21 Aug

Down in a Salley Garden

Down In a Salley Garden

It was down in a salley garden where me and my true love did meet.
I took her in my arrums and embraced her with kisses sweet,
Saying, “Love, tell me the reason Oh why you were so severe.
You must have some other suitor that’s more pleasing to your mind than me.”

Chorus:
And it’s not the time to go, boys, for to go my boys, to go away.
It’s not the time to go, brave boys, we’ll boast about it until day.

Well I called for a bottle of brandy for to drink in my true love’s company,
But she felt so proud and sassy she would not take one drop from me.
She bade me take love easy and not be so severe.
She bade me take love easy like the dew drops falling off yonder trees.

Chorus

Oh landlady, my darling, come fill us one bottle with speed.
I will pay you to a farthing, my darling indeed, indeed.
I will pay you to a farthing, my darling indeed, indeed,
Here’s a health to all my sweethearts who cause my poor heart to bleed.

Chorus

Oh once I had the money plenty even when I roamed about,
But now my pockets are empty and most of my credit’s out.
(skip 2nd half of verse melody)

Last Chorus:
And now’s the time to go, boys, for to go my boys, to go away.
Oh now’s the time to go, brave boys. We’ll boast no more
[spoken:] it’s breaking day.
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I had an amazing week researching traditional songs collected in the Upper Midwest at the American Folklife Center in Washington, DC at the end of last month. This month’s song comes from the AFC’s incredible holdings of material collected in Beaver Island, Michigan. Beaver Island was once a stronghold of Irish traditional song thanks to a high concentration of families with roots in the island of Arranmore, County Donegal (see N.S. Apr. 2013).

The AFC has two sets of recordings made on Beaver Island: one was made in 1938 by Alan Lomax, the other was made in 1940 by Ivan Walton. Both collecting trips focused on largely on one singer, John W. Green (1871-1964), who had a remarkable repertoire of over 200 songs. Green sang “Down in a Salley Garden” for both collectors and the above transcription is a composite of the two versions as sung by Green. Green’s singing is characterized by very short phrases and odd breaks that may have resulted from him being short of breath. Still, I like the effect in some spots and marked all the breaks in my transcription.

Though the song does share some poetry with the more famous “Sally Gardens” song, it is quite different in both form (it has a chorus) and sentiment.

26 Jun

Hello from the American Folklife Center

I thought I would make a quick post here to report that I’m having a fantastic week here researching songs and singers from the Upper Midwest at the American Folklife Center! The AFC is located within the Library of Congress (see photo below) in Washington D. C.

loc_front

Last month, I found out that I am a 2014 recipient of the AFC’s Parsons Fund Award which is funding my week here. The trip is allowing me to further my research into recordings made in 1924 of Minnesota singers Michael Cassius Dean, Reuben W. Phillips, Israel Phillips and Seymour Phillips. The recordings were made by Robert Winslow Gordon who founded the Archive of American Folk Song which evolved into the AFC. The archives here have a large collection of letters between Gordon and hundreds of singers, collectors and folksong lovers that he corresponded with and gathered songs from for a magazine column he edited throughout the 20s called “Old Songs that Men Have Sung.”  I have found some wonderful letters that give insight into how the Minnesota singers thought about their singing and their songs and where they learned their songs.

I have also been listening to amazing recordings made in Michigan (Beaver Island especially) by Alan Lomax and Ivan Walton.  Watch for the fruits of this week’s work in Northwoods Songs!

Thanks to the staff at the AFC–especially Todd Harvey who is helping me while I’m here and Ann Hoog who helped me track down the Dean and Phillips material back in 2012–I am so grateful for your help and for the AFC’s rich collection.

rwg_2246

30 Nov

Jerry Go Oil the Car (Laws H30)

Come, all you railroad section hands, I hope you will draw near,
And likewise pay attention to these few lines you’ll hear,
Concerning one Larry Sullivan, alas, he is no more,
He sailed some forty years ago from the green old Irish shore.

For four and thirty weary years he worked upon the track,
And the truth to say from the very first day he never had a wreck,
For he made it a point to keep up the lower joints with the force of the tamping bar;
Joint ahead and center back and Jerry go oil the car.

To see old Larry in the winter time when the hills were clad with snow,
It was his pride on his handcar to ride as over the section he’d go,
With his big soldier coat buttoned up to his throat, sure he looked like an Emperor,
And while the boys were shimming up the ties, sure Jerry would be oiling the car.

When Sunday morning came around to the section hands he’d say,
“I suppose you all know that my wife is going to Mass today,
And I want every man for to pump all he can, for the distance it is very far,
And I’d like to get in ahead of number ten, so Jerry go oil the car.”

“And now when my friends are gathered around, there is one request I crave,
When I am dead and gone to my rest, place the handcar on my grave;
Let the spike mawl rest upon my breast with the gauge and the old clawbar,
And while the boys are lowering me down, lave Jerry to be oiling the car.”

“Give my regards to the roadmaster,” poor Larry he did cry,
“And rise me up so I may see the handcar before I die.”
He was so wake he could hardly spake, in a moment he was dead;
“Joint ahead and center back,” were the very last words he said.

Remarks by Mrs. Sullivan:

God bless you, Larry Sullivan, to me you was kind and good,
For me you’d make the section hands go out and cut the wood,
To the well also for water they would go, and chop the kindling fine,
And if any of them would growl, upon my soul, he’d dam soon get his time.

And now that he is dead I want it to be said that the cars they never got a jar;
Joint ahead and center back and Jerry go oil the car.

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In his memoir about growing up in Cloquet, MN in the early 1900s, Walter O’Meara recalls stories told by his father Michael O’Meara, a life-long lumberman who was born in Ontario to Irish parents. One story concerns Scotty Boyle, a foreman on the Embarrass River:

In Scotty’s camp…the crew was not awakened, as in other camps, by the raucous notes of the long tin horn called the “gabrel.”  No indeed.  “Give ‘em Larry,” Scotty would say to a young Irishman on his crew, and the men were apprised of the dawn of a new day in the pines by the sweet strains of “Larry O’Sullivan.”[1]

Minnesota singer Mike Dean called the song by its other common name, “Jerry Go Oil the Car.” Above is the text from Dean’s songster The Flying Cloud including his own note that the last 1½ stanzas are the words of “Mrs. Sullivan.” The melody is as sung by Dean on a recently rediscovered 1924 wax cylinder recording made by Robert Winslow Gordon. Gordon recorded Dean’s first verse on one cylinder and then the 2nd and 3rd verses on a separate cylinder and the melody, though a version of “The Star of the County Down” in both cases, is considerably different between the two recordings. I give the verse 2 & 3 melody here. Gordon’s recordings show that Dean sang the song with a noticeable Irish brogue. He flips some Rs, oil becomes “ile” and emperor is “emporarr.”

Mike’s brother Charles Dean lived most of his life in the Twin Cities and, like millions of Irish-Americans across the US in the late 1800s, was a railroad worker for most of his life. Mike would have been quite familiar with railroad men himself as he ran a string of saloons and hotels across the street from the St. Paul and Duluth Depot in Hinckley, a common dinner stop for trains between St. Paul and Duluth.

[1] O’Meara, Walter. We Made it Through the Winter. St. Paul: Minnesota Historical Society, 1974,  p.10.

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More detailed information on this song from the Traditional Ballad Index