Ireland - evergreentrad

27 Dec

The Brown Girl (Laws O2)

When first to this country I came as a stranger,
I placed my affection on a maid that was young,
She being young and tender, her waist small and slender,
Kind nature had formed her for my overthrow.

On the bank of a river where first I beheld her,
She seemed like fair Venus or some other queen,
Her eyes shone like diamonds or stars brightly beaming,
Her cheeks like two roses or blood upon snow,

It was her cruel parents that first caused my ruin,
Because they were rich and above my degree,
But I will do my endeavor, my fair one, to gain her,
Although she belongs to a high family.

She says, “Lovely Johnny, don’t be melancholy,
If you will be loyal, I’ll surely prove true,
There is no other inferior that will e’er gain my favor,
On the banks of a river I’ll wander with you.”

Now since I have gained her I am contented forever,
I’ll put rings on her fingers and gold in her hair,
With diamonds and pearls I will deck my Brown Girl,
And in all kinds of splendor I’ll style you, “My Dear.”

_____________
We return this month to the repertoire of Michael Cassius Dean whose version of “The Brown Girl,” shown above, was transcribed by collector Franz Rickaby when he visited Dean’s home of Virginia, Minnesota in 1923. Much less gory than the older English ballad of the same name, Dean’s “Brown Girl” is a 19th century broadside ballad also found in tradition in the Canadian Maritimes and Ireland. As I have familiarized myself with Dean’s repertoire (more than 160 songs) over the past several years of research I find myself drawn to his songs that evoke something of his life here in Minnesota. I love this text for the image of “blood upon snow”—a striking description of rosy cheeks that fits with Dean’s snowy home.

There is a lot more of Dean to come in 2016! Next month marks the launch of the “Lost Forty Project”—my year-long effort publicize and revive forty forgotten field recordings made of Minnesota-based traditional singers in 1924 by Robert Winslow Gordon. Thirty of the recordings are of Dean and they will all soon be made freely available on a website I will be creating! Stay tuned for more!

You can see digitized versions of some of the mid-1800s broadside printings of this ballad courtesy of the Bodleian Library’s amazing broadside ballad collection

For list of print publications containing versions of this song and more info, see its Traditional Ballad Index page

11 Sep

Hibernia’s Lovely Jane

(as usual, I forgot/changed a few words and notes here and there when I went to sing it)

When parting from the Scottish shore on the highland mossy banks,
To Germany we all sailed o’er to meet the hostile ranks,
Till at length in Ireland we arrived after a long campaign,
There a bonny maid my heart betrayed, she’s Hibernia’s lovely Jane.

Her cheeks were of the rosed hue; the bright glance of her een,
Just like the drops of dew bespangled o’er the meadows green,
Jane Cameron ne’er was half so fair; no, nor Jessie of Dunblane,
No princess fine could her outshine, she’s Hibernia’s lovely Jane.

My tartan plaid I will forsake, my commission I’ll resign.
I’ll make this bonnie lass my bride if the lassie will be mine.
And in Ireland where her graces are, forever I’ll remain,
In Hymen’s band join heart and hand with Hibernia’s lovely Jane.

This bonny lass of Irish braw being of a high degree,
Her parents said a soldier’s bride their daughter ne’er should be,
O’erwhelmed with care, grief and despair, no hopes do now remain,
Since this near divine cannot be mine, she’s Hibernia’s lovely Jane.

If war triumphant sounds again to call her sons to arms,
Or Neptune waft me o’er the deep far, far from Janie’s arms,
Or was I laid on honor’s bed, by a dart or a ball be slain,
Death’s pangs will cure the pains I bear for Hibernia’s lovely Jane.

_____________________________________

The text of this version of “Hibernia’s Lovely Jane” was given by Andrew Ross of Charlevoix, Michigan to collector Franz Rickaby in the early 1920s. Ross (1853-1930) was born in Quebec to Highland Scottish parents. He came to Charlevoix around 1880 and worked his way up the local lumbering industry, eventually serving as mayor of Charlevoix. Ross’s obituary says he “had a natural ear for music, and abundance of wit and humor, and his stock of Scotch songs and dances were known to many.” It continues, “As an entertainer in the early days he was in constant demand, and even in later years was frequently called upon to display his talents.” (http://obits.charlevoixlibrary.org/articles/article30207.jpg, accessed Aug. 20, 2015)

“Hibernia’s Lovely Jane” (sometimes “Jean”) is a broadside ballad dating from the early 1800s that depicts a Scottish soldier in love with an Irish girl. In 1932, collector Sam Henry found a version sung (to a different air) in Ballycastle, County Antrim which he printed in his Songs of the People. Other than Henry’s version, I have found no other published version from tradition. However, during my research trip to the American Folklife Center at the Library of Congress last summer, I discovered two versions recorded by Ivan Walton during his 1940 trip to Beaver Island, Michigan. The melody above is a composite of the airs sung by Beaver Island singers John W. Green and Mike J. O’Donnnell. That the song would surface in both Charlevoix and Beaver Island makes sense. For over a century, Charlevoix has been the chief “mainland” town connected to Beaver Island by ferry. O’Donnell said he learned his version from singer Maggie Boyle of Harbor Springs, Michigan who may have learned it in Scotland.

A few words in the Ross text were misspelled or otherwise garbled and I have replaced these with words found in broadside texts held by the Bodleian Library.

01 Sep

The Bold Privateer

Farewell lovely Ellen, it is now we must part,
Must I leave you behind me, the love of my heart,
I must leave you behind me, and all that I hold dear,
Once more to go a-roving, in the Bold Privateer.

The foe they are treacherous, right very well you know,
Did they not kill their own poor king, not so very long ago,
You had better stay at home, with the girl that loves you dear,
Then to roam the wild ocean, in the Bold Privateer.

Our boat lies on the strand, and our ship lies in the bay,
Farewell my dearest jewel, for I can no longer stay,
Our ship she lies awaiting, so fare you well my dear,
I must now go on board of the Bold Privateer.

There is no one can tell, what hazards you may run,
So many have been slain, since this cruel war’s begun,
You had better not go, and leave your Ellen here,
For I dread to see you leaving, in the Bold Privateer.

Fear naught lovely Ellen, I fain would with thee stay,
But gold I must gather, for our wedding day,
We will soon beat down the pride, of the lofty Mounseer,
And will soon let them know, she’s the Bold Privateer.

Then since you are a-going, Good Luck attend to thee,
May kind Heaven protect you, on land or at sea,
May kind Heaven protect you, wherever you may steer,
And send you safe back, in the Bold Privateer.

Now the prizes we have taken, are from France and from Spain,
And my true love at home, she shall share the gain,
And when the war’s are over, I’ll return unto my dear,
And go no more a-roving, in the Bold Privateer.

_____________

On Februray 20^th, 1927, the New York Times “Queries and Answers” section ran a request from one Joseph F. McGinnis for a full text of the above ballad to which McGinnis knew the melody but only the first two verses. McGinnis (featured in last month’s Northwoods Songs) was born in Kingston, Ontario and learned songs as a sailor on the Great Lakes before settling in New York City. McGinnis’s New York Times request was answered by none other than renowned Derry song collector Sam Henry. Henry supplied McGinnis with the missing verses and went on to correspond with McGinnis over the next few years. Henry even printed two songs contributed by McGinnis (“The Deserter” and “The ‘Crummy’ Cow”) in his “Songs of the People” column that has since been published in book form and is regarded as one of the finest collections of Irish traditional song in the English language.

McGinnis, who traded songs by mail with Minnesota singer Michael Cassius Dean, also sent Henry a copy of Dean’s songster The Flying Cloud. Irish song scholar John Moulden theorizes that Dean’s songster had a significant influence on Henry’s subsequent “Songs of the People” columns! (see this 2007 talk by Moulden)

The above text comes from a typescript prepared by McGinnis for “Songs of the Dogwatch”—his own collection of songs which was never published. The above melody is also based on the transcription that appears in the McGinnis typescript but I have taken liberties with rhythm and key signature to conform the air to what I believe is more probable.