31 Oct

Ye Noble Sons of Canardie

Come all you loyal Britons I pray you lend an ear,
Draw up your loyal forces and then your volunteers,
Oh we’re going to fight those Yankee boys, by water and by land,
And we never will return till we conquer swords in hand.
Oh you noble sons of Canardie, come to arms boys come.

O now the time has come, my boys, to cross the Yankee line,
We remember they were rebels once, and conquer’d John Burgoyne.
We’ll subdue those mighty Democrats, and pull their dwellings down,
And we’ll have the states inhabited with subjects to the crown.
Oh you noble sons of Canardie, come to arms boys come.

I’d rather fight the biggest fleet that ever crossed the seas,
Than twenty of those Yankee boys behind their stumps and trees,
For from hedges and from ditches and from every tree and stump,
You can see those sons of b—— those cursed Yankees jump.
Oh we’ve got too far from Canardie, run for life, boys, run.

O Prevost sighed aloud and to his officers did say,
The Yankee troops are hove in sight and hell will be to pay,
Shall we fight like men of courage, and do the best we can,
When we know they’ll flog us two to one, I think we’d better run.
Oh we’ve got too far from Canardie, run for life, boys, run.

The old ’76s marching forth, on crutches they do lean,
With their rifles leveled at us with their specs they take good aim,
And you know there’s no retreat for those who’d rather die than run,
Make no doubt that these are those that conquered John Burgoyne.
Oh we’ve got too far from Canardie, run for life, boys, run.

We’ve reached the British ground, my boys, we’ll have a day of rest,
I wish my soul that I could say ‘twould be a day of mirth,
But I’ve left so many troops behind, it causes me to mourn,
If ever I fight the Yankees more, I’ll surely stay at home.
Now we’ve got back to Canardie, stay at home, boys, stay.

A health to all the British troops, likewise general Prevost,
A health to all our families, and the girls that we love most,
To MacDonough and Macomb, and to every Yankee boy,
Now boys fill up your tumblers for I never was so dry.  
Now we’ve got back to Canardie, stay at home, boys, stay.

For this month’s song, we revisit the repertoire of the Phillips family of Chamberlain, Minnesota for a song about the Battle of Plattsburg during the War of 1812. Collector Robert Winslow Gordon recorded three verses (verses 1, 3 and 5 above) from the Phillips family in September 1924. Interestingly, he chose to record just one verse a-piece from brothers Reuben and Seymore and Reuben’s son Israel. The melody above is my transcription based on the three recordings which are quite similar in melody. Verses 2, 4, 6 and 7 above were taken from an 18 verse printed broadside of the song.

“Canardie” is a poetic reworking of “Canada” and the Phillips family had a close connection to the British invasion, via Canada, of northern New York during the War of 1812. According to Early History of the Town of Hopkinton [NY], Seymour and Reuben’s maternal grandfather Samuel Goodell (1778-1822) was briefly taken prisoner during a British Army raid on Hopkinton, New York’s ample flour supply in February 1814. The nearby Battle of Plattsburgh described in the song proved to be the decisive Yankee victory in the war. The song, though told from the British perspective, is clearly a Yankee composition.

The final verse mentions the two Irish-American military leaders credited with the Plattsburgh victory: US Army Brigadier General Alexander Macomb and naval Master Commandant Thomas Macdonough. Macomb’s father was from Ballynure, County Antrim and Macdonough’s great-grandfather hailed from Leixlip, County Kildare.

Broadside woodcut courtesy of Toronto Public Library’s Digital Archive Ontario
31 Oct

Down By the Tanyard Side

I am a rambling Irishman, and by love I’ve been betrayed,
Close to the town of Baitenglass there dwelt a fair young maid,
She was fairer than Hypatia bright and was free from earthly pride,
She was a darlin’ lass and her dwellin’ place, was down by the tanyard side.

Her lovely hair in ringlets rare, lay on her snow-white neck,
And the tender glances of her eyes, would save a ship from wreck,
Her two red lips so smiling and, her teeth so pearly white,
Would make a man become her slave, down by the tanyard side.

I courteously saluted her, as I viewed her o’er and o’er,
And I said “Are you Aurora bright, descended here below?”
“Oh no, kind sir, I’m a maiden poor,” she modestly replied,
“And I daily labor for my bread down by the tanyard side.”

So for twelve long months I courted her, ’til at length we did agree,
For to aquaint her father, that married we would be,
But ’twas then her cruel father, to me proved most unkind,
Which made me sail across the sea, and leave my love behind.

Farewell to my aged parents, to you I bid adieu,
I’m crossing o’er the ocean, all for the sake of you,
But if ever I return again, I will make this girl my bride,
And I’ll roll her in my arms, down by the tanyard side.

During a lifetime living in the Adirondack mountains of New York state, Sara Cleveland (1905-1987) gathered and sang songs from her Scottish and Irish family and broader community. She eventually compiled a notebook of over 600 songs. Her granddaughter Colleen Cleveland grew up learning Sara’s songs and tagging along with her grandmother, a cherished singer during the folk revival years, to folk festivals and other events. I had the good fortune to meet Colleen and hear her sing at a couple singing events out east and her singing and passion for the songs are very inspiring!

Another upstate New York singer and friend, Dave Ruch, has teamed up with Colleen Cleveland on a wonderful new project to get people singing old songs from the repertoire of Colleen’s amazing grandmother. You can learn more about their “New Audiences for Old Songs” here. One part of the effort is a collection of 75 Cleveland family songs (with audio recordings from Sara or Colleen as well as transcriptions) shared on the site in hopes that current musicians will create their own versions.

Above is my own transcription of Sara Cleveland’s singing of the Irish broadside ballad “Down By the Tanyard Side”—one of the songs offered up as part of the project. Cleveland’s version is quite similar to that printed by Colm Ó Lochlainn in his 1939 Irish Street Ballads. Longford-born American stage performer Frank Quinn recorded a similar text with a different melody in New York City circa 1926. There is another version in a book of songs from Pennsylvania that I do not have on my shelf yet but the only other “north woods” version I have located is one collected by Helen Creighton in Nova Scotia. Cleveland’s “Baitenglass” is given as Baltinglass in Ó Lochlainn which is the name of town in southwest County Wicklow.

13 Jun

Jack Rogers

Come, all you tender Christians, I hope you will lend ear,
And likewise pay attention to those few lines you’ll hear,
For the murder of Mr. Swanton I am condemned to die,
On the twelfth day of November upon the gallows high.

My name it is Jack Rogers, a name I’ll ne’er deny,
Which leaves my aged parents in sorrow for to cry,
It’s little did they ever think, all in my youthful bloom,
That I would come unto New York to meet my awful doom.

My parents reared me tenderly as you can plainly see,
And constant good advice they used to give to me,
They told me to shun night walking and all bad company,
Or state’s prison or the gallows would be the doom of me.

But it was in play houses and saloons I used to take delight,
And constantly my comrades they would me there invite,
I oft times was told by them that the use of knives was free,
And I might commit some murder and hanged I ne’er would be.

As Mr. Swanton and his wife were walking down the street,
All in a drunken passion I chanced them for to meet,
I own they did not harm me, the same I’ll ne’er deny,
But Satan being so near me, I could not pass them by.

I staggered up against him, ’twas then he turned around,
Demanding half the sidewalk, also his share of ground,
’Twas then I drew that fatal knife and stabbed him to the heart,
Which caused that beloved wife from her husband there to part.

It was then I went to Trenton, thinking to escape,
But the hand of Providence was before me, indeed I was too late,
It was there I was taken prisoner and brought unto the Toombs,
For to die upon the gallows, all in my youthful bloom.

I am thankful to the sheriff, who has been so kind to me,
Likewise my worthy counsellors, who thought to set me free,
And also to the clergyman, who brought me in mind to bear,
For to die a true penitent I solemnly do declare.

The day of my execution it was heartrending to see,
My sister came from Jersey to take farewell of me,
She threw herself into my arms and bitterly did cry,
Saying, “My well beloved brother, this day you have to die.”

And now my joys are ended, from this wide world I must part,
For the murder of Mr. Swanton I’m sorry to the heart;
Come, all you young ambitious youths, a warning take from me,
Be guided by your parents and shun bad company.

Sometimes doing the research into an old song’s background unlocks emotional weight that is hard to access from the words and melody alone. I found that to be the case with this grim ballad that was sung by Minnesotan Michael Dean, printed in his 1922 songster The Flying Cloud and subsequently recorded from Dean’s singing by Robert Winslow Gordon in 1924.

When I first came across it, it seemed like a tragedy in the form of a classic Irish come-all-ye like “The Croppy Boy” but without a noble cause behind the punished crime. It turns out that “Jack Rogers” describes a real and widely-publicized New York City murder from October 1857. Though there is no worthy motive here, the song sheds light on the hard and sometimes violent culture of Irish immigrant youths who came to New York in the wake of the Great Hunger.

Newspapers of the time reported that the “respectable old gentleman” John Swanston was returning from a market on a Sunday evening with his wife when they met three young Irish “loungers about the corners” at the corner of 10th Avenue and 21st Street. One of the three, 19-year-old Irish immigrant James Rodgers, allegedly provoked Swanston by letting his elbow stick out and hit him. An altercation ensued in which Swanston was fatally stabbed. Rodgers fled to a sister’s home in New Jersey but was apprehended and jailed in The Tombs – the Manhattan House of Detention of that time. After many appeals and much publicity, Rodgers was sentenced and hanged at The Tombs on November 12th, 1858.

Rodgers maintained throughout his captivity that he remembered nothing of the crime. This was generally attributed in the press, and in the subsequent ballad, to his being heavily intoxicated under the encouragement of his two friends. The song’s admonition to “shun bad company” sums up the newspapers’ take on the crime and the song could well have been written by someone who had access to the November 13th, 1858 New York Herald which lays this all out in detail.

Articles also talk about how exceptionally young, gentle and handsome Rodgers was and that he was always restrained and, if anything, sad when interviewed. He was well-loved by his family and the newspaper descriptions of their heartbroken hysteria at his execution are painful to read 115 years later. It is easy to see how the story inspired public sympathy. A prominent author of the time, Caroline Kirkland, even lobbied New York’s governor in hopes of staying the execution. In the end, Rodgers’ fate was held up as a warning to other potentially violent young men on New York’s streets.

The Library of Congress has a broadside ballad sheet of “The Lamentation of James Rodgers” that is clearly a match for the version sung by Michael Dean. Dean’s version (where the names have changed somewhat) is one of only a couple found in circulation among US singers. Another version was collected in Newfoundland and, interestingly, two versions turned up in Ireland. Sam Henry’s unpublished collection has one from the north and a snippet of a version from Kerry can be heard via the Muckross House Research Library site online.

Also, this is a good blog post about the James Rodgers crime and execution.