Tag Archives: Irish

10 May

The Zenith of the West

They may sing about Killarney’s lakes and the little shamrock shore,
Where the River Shannon gently flows, Arrah Gra Machre Asthore,
But when a tot, a charming spot filled me with joy and zest,
Duluth you are the brightest star, the Zenith of the West.

CHORUS:      
Come for a stroll where the white caps roll, to the place where you confessed
To be my bride, my joy and pride in the Zenith of the West.

They may sing of bonnie Scotland and the heather in the glen,
Let Harry Lauder sing in praise of the Highlands and his kin,
But let me dream of that beauty stream and the scenes that I love best,
Where Lester flows in sweet repose through the Zenith of the West.

So let them sing of other lands but I will sing of mine,
As I go sailing “’Round the Horn” while the silvery moon doth shine,
O take me back to Fond du Lac where my true love I caressed,
I loved her there for she’s as fair as the Zenith of the West.

Come out with me for a “joy ride,” come for a row or sail,
Then after dark see Lester Park, see the aerial without fail,
Take the “Incline” for a sight sublime when you reach the mountain crest,
The electric rays will you amaze in the Zenith of the West.

Though I have wandered far away in other lands so fair,
Dear old Duluth I ne’er forgot none could with you compare,
In future days I’ll sing your praise for you have stood the test,
In 1916 we’ll crown her queen the Zenith of the West.

The nights are cool in summer time each day there comes a breeze,
So balmy and refreshing from the Queen of unsalted seas,
Duluth for health, Duluth for wealth, and when I’m laid to rest,
Just let me sleep near Superior’s deep in the Zenith of the West.

We have a third song this month from the prolific pen of James Somers who spent a sizeable portion of his life in Duluth and composed this song in praise of that place. Somers opens his 1913 book Jim’s Western Gems with a Foreword in which he lists “Zenith of the West” as one of his several composed “songs with their music” that he hoped to publish “in the near future” (seemingly, with melodic transcriptions added?). I have yet to find evidence that Somers did publish a song-focused book but, luckily, the words for “Zenith of the West” appear in Jim’s Western Gems. I have set them here to my adaptation of the tune used by Maine singer Carrie Grover for “The Lily of the West.”

Aerial Bridge in Duluth before it was replaced with a lift bridge in 1929. Detroit Publishing Company.

Duluth’s nickname has long been “The Zenith City.” Beautiful Lester Park is on the east side of Duluth where the Lester River enters Lake Superior. The “aerial” must be Duluth’s famous aerial bridge connecting mainland Duluth to Minnesota Point. At the time Somers published this song (1913) the bridge was an “aerial transfer bridge” where cars and people rode on a suspended gondola across the span. The reference to 1916 (three years in the future when the song was published) is intriguing. It is possible it could be referencing the upcoming 44th annual regatta of the National Association of Amateur Oarsmen which fascinated Duluthians in 1916 but it is hard to imagine that event was already hyped so far in advance. Maybe someone with more Duluth history knowledge than me will have a guess!

I have always loved Duluth and this is a wonderful text full of nods to other Irish songs and conventions of English language ballad-making!

22 May

Jocky to the Fair

Was on the morn of bright May day when nature painted all things gay,
Taught birds to sing and lambs to play and guide the meadow air,
Then Jocky early in the morn,
He rose and tripped it o’er the lawn,
His Sunday suit he did put on,
For Jenny had vowed away to run with Jocky to the Fair.

The village parish bells had rung with eager steps he trudged along,
His flowery garment round him hung that shepherds used to wear,
Tapped at the window, “Haste my dear,”
When Jenny impatient cried, “Who’s there?”
“It’s me my love, there’s no one here,
Step lightly down, you need not fear with Jocky to the Fair.”

“My dad and mother is fast asleep, my brothers are up and with the sheep,
So will you still your promise keep that I have heard you swear?
Or will you ever constant prove?”
“I will by all that’s good, my love,
I’ll never deceive my charming dove,
Return those vows in haste my love with Jocky to the Fair.”

Then Jocky did his vows renew, they pledged their words and away they flew,
O’er cowslip bells and balmy dew and Jocky to the Fair,
Returned there’s none so fond as they,
They blessed that kind perpetual day,
The smiling month of blooming May,
When lovely Jenny ran away with Jocky to the Fair.

[repeat first verse]

In the world of competitive Irish step dancing, the tune “Jockey to the Fair” is one of the seven approved and strictly regulated traditional set dances. The tune, it turns out, originated with a popular English song of the 18th century. It is somewhat ironic that the melody has ended up on this short list of official tunes in a realm so historically sensitive to maintaining Irish cultural purity! Of course, recent cultural historians have been increasingly willing to admit that melodies (and lyrics) have travelled back and forth between the two islands for centuries and that the Irishness of a song or tune is complex to calculate (and possibly not worth the effort). To this day, “Jock(e)y to the Fair” is a favorite of uilleann pipers and Morris dancers all over the world.

The song that accompanies the melody (or at least a close variant of the dance tune) is rarely heard in Irish circles so it was interesting to find it in Helen Creighton’s Nova Scotia recordings as sung by Irish-Canadian Edmund Henneberry of tiny Devil’s Island—a now-deserted island in Halifax harbor. You can hear Henneberry sing it on the album Folk Music from Nova Scotia which is available online via Smithsonian Folkways. My transcription was made from that recording.

09 Dec

Exile of Erin

“Oh, sad is my fate,” said the heart broken stranger,
             “The wild deer and roe to the mountains can flee,
But I have no refuge from famine or danger,
             A home and a country remains not for me;
Oh, never again in the green shady bower,
Where my forefathers lived shall I spend the sweet hours,
Or cover my harp with the wild woven flowers,
             And strike the sweet numbers of Erin Go Bragh.

Oh, Erin, my country, though sad and forsaken,
             In dreams I revisit thy sea-beaten shore,
But alas! in a far foreign land I awaken,
             And sigh for the friends that can meet me no more;
And thou, cruel fate, will thou never replace me,
In a mansion of peace where no perils can chase me?
Oh, never again shall my brothers embrace me,
             They died to defend me or live to deplore.

Where is my cabin once fast by the wildwood,
             Sisters and sire did weep for its fall,
Where is the mother that looked over my childhood,
             And where is my bosom friend, dearer than all?
Ah, my sad soul, long abandoned by pleasure,
Why did it dote on a fast fading treasure?
Tears like the rain may fall without measure,
             But rapture and beauty they cannot recall.

But yet all its fond recollections suppressing,
             One dying wish my fond bosom shall draw,
Erin, an exile bequeaths thee his blessing,
             Land of my forefathers, Erin Go Bragh;
Buried and cold when my heart stills its motion,
Green be thy fields fairest Isle of the ocean,
And the harp striking bard sings aloud with devotion,
             “Erin Mavourneen, sweet Erin Go Bragh.”

We return this month to the repertoire of Minnesota singer Michael Cassius Dean who printed “Exile of Erin” in his songster The Flying Cloud. Dean’s book reaches its 100th birthday next year having been printed in Virginia, Minnesota in 1922 while he was employed as night watchman for the Virginia-Rainy Lake Lumber Company mega-mill in that city. As I have written here before, Dean was visited by the wax cylinder recording machine of Robert Winslow Gordon in 1924 but his version of “Exile of Erin” does not appear to have been recorded at that time. We only have his text from the songster. The melody above is my own transcription of a version sung by Belle Luther Richards at Colebrook, New Hampshire for Helen Hartness Flanders in 1943. That recording is available on archive.org.

The Richards and Dean versions are the only versions collected from North American singers I have found. This is somewhat surprising given that the song was extremely popular in Ireland throughout the 1800s. It was popular enough to spark widely-publicized controversy over who wrote it! It seems fairly certain that the author was Scottish poet Thomas Campbell (1777-1844) who also authored “The Wounded Hussar.” Campbell reported that he wrote the song in 1800 in Hamburg after meeting a man named Anthony McCann who was exiled there for his role in the Rebellion of 1798.

It’s possible that Dean learned it from his Mayo-born parents. Mayo was a focus of action during the excitement of 1798 when French General Humbert landed with over 1000 troops at Cill Chuimín Strand, County Mayo in support of the revolutionaries in August of that year. It is also possible that Dean learned it from a source here in Minnesota. Minneapolis’ Irish Standard newspaper, to which Dean subscribed while living in Hinckley, printed the text of the song in 1886 and again in 1900.