19 Feb

Review in Huffington Post

Miller’s strong baritone is backed by his own guitar, bouzouki, and harmonium, and by Gosa’s harmony singing, mandolin, banjo, mandola, and guitar. They do a sweet job on all the arrangements, creating a varied and satisfying album. Some of the songs are delightfully quirky Americana, from the Vaudeville piece “The Day I Played Baseball” to the grimly realistic yet somehow playful log-driver’s song “Roll, You Drivers, Roll”

-Stephen Winick, Huffington Post 2/18/2015

What a nice surprise to find our album The Falling of the Pine reviewed today in the Huffington Post! Wish I could say we were going to make it down to the upcoming Folk Alliance conference referenced in the article.  Randy and I are both honored to mentioned alongside The Alt (Eamon O’Leary, Nuala Kennedy, John Doyle). If you haven’t heard their recent album… you’re missing out. It’s beautiful.

The reviewer, Stephen Winick, is a folklorist at the American Folklife Center where I spent a glorious week this summer digging up songs and stories from their incredible collection of field recordings and unpublished transcriptions. He mentions my work identifying lost recordings of Michael Cassius Dean (many of which I write about, transcribe and sing on my blog).

17 Nov

The Clipper Ship Dreadnaught (Laws D13)

The Clipper Ship Dreadnaught_Gordon

We have a flash packet, she’s a packet of fame,
She belongs to New York and the Dreadnaught’s her name;
She is bound for the ocean where the stormy winds blow,
Bound away on the “Dreadnaught” to the Westward we’ll go.

Now we are laying at the Liverpool dock.
Where the boys and the girls on the pier-heads do flock,
And they gave us three cheers while their tears down did flow,
Bound away on the “Dreadnanght” to the Westward we’ll go.

The “Dreadnaught” is lying in the river Mersy,
Waiting for the tug “Constitution” to tow us to sea,
She tows around the Black Rock where the Mersy does flow,
Bound away on the “Dreadnaught” to the Westward we’ll go.

And now we are howling on the wild Irish sea,
Where the sailors and passengers together agree,
For the sailors are perched on the yard arms, you know,
Bound away on the “Dreadnaught” to the Westward we’ll go.

Now we are sailing on the ocean so wide,
Where the great open billows dash against her black side,
And the sailors off watch are all sleeping below,
Bound away on the “Dreadnaught” to the Westward we’ll go.

And now we are sailing off the banks of New Foundland,
Where the waters are deep and the bottom is sand,
Where the fish of the ocean they swim to and fro,
Bound away on the “Dreadnaught” to the Westward we’ll go.

And now we are howling off Long Island’s green shore,
Where the pilot he bards us as he’s oft done before,
Fill away your main top sails, port your main tack also,
She’s a Liverpool packet, Lord God, let her go.

And now we are riding in New York Harbor once more,
I will go and see Nancy, she’s the girl I adore,
To the parson I’ll take her, my bride for to be,
Farewell to the “Dreadnaught” and the deep stormy sea.

___________________

This month we are back to Minnesota singer Michael Cassius Dean with another song where I have taken the text from Dean’s 1922 Flying Cloud songster and transcribed the melody from Dean’s singing on a 1924 field recording made by Robert Winslow Gordon. The Gordon recording of this song is quite hard to hear so I was also aided by Franz Rickaby’s 1923 transcription of Dean singing “The Clipper Ship Dreadnaught.”

The Dreadnought (originally spelled with an “o”) was a famous packet ship that carried both goods and passengers (including many immigrants to the US) between Liverpool and New York in the 1850s and 60s. She was celebrated for her great speed.

the_dreadnought_cropped

from the book From the Forecastle to the Cabin (1887) by Captain Samuel Samuels (the Dreadnought’s captain)

The song seems to be of American origin though it was no doubt modeled on similar English songs. Dean was one of many Great Lakes region singers who sang “The Dreadnaught” and it was also popular in the maritime provinces of Canada. The only version I have found from outside North America is one collected by Sam Henry from a Co. Donegal singer where the ship’s name has been changed to “The Zared” and the port of origin is “Londonderry” instead of Liverpool.

More info on this song available from the Traditional Ballad Index here.

12 Sep

Lovel (Laws L13B)

Lovel

As Lovel was walking a walking one morning
He espied two pedlers two pedlers a coming
He boldley stept up to them and called them his honey
Saying stand and deliver boys for all I wants your money.

Lol te de a de um, Lol te de a dum.

O we are two pedlers two pedlers are we sir
And you are Mr. Lovel we take you to be sir
O we are two pedlers that have lateley cam from dublin
And all that we have in our box is our bedin and our clothing.

As Lovel was walking up kinsberry mountain
He espied two rich misers their guines they were counting
First he cocked his blunderbus and then he drew his rapier
Saying stand and deliver boys for I’me a money taker.

O Lovel O Lovel my poor harts a breaking
For little did I think my love you ever would ben taken
And if I had ave knawn that the enemy was a coming
Ide have fought like a hero although Ime but a woman.

O Polly O Polly my poor harts a breaking
If it had not been for you my love I never would been taken
For while I was a sleeping not thinking of the matter
You discharged my pistols and loded them with water.

As Lovel was walking all up the galos lader
He called to the sherif for his irish cap and fether
Saying I have robed money but never killed enny
I think it hard that I must die just for grabing money.
__________________________________

From 1923 through 1927, folklorist and song collector Robert Winslow Gordon edited a column in the pulp magazine Adventure called “Old Songs That Men Have Sung.” Each column included folksong texts sent in by readers from their own memories, personal song notebooks and singing friends and family members. Gordon received over 3000 letters from readers, many in search of words to half-remembered songs and many contributing songs themselves.

During my trip to the American Folklife Center this past June I was able to sift through these letters and Gordon’s typed responses to them – all of which are in the AFC’s amazing archive. Going through the letters (the AFC staff allowed me to work with the brittle originals!) gave me insight into the lives and motivations of singers from that era. Many writers lamented the changing times and the loss of the traditional singing cultures they grew up with.

The words to this version of “Lovel” appear in a set of songs sent in to Gordon in 1924 by singer Reuben Waitstell Phillips of Akeley, Minnesota (see N.S. Oct. 2013). Phillips’ accompanying letter began:

              Dear Sir,
I am an old man and my hand shakes so that I am compeled to use a pencil insted of pen and ink but I am going to send you a few old songs that men have sung if you can use them well and good if not why just a little time spent.

Gordon was delighted by the 22 song texts sent in by Phillips and he chose “Lovel” to print in his next “Old Songs” column. He introduced the column saying:

A MOST valuable contribution arrived last week from Mr. R. W. Phillips of Akeley, Minnesota—a forty-six-page manuscript of twenty-two songs, every one of them worth while! I have sent Mr.Phillips, in your name and mine, our heartiest thanks. May his voice be heard often!

Above, I have given the text as Phillips supplied it, complete with unconventional spellings. The transcription is my own based on a wax cylinder recording made by Gordon of Phillips during a visit to Akeley (from what I can tell in researching the family, the Phillipses lived south of Akeley near Chamberlain, MN) the same year he received the letter.

The song is a distant variant of “Whiskey in the Jar.” Similar versions were collected in Vermont and Maine but Phillips’ melody is quite unique… and fun to sing!

More on this song and its more well-known variant “Whiskey in the Jar” here.