09 Mar

To Cork Once I Did Go

Source Recording from archive.org (song starts at 2:52):

To Cork once I did go, to view that ancient city,
It’s boats and ships also, as they set forth in beauty,
As through the town I went to view those ancient lassies,
The old maids with a frown they peeked at me through their glasses.

Chorus: Tau to the tau rah lau, tau ruh lau ruh laddie
Tau to the tau rah lau, whack fuh loh ruh laddie

Bill Morrisey for to have the sport, now he played both well and jolly,
He played some charming notes to banish melancholy,
When he put on the pipes he played Sweet Highland Mary,
You’d have laughed until you’d cried if you’d seen poor Paddy Carey.

Chorus

He played Noreen on the Road, and Maureen na Glanna,
Junior and Senior too and the Songs of Alabama,
He played Chief Moneymusk and Katie on to Glory,
The old Foxhunter’s Jig and a Sprig of the Sweet Shilleligh.

This month we have a fascinating song recorded in Bridgewater, Maine in 1942 for the Helen Hartness Flanders Ballad Collection (click to hear the recording!). The singer, Charles Finnemore, was born in western New Brunswick and moved across the border to Bridgewater as a child. He contributed dozens of songs to the Flanders collection which are now available to listen to online (CLICK HERE!) thanks to Middlebury College where the collection is housed.

Finnemore’s “To Cork Once I Did Go” is a variant of the song “The Piper’s Tunes” which appears in Colm O Lochlainn’s Irish Street Ballads (1960). An English version, “The Sporting Irish Piper” was printed as a broadside in London in the 1850s. Another Irish version is attributed to the famed Kerry uilleann piper James Gandsey (1767-1857) who personalized the song to himself and performed it for Thomas Crofton Croker who published it in 1831.

All variants name an impressive bagpipe player and list the tunes he plays. O Lochlainn’s piper is John Blake of Cobh, County Cork. The English version has piper John Murphy of Liverpool and Gandsey sings about himself in Killarney. The version that surfaced with Finnemore in Maine names the piper Bill Morrissey of Cork (possibly a relation of Cork Piper Molly Morrissey who was active around 1900?) Each variant lists various tune titles which are intriguing to those of us interested in Irish dance tunes. Fitting that the American version has the piper playing the “Songs of Alabama” along with the “Foxhunter’s Jig.” Finnemore’s melody for the song is similar to “The Rocky Road to Dublin” and its relative “Cam Ye O’er Frae France?”

20 Aug

Darby O’Leary

I strayed far away from the old County Down,
Aiming for riches for fame and renown,
I wandered ‘til I came to Galbally town and was hired to Darby O’Leary.

When we entered his kitchen, I entered it first;
It seemed like a kennel or a ruined old church:
Says I to myself, “I am left in the lurch in the house of old Darby O’Leary.”

Two praties he gave me for supper at night,
With a cup of sour milk that would sicken a snipe,
He was stingy and heartless I ne’er saw the light; oh, a hard man was Darby O’Leary.

The silly old miser he sat with a frown,
While straw was brought in for to make my shakedown,
I wish I had never seen Galbally town or the sky over Darby O’Leary.

I worked in Tipperary, the Rag, and Rosegreen,
I worked in Knockainey and the Bridge of Aleen,
But such woeful starvation I’ve never yet seen as I got from old Darby O’Leary.

Also known as “The Galbally Farmer,” this song is a fine example of a worker’s complaint song about a bad boss and unpleasant working conditions. Oxford’s Bodleian Library has a broadside version of this (probably from the early 1800s) entitled “The Spalpeen’s Complaint of Darby O’Leary” and another version also appears in P. W. Joyce’s 1909 Old Irish Folk Music and Songs.

The version above takes its melody from New Brunswick singer Angelo Dornan. The verses are based on those sung by Dornan (verse 4), New York/New Hampshire singer Lena Bourne Fish (verses 1 and 3) and Tom Lenihan of County Clare (verses 2 and 5). Fish’s opening verse is the only one I have seen that has the protagonist hailing from County Down. Galbally, County Limerick is in the southeastern corner of the county on the border with Tipperary.

20 Nov

Sweet Mary Jane

My true love’s name was Mary Jane,
Her epitaph reveals the same,
Her grace and charm I will proclaim,
Through all my days moreover,
Where could you find a fairer dame,
And search this wide world over.

“My love and I we did agree,
That when I would return from sea,
We’d go straightway and married be,
And live a life of leisure,
No more to face the stormy sea,
In quest of gold and treasure.

“But I had not gone across the main,
When cruel death had my companion slain,
The pride and beauty of the plain,
In her cold grave lay moldering,
And our fond plan was all in vain,
Amid the ruins smoldering.

“I am distressed what shall I do,
I’ll roam this wide world through and through,
I’ll sigh and sing for sake of you,
My days I’ll spend in mourning,
And in my dreams I’ll wander through,
The lane that knows no turning.

A sad and beautiful song this month that was collected from several singers in eastern Canada and that was also in the repertoire of Minnesota singer Michael Dean. In most Canadian versions, the lost lover’s name is “Phoebe” (or “Bright Phoebe”). In Maine, singer Carrie Grover learned it as “Sweet Caroline” while in Minnesota, Dean sang “Mary Jane” and printed it as “Sweet Mary Jane” in his 1922 songster The Flying Cloud.

The above melody is my best effort to transcribe the richly ornamented version sung by New Brunswick singer Angelo Dornan. We do not know what melody Dean used but most collected melodies, including Dornan’s, show a resemblance to the famous “Greensleeves” melody. Dornan’s striking twists and turns make his air refreshingly unique. For text, I subbed in Dean’s first line and made a couple small changes of my own but otherwise stayed close to Dornan’s version including its unique six-line poetic structure (most other versions have four-line stanzas). Dornan sang two additional verses to what appears here and a transcription of his full version appears in Helen Creighton’s Maritime Folk Songs.