04 Feb

We Are Anchored by the Roadside, Jim

We Are Anchored By the Roadside Jim

We are anchored by the roadside, Jim, as we’ve oft-times been before,
When you and I were weary from sacking on the shore,
The moon shone down in splendor, Jim, it shone on you and I,
And the little stars were shining when we drank the old jug dry.

But that was those good old days, those good old days of yore,
When Murphy run a tavern and Burnsy kept a store,
When whiskey ran as free, brave boys, as waters in the brook,
And the boys all for their stomach’s sake their morning bitters took.

But times they have now altered, Jim, and men have altered too,
Some have undertaken for to put rum sellers through,
For they say that whiskey’s poison and scores of graves has dug,
Ten thousand snakes and devils have been seen in our old jug.

But never mind such prattle, Jim, though some of it may be true,
We’ll lie where we’re a mind to, together, me and you,
For the drink they call cold water, won’t do for you nor I,
So we’ll haul the cork at leisure, and we’ll drink the old jug dry.

I recently checked out the current exhibit at the Minnesota History Center American Spirits: The Rise and Fall of Prohibition (an exhibit which, I couldn’t help but notice, is being “repealed” on March 16th – just in time for a certain holiday). It reminded me of this song which I transcribed from the singing of Robert Walker. Walker referred to it as an “anti-prohibition song” when he sang it for collector Sidney Robertson-Cowell in Crandon, Wisconsin in 1952. It appears on the record Wolf River Songs. (Robertson-Cowell also recorded Walker’s nephew Pat Ford singing his version of the song which you can hear on the Library of Congress website)

Across the northwoods, there was much opposition to prohibition from men who worked in the lumber industry. For many lumberjacks, drink was seen as a necessary relief from long hours and back-breaking labor. “Sacking,” mentioned in verse one, was certainly thirsty work. Walker explained: “When they was driving logs and high water had put ‘em way out in the marshes someplace, and the men’d have to get right into the water and roll ‘em out into the stream again, — that was sacking, see?”[1] Sacking was made especially harsh by frigid spring waters and huge logs beached far from the open stream by lumber companies’ use of temporary dams. Another Wisconsin lumberman, Robert Nelligan, wrote “There are few kinds of labor more arduous than river driving. We got up about three o’clock in the morning and were at work all day until darkness fell, most of the time wading in icy cold water and sometimes more than wading. Men working under such a strain as this needed stimulants. Whiskey was used and much of it.”[2]

The song’s reference to Murphy’s tavern hints at the prevalence of Irish saloon owners in small northwoods towns like Crandon. In fact, when Irish-American Mike Dean transitioned from working as a lumberjack to buying his own saloon in Hinckley, Minnesota in the 1880s, he was taking up a profession dominated, in Pine County at least, by Irishmen. An 1887 list of Pine County liquor license applicants includes the surnames: Dean, Rourke, Tierney, Hurley, Brennan, Durkan, Connors, Connor and Hennesy![3]

So perhaps it is no coincidence that Dean did not stay long in Pine County after that county joined many other Minnesota counties in voting itself dry in 1915, five years before national prohibition. By 1917 Dean was settled in Virginia, Minnesota which had remained “wet” even though nearby Hibbing (and most of northwestern Minnesota) had gone “dry” along with Pine County in 1915. In fact, some clever songsmith in Hibbing had made another “anti-prohibition” song to the tune of the recent John McCormack hit “It’s a Long Way to Tipperary:”

It’s a long way to Old Virginia, it’s a long way to go,
It’s a long way to Old Virginia, to the wettest town I know,
Farewell, then, oh ye lager, farewell rock and rye,
It’s a long, long way to Old Virginia, when Hibbing goes dry.[4]

 


[1] Sidney Robertson Cowell, Wolf River Songs (NYC: Folkways LP FE 4001, 1956) 5.
[2] John Emmett Nelligan, A White Pine Empire: The Life of a Lumberman (St. Cloud: North Star, 1969) 33.
[3] Pine County Pioneer, Apr. 15, 1887.
[4] Al Zadon, “Power ‘The Little Giant of the North’,” Mesabi Daily News, Oct. 3, 1976.

17 Nov

Tour Recap

With a final show in Madison, WI last week, Randy and I wrapped up a great string of shows across Minnesota, Wisconsin and Michigan celebrating the release of The Falling of the Pine.  Looking back now, we saw some beautiful parts of the country (can’t wait to get back to the U.P.!).  Here’s the full list:

St. Paul, MN
Hinckley, MN
Moose Lake, MN
Silver Bay, MN
Bemidji, MN
Kelliher, MN
Madison, WI
Green Bay, WI
Calumet, MI
Marquette, MI
Mt. Pleasant, MI
Saginaw, MI
Richland, MI
Kalamazoo, MI

Thanks to everyone that put on the gigs and those that came out to see us!

We have some more travels in the works for winter 2014 and beyond.  Stay tuned!

photo (6)

Richland Community Hall, Richland, MI

14 Oct

The Lass of Dunmore

The Lass of Dunmore

 

As I went a-walking one morning,
Bright Phoebus so clearly did shine,
And the meadow larks warbled melodious,
While the rose in the valleys did twine;
It was down by a grove where I wandered,
A while to repose in the shade,
On my destiny there for to ponder,
It was there I beheld a fair maid.

I raised up on my feet for to view her,
And those tender words I did say,
“Who are you, my fairest of creatures?
How far through this grove do you stray?”
She answered, “Kind sir, I will tell you,
And the truth unto you I deplore,
It’s a matter that’s lately befell me,
My dwelling place is down in Dunmore.

“Oh, once I did love a bold seaman,
And he, too my fond heart had gained,
No mortal on earth could love dearer,
But now he is crossing the main,
With Nelson, that hero of battle,
In the English navy so brave,
Where cannons and guns loud do rattle,
For to fight the proud French on the wave.”

“Then perhaps that your true love is drowned,
And he ne’er will return home again,
For many a man has fallen a victim
With Nelson while crossing the main;
And the same thing might happen to your love,
As it’s happened to others before,
So it’s come with me now, I pray, darling.
And leave the dark shades of Dunmore.”

“Oh, how could I be so unfaithful
To a heart that is constant and true,
To leave my own father’s dwelling
And to venture my fortunes with you?
Oh, the people would call me unconstant,
For it’s truly to him I am swore,
And true lovers ne’er should be parted,
I’ll wait for that lad in Dunmore.”

Then says I, “My fair, tender blossom,
The spring time of life soon will be o’er,
And the October leaves will be falling,
They will fade the fair Rose of Dunmore.”
When I found that her heart was a-yielding,
Like I’ve found it with others before,
Oh, I packed up my all for Renfralen,
And I stole the fair Rose of Dunmore.

_______________________________________________________________

Folksong collector and scholar Franz Rickaby hunted for songs in North Dakota, Minnesota, Wisconsin and Michigan from 1919 to 1923. Most of his informants were retired lumberjacks, or “shanty-boys,” and Rickaby took interest in how and where they learned their songs. He was also quite interested in the origins of the songs themselves. Most that were written about life in the northwoods were based on older traditional songs and Rickaby concluded, more specifically, that “the Irish street-song was the pattern upon which a liberal portion of the shanty-songs were made.”[1]

In the notes to his Ballads and Songs of the Shanty-Boy, Rickaby points out several “parent” songs that served as models for songs made up by lumbermen. One such parent song is “The Lass of Dunmore.” Rickaby cites it as the model for “The Banks of the Little Eau Pleine” which was authored by Wausau, Wisconsin timber cruiser W.N. “Billy” Allen about the drowning of a raftsman in the Wisconsin Dells. Rickaby made the connection based on a version of the text of “The Lass of Dunmore” printed by Minnesota singer Mike Dean in his songster The Flying Cloud. No melody was ever collected from Dean for “The Lass of Dunmore” but the text does resemble that of the “Little Eau Pleine” and it turns out that the only other version of “The Lass of Dunmore” I know of was collected in Allen’s home province of New Brunswick in the 1960s. Amazingly, it shares its melody with versions of “Little Eau Pleine” collected by Rickaby from both Dean and Ed Springstad of Bemidji.

Here I have married Dean’s text for “The Lass of Dunmore” with his melody used for “The Banks of the Little Auplaine” as recorded by Robert Winslow Gordon in 1924 from Dean’s singing.



[1] Rickaby, Franz Lee. Ballads and Songs of the Shanty Boy.  1926:xxv