subject of an article for the Shrewsbury Folk Club magazine by the late Ron Nurse, which was the starting point for a song of mine that I’ve written about several times since, notably in my book So Sound You Sleep. Eventually that chapter became a series of articles for my Substack (Un)Selective Symmetry, and is now a short book in its own right. It also includes as appendices a couple of later songs with a tenuous connection to Kingsland, where Anderson was executed.

Image of book cover

Thomas Anderson eBook

Here’s the table of contents, just to give you the flavour.

Contents
Thomas Anderson………………………………………………1
Thomas Anderson…………………………………………..5
Thomas Anderson lyric ……………………………………7
Thomas Anderson Recording……………………………9
Historical Background……………………………………11
A Load of Cobblers (and Tanners and
Leatherworkers) ……………………………………….13
From the Guilds to the Flower Show ……………14
From House of Industry to Shrewsbury School
……………………………………………………………….18
The Arbour and the Old Show …………………….20
Death of a Rebel ……………………………………….25
Sources and References……………………………..30
Church Street and St. Alkmund’s…………………32
St Mary’s Church……………………………………….35
Admiral Benbow ……………………………………….35
Katherine Mary Harley……………………………….36
Robert Cadman…………………………………………38
Appendix 1: Black Velvet …………………………………..40
Appendix 2: from the Shropshire Gazetteer…………48
Appendix 3: Goose and Common ……………………….50
Goose And Common lyric ………………………………52
Another (later) version ………………………………….53
The Inclosure Acts…………………………………………54
Kingsland……………………………………………………..55
Harley’s Stone………………………………………………58
Goosed by The Commons………………………………61
Appendix 4: Jack in the Box ……………………………….63
Ida Gandy…………………………………………………….65
Lyric and Tune Links………………………………………66
A Bastille Soupçon ………………………………………..68
About David Harley…………………………………………..71

Posted by: David Harley | August 8, 2025

The Letitia Files

 

This is a collection of posts by or concerning the purely imaginary Ms Letitia Teaspoon, who ran a counselling service for the many irritating comment spammers who couldn’t resist posting to ESET’s WeLiveSecurity blog (and some of my personal blogs) when I was working with the company. Sadly, it turned out that comment spammers are impervious to satire, but I enjoyed writing the articles enough to rerun them as a series on my Substack (Un)Selective Symmetry. They’ve also appeared on Inspiration Point as a single post, but I thought I’d release the same post here as a free eBook in PDF format, in case anyone apart from Letitia wants their very own copy.

The Letitia Files

Posted by: David Harley | August 6, 2025

Keepsake Mill

My setting of a poem by Robert Louis Stevenson. From the New Silver Jug Band’s first album Farewell Reunion. The poem is from ‘A Child’s Garden of Verses’.

Link on recording on Bandcamp (you don’t have to buy it to listen). Keepsake Mill

Over the borders, a sin without pardon,
Breaking the branches and crawling below,
Out through the breach in the wall of the garden,
Down by the banks of the river we go.

Here is a mill with the humming of thunder,
Here is the weir with the wonder of foam,
Here is the sluice with the race running under—
Marvellous places, though handy to home!

Sounds of the village grow stiller and stiller,
Stiller the note of the birds on the hill;
Dusty and dim are the eyes of the miller,
Deaf are his ears with the moil of the mill.

Years may go by, and the wheel in the river
Wheel as it wheels for us, children, to-day,
Wheel and keep roaring and foaming for ever
Long after all of the boys are away.

Home from the Indies and home from the ocean,
Heroes and soldiers we all will come home;
Still we shall find the old mill wheel in motion,
Turning and churning that river to foam.

You with the bean that I gave when we quarrelled,
I with your marble of Saturday last,
Honoured and old and all gaily apparelled,
Here we shall meet and remember the past.

Words by Robert Louis Stevenson: ‘Dublin Shop Window’ image, tune and vocal by David Harley. All instruments by David Harley and David Higgen.

Posted by: David Harley | August 6, 2025

The Nightingale (Á La Claire Fontaine)

[Edited extract from my book So Sound You Sleep, recently posted to Substack]

This is a song reassembled from traditional sources, but so heavily restructured and freely translated that I can’t point to any single version as its prototype. I acquired a recording of it on my way back from a school trip abroad, and made my first pass at a translation when I still lived in the county (was still at school, probably.).

This is not, of course, related to the well-known nautical ballad The Nightingale, nor to any of numerous songs with similar titles such as The Sweet Nightingale. And yes, I know that Á La Claire Fontaine doesn’t mean ‘Nightingale’ – it means by a clear spring or fountain, literally. I simply chose to change the title to something that fits better with the translated version than with the best-known French version.

This was possibly originally a Jongleur song from the 15th or 16th century: the translation is based on French-Canadian versions. I was never quite happy with my original translation, and never sang it in public – if I sang it at all, it would have been in French. This version is much more recent than my unsatisfactory 1960s translation. The evolution of the World Wide Web during the interim enabled me to research the song’s origins much more easily, allowing me generate a version of the story that appealed to me more.

I’ve always liked one particular tune to this French song (also widely found in Belgium and Canada), but the words as I’d heard them have always seemed problematical to me, with the lover whining that he was unjustly discarded for being reluctant to give his lady a spray of roses. It’s hard to be too sympathetic toward a cheapskate, but the Wikipedia article linked below includes a version that doesn’t sound much different, but makes it clear that the singer is female, which sheds a very different light on the story.

When I found this and other versions where the protagonist was clearly female and the spray of roses symbolizes her maidenhead, it made much more sense, though it also makes it more difficult for me to sing it convincingly myself. (I have thought of attempting a male version that is nearer to the original sense, but that seems much more challenging.)

This is a rather free translation, picking up a possible interpretation that the lady lost out by giving in too easily, then being considered too ‘easy’ to marry.

C’est de mon ami Pierre, qui ne veut plus m’aimer,
Pour un bouton de rose, que j’ai trop tôt donné.

…my friend Peter is no longer in love with me
because I gave him my rosebud too soon…

Other versions suggest that she was dropped because she didn’t give in, as described below. As well as making my chosen subtext a little clearer, I’ve compressed the story by dropping a couple of very common lines referring to the protagonist bathing, as somehow that doesn’t seem to translate well. The song is often seen as a children’s song, but this particular take on the story should probably be considered a bit too explicit for that.

The version of the lyric on Wikipedia is closer to the version I originally learned, but a couple of small but very significant differences make it clear that the singer is female, rejected because she refused to give in to her suitor and let him take her ‘bouquet de roses’. The version I first learned included the misleading line “J’ai perdu ma maîtresse” (“I have lost my mistress…”) rather than “J’ai perdu mon ami” (“I have lost my [male] friend.”) The Wikipedia article includes a more-or-less literal translation. I’ve borrowed the best-known French refrain for the end of my recording: Il y a longtemps que je t’aime / Jamais je ne t’oublierai. A more literal translation of that chorus than I’ve used in translation would be “I have loved you for a long time, I will never forget you.”

Here’s a link to the track on Bandcamp.

[Music and original words traditional. Translated, arranged and adapted by David A. Harley. Guitar and vocal also by David A. Harley.]

The Nightingale Lyric

As I walked from my love’s wedding

By the spring where we once lay
From the top of a mighty oak tree
A songbird sang to me

It’s been so long that I’ve loved you
I never will love again

Sing, happy nightingale,
Sing, for your heart is light
Sing out your notes so merry
But all that I can do is cry

My love has wed another
Though I was not to blame
I gave to him my love too freely
Now someone wiser bears his name

Oh, how I wish that the rosebud
Still flourished on the vine
And that my false true lover
Still returned this love of mine

It’s been so long that I’ve loved you
I never will love again

Il y a longtemps que je t’aime
Jamais je ne t’oublierai

Posted by: David Harley | July 27, 2025

Substack Articles

You may be wondering what happened to that flurry of posts from earlier in the year…

The fact is, at the moment I’m concentrating on publishing my miscellaneous articles on Substack, mostly on my page (Un)Selective Symmetry. If you’re at all interested in what I’m writing about these days, you’re very welcome to take a look and even subscribe. (There’s no subscription fee.)

David Harley

Posted by: David Harley | July 6, 2025

Paper City (Slight Return)

A song I originally recorded in the 1980s, updated for the New Prize Silver Jug Band lyrically to reflect 21st century technology a little better. Though the global economic system was both corrupt and built on sand even at the time it was written. And as 2025 wears on, it feels astoundingly topical. You don’t have to pay for it to listen to it, but we won’t object if you do pay for it. ;)

Apologies to the shade of Jimi Hendrix for the new title.

lyrics

I woke up with my mind’s eye fixing your location:
I looked up and I saw you needed help.
You’re floating on algorithms that you can’t understand,
But you can’t produce one thing to help yourself.

Paper city at the heart of a paper empire:
You’ve got strings to pull, you’ve got wires all over the earth.
Sky-climbing parasite, stalking a paper jungle,
You’ve got money to burn, but I know you’d rather freeze to death.

You’ve got stacks of stocks and shares and bonds:
You’ve got more data than you’ll ever know how to use.
But you can’t produce as much as one lead pencil,
Or a bar of soap, or a rubber band to pull you through.

The media twitch at the flash of a freemason’s handshake:
Speeches are made and the punters gather round;
Paper politicians and faceless company men,
Sucking the sap from an ailing paper pound.

I bet you know just what you’re worth on paper:
When the market crumbles, what will you do?
So many cold people don’t own the earth they lie in:
Will you be OK in your green-lined paper tomb?

Paper city at the heart of a bankrupt empire:
Your towers get higher as your assets hit new lows.
Nose-diving parasite, I wouldn’t mind your dying,
But you’ll take so many with you when you go.

credits

from Farewell Reunion, released January 7, 2024

Music and original words by David Harley. Updated lyrics by David Harley and Dave Higgen. Vocals by David Harley.

Posted by: David Harley | May 27, 2025

Moonflow instrumental

Posted to a new Substack section, imaginatively called Wheal Alice Music.

My instrumental Moonflow was written and recorded in Ludlow, using Garageband on a MacBook. Originally it was a short, improvised introduction to a recording of Bert Jansch’s Needle of Death. Later, I thought the instrumental introduction was interesting enough to stand as a tune in its own right. (And I’m not at all biased.) That recording of Bert’s song hasn’t been released commercially, by the way.

The acoustic guitar that comprises the first section is actually the entire improvised introduction to Bert’s song. The second and third sections are the same section, but electronically tweaked and with overdubbed instruments.

This is the version that was released as a single. It also got a mention in my book So Sound You Sleep. If it matters, acoustic guitar was a Gibson J160E, the slide guitar was a Gretsch Bobtail round-neck resonator guitar, and the electric guitar was a Variax Standard impersonating a Coral Sitar and then (if I remember correctly – it was quite a few years ago and I didn’t make a note at the time!) a Rickenbacker 370. And if it doesn’t matter, feel free to disregard the previous sentence.

Recording:

Acoustic, resonator and electric guitars by David Harley.

Posted by: David Harley | May 26, 2025

Additions to Selective Symmetry Substack

Information about two new sections to my Substack publication Selective Symmetry: one specializing in music, the other in verse. There will be others, since it occurs to me that not everyone who is interested in some of my output will want to read all of it!

Posted by: David Harley | March 26, 2025

Floorsinging for Beginners update

A very old document that I’ve been promising to update since 2018.

Once upon a time, Neil Corbett of the Bracknell Folk Club asked on uk.music.folk:

“What would be your top 3 tips for aspiring folk club floor singers? I’d lke to put a top 10 tip list on our Bracknell Folk Website.”

However, the response was so enthusiastic that it seemed a shame not to use all the advice that was offered, so I suggested putting together an FAQ. In fact, this is less an FAQ (Frequently Asked Questions) document than a tipsheet, but we hoped it would be of use. The site on which I was keeping it disappeared several years ago, and in fact I’d forgotten about it until I came across it in a dark corner of my network. There are probably a lot fewer folk clubs around than when we put this together in the late 1990s, but I’ve been to enough open mic nights and jam sessions subsequently to believe that there are still people who are new to singing in public who might find it of some use, even if references to cassettes seem a little quaint in the second decade of the 21st century.

David Harley

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