song - evergreentrad

25 Oct

Farewell to Caledonia

My name is Willie Rayburn, in Glasgow I was born,
The place of my residence I was forced to leave in scorn;
From home and habitation was forced to gang awa’,
So fare-you-well, you hills and dales of Caledonia.

The crime that I was taken for was robbery and fraud,
I lay the blame on nae one upon this earthly sod;
I lay the blame on nae one, but comrades I had twa,
So fare-you-well, the hills and dales of Caledonia.

It was early the next morning before the break of day,
Our turnkey came to us, those words to us did say,
“Rise up, you pitiful convicts, I warn you one and a’,
This day you leave the hills and dales of Caledonia.”

Then I arose, put on my clothes, my heart was filled with grief,
My friends they gathered around me, but could grant me no relief;
They bound me down in irons for fear I’d run awa’,
So fare-you-well, you hills and dales of Caledonia.

Here is to my old father, he is one of the best of men,
And also to my own true love, Catharina is her name,
No more we will roam by Cylde’s green banks or by the brim awa’,
This day I leave the hills and dales of Caledonia.

Goodbye to my old mother, I am sorry for what I have done,
I hope it ne’er will be cast to her the race that I have run;
I hope the Lord will protect her when I am far awa’,
So fare-you-well, you hills and dales of Caledonia.

We return to the deep and fascinating repertoire of Irish-Minnesotan singer Michael Dean this month for a Scottish song that has a long history in Ireland. Like “Highland Mary” and other songs, “Farewell to Caledonia” likely came from the pen of a Scottish song maker and went to the north of Ireland with the flow of itinerant workers and immigrants between the two islands. It was printed as a broadside in Scotland in the mid-1800s as “Jamie Raeburn’s Farewell” (the song’s narrator is Jamie in most versions). Sam Henry printed a variant from Strabane, County Tyrone in his Songs of the People newspaper column in 1926. The song appears in several Scottish song collections and has been popular with many singers and bands since the folk revival of the 1960s.

Across the Atlantic, the song turns up in Mike Dean’s Minnesota-printed Flying Cloud songster as well as in the repertoires of two New England singers recorded by Helen Hartness Flanders: Sidney Luther of Pittsburg, New Hampshire and Charles Finnemore of Bridgewater, Maine. We have no record of what melody Dean used. Luckily, Finnemore is one of my favorite New England singers so I was delighted to discover the recording of him singing his version in October 1945. Finnemore’s melody is quite close to that sung by Ontario/North Dakota singer Arthur Milloy for the song “Mines of Cariboo” which is a favorite of mine. The above is a combination of Dean’s text and Finnemore’s melody.

Woodcut from a 19th century broadside printing of “Jamie Raeburn” held by the Bodleian Library at the University of Oxford. See: http://ballads.bodleian.ox.ac.uk/view/sheet/26720

06 Sep

Never Go Back on the Poor

In this world of sorrow, of toil and regret, there are scenes I would gladly pass o’er,
But stern duty compels that each fact must be told, so through life we may check them the more;
Is it right that a man who has well earned his pay, on the pipes by the sweat of his brow,
Should wait like a beggar on green day by day, or else home in hunger to go?
Don’t show any favor to friend or to foe, the beggar or prince at your door;
If you always do right you will get your reward, but never go back on the poor.

From the wild waste of waters there came a death cry, as dashed on an iron bound shore,
A noble ship struck in the darkness of night, and sank midst the tempest’s loud roar;
The captain asleep and the men of their post, with the coal and provision run short,
While the doomed ones they hoped for that bright Western land, which in sweet joyous dreams they had sought.
Can it be such neglect shall by us be forgot, or that money will triumph once more?
A good, willing hand, a stout branch and a rope, for those who go back on the poor!

When the divers went down ’neath the wreck for to search, for the bodies that lay far below,
“It’s nothing but a steerage,” was oft the remark, as a ghastly corpse came up to view;
As if only a steerage could shut out a soul, because poverty claimed him her own,
As if dollars and dimes was the source of all worth, and the road to all good that is known.
But the white star must change her color aloft, to blood red afloat and ashore,
Till the steamer Atlantic is forgotten by time, with her cargo of unburied poor.

This month we have another song from the repertoire of Irish-Minnesotan Michael Dean. The song itself is fairly obscure but its moral is one found with some frequency in Dean’s Flying Cloud songster. The 1922 book contains several songs encouraging sympathy for the plight of the poor, wayward and elderly. These include expressions of working class grief like “The Tramp’s Lament” and “The Long Shoreman’s Strike” and the tear jerking “She May Have Seen Better Days” about a girl huddled on the street in a big city who “was once someone’s joy, cast aside like a toy.” Dean also sang three songs specifically about elderly people cast out by their families to live out their days in the county almshouse: “Just Tell Them That You Saw Me,” “I Told Them That I Saw You” (a response to the former) and “Over the Hills to the Poor House.” Another song, “Jim Fisk,” includes the same repeating admonition to “never go back on the poor” that appears in this month’s song. Of all these, “Jim Fisk” seems to have been the most popular across the north woods. (The song is fascinating for its use of Fisk, a famous robber baron of the era, as an exemplar of ethical behavior—seemingly because he provided aid after the Great Chicago Fire and “did all his deeds, both the good and the bad, in the broad, open light of the day!”)

Sentimental songs advocating charity and mercy for the poor were common and popular on late 19^th century music hall stages and in oral tradition. They may have had a special resonance for Dean who no doubt met many the wayward son as a saloonkeeper in logging era Minnesota. Dean also owned a farm east of Hinckley that he sold to Pine County in 1905 to establish the county’s first poor farm. Dean stayed on as the institution’s manager for two years where he, again, would have met characters reminiscent of these songs.

The text of “Never Go Back on the Poor” appears in Wehman’s song collection No. 11 published in 1886 with the note that it’s tune is that of “Don’t Put Your Foot on a Man When He’s Down.” I found sheet music for “Don’t Put Your Foot…” in the Lester Levy Sheet Music Collection online and adapted it to Dean’s words above. The central story to this song, again used to evoke charity, is the 1873 wreck of the White Star Line passenger steam ship Atlantic. The Atlantic sunk off the coast of Nova Scotia and inspired other songs as well.

05 Jul

Two Irish Laborers

We are two Irish laborers, as you can plainly see,
From Donegal we came when small unto America;
We got work on the railroad, but sure it didn’t pay,
So we struck a job to carry the hod for two and a half a day.

Chorus-
Pat, be quick, bring up the brick, the mortar, too, likewise,
Then push along and sing a song as up the ladder you rise;
I always thought it bully fun to be a mason’s clerk,
And have the man on top of the house for to do all the work.

When we go back to Ireland, that dear old Emerald Isle,
Where the stranger finds a welcome and is greeted with a smile,
Then if you ever want a friend you needn’t try too hard,
You’ll always find one in the Irish boys that carried the hod.

A hod is a box with only three sides (imagine three walls of a cube that meet at a corner with the rest of the cube removed). Often mounted at the end of a stick, it is used to carry bricks or mortar during construction work. The image of Irish immigrant men as “hod carriers” was a recurring trope on the American music hall stage in the late 1800s and that’s where this song seems to have originated. However, the text above comes from Minnesota singer Michael Dean who, like other singers in the woods tradition, had a repertoire that freely mixed music hall songs with come-all-ye ballads and other song types. I have not come across “Two Irish Laborers” in any other collections so it may have been rare in tradition. Dean also sang “When McGuiness Gets a Job” which also references the hod (“he’s the boy that can juggle the old three-cornered box”). “McGuiness” originated on the stage and turns up in song collections from the Catskills and Prince Edward Island.

Thanks to some online newspaper archive sleuthing, I was able to connect “The Two Irish Laborers” to an influential 19^th century song and dance man named Dick Carroll. In April, 1924, The Brooklyn Standard Union ran a full page feature titled “Harking Back to the Good Old Days” in which one reader contributed this reminiscence: “In 1873, Dick Carroll, as the hod carrier, in his specialty of ‘Mortar and Bricks’ sang ‘Arrah, Pat be Quick Bring Up the Brick and the Mortar Too Likewise.’” According to Monarchs of Minstrelsy Carroll was born in New York City in 1832 and began performing publicly as a child before having a long career in minstrelsy and, later, the variety stage. He was known primarily as a dancer and Ryan’s Mammoth Collection even includes a tune called “Dick Carroll’s Clog.” “Mortar and Bricks” was his showpiece for many years.

With no luck finding a melody used by Dean or Carroll, I opted to borrow a melody sung by J. Molloy of St. Schott’s Newfoundland for another music hall song, “How Paddy Stole the Rope,” that has a similar opening line. Molloy’s unique and satisfying melody can be heard online via Memorial University’s fantastic digital collection “MacEdward Leach and the Songs of Atlantic Canada.”