22 Oct

The Three Dreams

John Bull he was an Englishman and went to tramp one day,
With three pence in his pocket for to take him a long way,
He travelled on for many a mile, yet no one did he see,
’Til he fell in with an Irishman, whose name was Paddy Magee.

“Good morning Pat,” said John to him, “where are you going to?”
Says Pat, “I hardly know myself, I want a job to do,”
“Have you got any money about you?” said John Bull unto Pat,
Says Pat, “It’s the only thing I’m lacking for I haven’t got a rap.”

Then they overtook a Scotchman who like them was out of work,
To judge by his looks he was hard up, and as hungry as a Turk,
“Can you lend me a shilling Scotty?” at last said Paddy Magee,
“I am sorry I canna,” said the Scotchman, “for I hae nae got ane bawbee.”

Said the Englishman, “I three pence have, what can we do with that?”
“Buy threepenny worth of whiskey!  It will cheer us up,” says Pat,
“Nae dinna do that,” said the Scotchman,  “I’ll tell you the best to do,
We’ll buy threepenny worth of oatmeal, and I’ll make some nice burgoo.”

“I think we had better buy a loaf,” the Englishman did say,
“And then in yonder haystack, our hunger sleep away,
We can get a drink of water from yonder purling stream,
And the loaf will be his in the morning who has had the biggest dream.”

The Englishman dreamt by the morning, a million men had been,
For ten years digging a turnip up, the biggest ever seen,
At last they got that turnip up, by working night and day,
Then it took five million horses, this turnip to cart away.

Said the Scotchman, “I’ve been dreaming fifty million men had been,
For fifty years making a boiler, the largest ever seen,”
“What was if for?” said the Englishman, “Was it mad of copper or tin?”
“It was made of copper,” said the Scotchman, “for to boil your turnip in.”

Said the Irishman, “I’ve been dreaming an awful great big dream,
I dreamt I was in a haystack, by the side of a purling stream,
I dreamt that you and Scottie were there, as true as I’m an oaf,
By the powers, I dreamt I was hungry so I got up and ate the loaf.”

This month we have a great “punchline” song from the repertoire of Angelo Dornan of New Brunswick. I transcribed the above from Helen Creghton’s 1956 recording of Dornan’s singing. Creighton’s collection titles the song “Johnny Bull.” Broadside versions, which date it to the latter half of the 19th century, usually use the title “Paddy Magee’s Dream” or “The Three Dreams.” A version from Donegal singer Jim Doherty titled “John Boiler” is available via the Inishowen Song Project collection on at itma.ie. I heard it sung at with great effect by Pennsylvania singer Steve Stanislaw at a session at a festival out east.

The caricature of the “Scotchman” in the song references his desire to make “burgoo.” According to Anthony Willich’s 1802 Domestic Encyclopaedia, burgoo was the name for the oatmeal porridge “eaten by mariners, and much used in Scotland.”

20 Aug

Darby O’Leary

I strayed far away from the old County Down,
Aiming for riches for fame and renown,
I wandered ‘til I came to Galbally town and was hired to Darby O’Leary.

When we entered his kitchen, I entered it first;
It seemed like a kennel or a ruined old church:
Says I to myself, “I am left in the lurch in the house of old Darby O’Leary.”

Two praties he gave me for supper at night,
With a cup of sour milk that would sicken a snipe,
He was stingy and heartless I ne’er saw the light; oh, a hard man was Darby O’Leary.

The silly old miser he sat with a frown,
While straw was brought in for to make my shakedown,
I wish I had never seen Galbally town or the sky over Darby O’Leary.

I worked in Tipperary, the Rag, and Rosegreen,
I worked in Knockainey and the Bridge of Aleen,
But such woeful starvation I’ve never yet seen as I got from old Darby O’Leary.

Also known as “The Galbally Farmer,” this song is a fine example of a worker’s complaint song about a bad boss and unpleasant working conditions. Oxford’s Bodleian Library has a broadside version of this (probably from the early 1800s) entitled “The Spalpeen’s Complaint of Darby O’Leary” and another version also appears in P. W. Joyce’s 1909 Old Irish Folk Music and Songs.

The version above takes its melody from New Brunswick singer Angelo Dornan. The verses are based on those sung by Dornan (verse 4), New York/New Hampshire singer Lena Bourne Fish (verses 1 and 3) and Tom Lenihan of County Clare (verses 2 and 5). Fish’s opening verse is the only one I have seen that has the protagonist hailing from County Down. Galbally, County Limerick is in the southeastern corner of the county on the border with Tipperary.

20 Nov

Sweet Mary Jane

My true love’s name was Mary Jane,
Her epitaph reveals the same,
Her grace and charm I will proclaim,
Through all my days moreover,
Where could you find a fairer dame,
And search this wide world over.

“My love and I we did agree,
That when I would return from sea,
We’d go straightway and married be,
And live a life of leisure,
No more to face the stormy sea,
In quest of gold and treasure.

“But I had not gone across the main,
When cruel death had my companion slain,
The pride and beauty of the plain,
In her cold grave lay moldering,
And our fond plan was all in vain,
Amid the ruins smoldering.

“I am distressed what shall I do,
I’ll roam this wide world through and through,
I’ll sigh and sing for sake of you,
My days I’ll spend in mourning,
And in my dreams I’ll wander through,
The lane that knows no turning.

A sad and beautiful song this month that was collected from several singers in eastern Canada and that was also in the repertoire of Minnesota singer Michael Dean. In most Canadian versions, the lost lover’s name is “Phoebe” (or “Bright Phoebe”). In Maine, singer Carrie Grover learned it as “Sweet Caroline” while in Minnesota, Dean sang “Mary Jane” and printed it as “Sweet Mary Jane” in his 1922 songster The Flying Cloud.

The above melody is my best effort to transcribe the richly ornamented version sung by New Brunswick singer Angelo Dornan. We do not know what melody Dean used but most collected melodies, including Dornan’s, show a resemblance to the famous “Greensleeves” melody. Dornan’s striking twists and turns make his air refreshingly unique. For text, I subbed in Dean’s first line and made a couple small changes of my own but otherwise stayed close to Dornan’s version including its unique six-line poetic structure (most other versions have four-line stanzas). Dornan sang two additional verses to what appears here and a transcription of his full version appears in Helen Creighton’s Maritime Folk Songs.