Lady Franklins Lament

Lady Franklins Lament

by | Mar 11, 2017

Songs of the Sea & Focastle

Lady Franklin’s Lament

The American Folk Experience

Lord Franklin's Lament

by John Fitzsimmons | The American Folk Experience

~Traditional

‘Twas homeward bound one night on the deep
Swinging in my hammock I fell asleep
I dreamed a dream and I thought it true
Concerning Franklin and his gallant crew

With a hundred seamen he sailed away
To the frozen ocean in the month of May
His maps were faulty and his compass bent
By mid July he was in Stoke-on-Trent

Through cruel hardships and Watford Gap
He saw no icebergs and no polar cap
Only the Eskimo in his skin canoe
And you don’t get many, this far south of Crewe

In Baffin Bay where the whale fish blow
The fate of Franklin no man may know
The fate of Franklin no tongue can tell
But round Northampton they all know him well

And now my burden it gives me pain
At Newport Pagnall he got lost again
The North West Passage was Lord Franklin’s dream
He’s lost forever deep in Milton Keynes

Yes, lost forever deep in Milton Keynes

If you have any more information to share about this song or helpful links, please post as a comment. Thanks for stopping by the site! ~John Fitz

I am indebted to the many friends who share my love of traditional songs and to the many scholars whose works are too many to include here. I am also incredibly grateful to the collector’s curators and collators of Wikipedia, Mudcat.org, MainlyNorfolk.info, and TheContemplator.com for their wise, thorough and informative contributions to the study of folk music. 

I share this scholarly research on my site with humility, thanks, and gratitude. Please cite sources accordingly with your own research. If you have any research or sites you would like to share on this site, please post in the comment box.  

Thanks!

 

Source: Wikipedia

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Portrait of Lady Jane Franklin by Thomas Bock, 1838

"Lady Franklin's Lament" (also known as "Lord Franklin" and "The Sailor's Dream") is a traditional folk ballad indexed by George Malcolm Laws (Laws K09) and Steve Roud (Roud 487).[1] The song recounts the story of a sailor who dreams about Lady Franklin speaking of the loss of her husband, Sir John Franklin, who disappeared in Baffin Bay during his 1845 expedition through the Arctic Ocean in search of the Northwest Passage sea route to the Pacific Ocean. The song first appeared as a Broadside ballad around 1850 and has since been recorded with the melody of the Irish traditional air "Cailín Óg a Stór" by numerous artists. It has been found in Ireland, in Scotland, and in some regions of Canada.[2]

Composition

Daguerreotype photograph of Sir John Franklin taken by Richard Beard in 1845, prior to the expedition's departure.

The song consists of five verses using the AABB rhyme scheme. The song is told from the perspective of a sailor on board a ship. He tells of a dream he had of Lady Jane Franklin speaking of the loss of her husband, Sir John Franklin, who disappeared in Baffin Bay during his 1845 expedition through the Arctic Ocean in search of a Northwest Passage sea route to the Pacific Ocean. Following his disappearance, Lady Franklin sponsored seven expeditions to find some trace of her husband. Through her sponsorship, influence, and offering of sizeable rewards, she supported numerous other searches. Her efforts brought great publicity to the expedition's fate. In 1854, Scottish explorer Dr. John Rae discovered evidence through talking to Inuit hunters, among others that the expedition had wintered in 1845–46 on Beechey Island. The expedition's ships, HMS Terror and HMS Erebus, became trapped in ice off King William Island in September 1846 and never sailed again. According to a note later found on that island, Franklin died there on 11 June 1847. The exact location of his grave remains unknown.[3]

History

"Lady Franklin's Lament" first appeared as a broadside ballad around 1850.[2] Found in Canada, Scotland, and Ireland, the song was first published in 1878 in Eighteen Months on a Greenland Whaler by Joseph P. Faulkner.[2]

The song may have been inspired by the traditional Irish ballad "The Croppy Boy", which is set during the 1798 rising. Versions of that ballad first appeared shortly after the rising sung by street peddlers. Several broadside versions of the ballad were printed. These typically include the phrase "500 Guineas" or "one thousand pounds", and are also sung to the melody of the traditional Irish air "Cailín Óg a Stór".[4] These versions of "The Croppy Boy" may have been the basis for the later ballad, "Lady Franklin's Lament".

The song shares a tune with the traditional air "Cailín Óg a Stór" and other folk songs including versions of "A Sailor's Life".

Recordings

Traditional recordings

Several field recordings of the ballad were made in Canada, particularly in Nova Scotia and Newfoundland, by collectors such as Edith Fowke, Helen Creighton and Herbert Halpert.[5]

In 1941, Helen Hartness Flanders recorded the song from a man named William Merritt of Ludlow, Maine, USA, who had learnt the song from his Scottish mother; the recording is available online.[6]

Three Scottish recordings were recorded in Whalsay in the Shetland islands in the early 1970s from men who probably either learnt the song at sea or from sailors. These recordings can be heard online courtesy of the University of Edinburgh.[7][8][9]

"Lady Franklin's Lament" has been recorded by numerous artists. A version was recorded as "Lord Franklin" by Mícheál Ó Domhnaill and Kevin Burke on their album Promenade (1979). Other notable renditions were recorded by Liam Clancy, Pentangle, Martin Carthy,[10] John Renbourn, and Sinéad O'Connor. The Pearlfishers recorded the song on their 2002 album Strange Underworld of the Tall Poppies.[11]

Several variations and adaptations of the song have been recorded, such as version by the Duncan McFarlane Band, where the chorus of "Northwest Passage" is added to the end. Bob Dylan wrote his own lyrics to the song's melody—from the traditional air "Cailín Óg a Stór"—for his song "Bob Dylan's Dream", which appeared on his 1963 album The Freewheelin' Bob Dylan. In his version, Dylan borrows lyrical ideas from "Lady Franklin's Lament". David Wilcox took a similar approach with his song "Jamie's Secret".

Lyrics

We were homeward bound one night on the deep
Swinging in my hammock I fell asleep
I dreamed a dream and I thought it true
Concerning Franklin and his gallant crew

With a hundred seamen he sailed away
To the frozen ocean in the month of May
To seek a passage around the pole
Where we poor sailors do sometimes go

Through cruel hardships they vainly strove
Their ships on mountains of ice were drove
Only the Eskimo with his skin canoe
Was the only one that ever came through

In Baffin's Bay where the whale fish blow
The fate of Franklin no man may know
The fate of Franklin no tongue can tell
Lord Franklin alone with his sailors do dwell

And now my burden it gives me pain
For my long-lost Franklin I would cross the main
Ten thousand pounds I would freely give
To know on earth, that my Franklin do live

List of recordings

References

  1. ^ Fowke, Edith (1963). "British Ballads in Ontario". Midwest Folklore. 13 (3 Autumn): 133–62 [146].
  2. ^ a b c Robert B. Waltz. "Lady Franklin's Lament". The Ballad Index. Retrieved 31 July 2010.
  3. ^ Keenleyside, Anne; Bertulli, Margaret; Fricke, Henry C. (1997). "The Final Days of the Franklin Expedition: New Skeletal Evidence" (PDF). Arctic. 50 (1): 36–46. doi:10.14430/arctic1089. ISSN 0004-0843.
  4. ^ Griffiths, Sian (21 July 2010). "Canadian archaeologists hunt long-lost Arctic explorers". BBC News.
  5. ^ "Search: rn487 sound canada". Vaughan Williams Memorial Library.
  6. ^ D14B - archival cassette dub, retrieved 2021-07-07
  7. ^ "Fate of Franklin, The". Whalsay's Heritage of Song. 2014-12-08. Retrieved 2021-07-07.
  8. ^ "Fate of Franklin, The". Whalsay's Heritage of Song. 2014-12-11. Retrieved 2021-07-07.
  9. ^ "Fate of Franklin, The". Whalsay's Heritage of Song. 2014-12-09. Retrieved 2021-07-07.
  10. ^ "Martin Carthy with Dave Swarbrick: Second Album". mainlynorfolk.info.
  11. ^ Pearlfishers discog
source: https://en.wikipedia.org/wiki/Lady_Franklin%27s_Lament

Source: Mainly Norfolk

Lord Franklin

[ Roud 487 ; Laws K9 ; G/D 1:16 ; Ballad Index LK09 ; Bodleian Roud 487 ; trad.]

This ballad about the fate of Lord Franklin, who perished on the search for the North West Passage, was recorded in 1956 by A.L. Lloyd for his, Ewan MacColl’s and Harry H. Corbett’s album The Singing Sailor. He was accompanied by Alf Edwards on concertina. This track has been reissued on his and Ewan MacColl’s albums Row Bullies Row, Singing Sailors (Wattle Records) and Off to Sea Once More (Stinson Records), and on the compilation Sailors’ Songs & Sea Shanties.

Lord Franklin was also sung by Martin Carthy in 1966 on his Second Album; this was reissued on the Martin Carthy anthologies A Collection and The Carthy Chronicles. Carthy commented in his original record’s sleeve notes:

Sir John Franklin set out with two ships, the “Erebus” and the “Terror”, on his second attempt to discover the North West Passage and was never heard of again. It was almost twelve years before the story of what had actually happened to the expedition was finally pieced together. After sailing round the island in the far north of Canada, the ships, predictably, became trapped in the ice; what was completely unexpected, however, was that the lime juice stored in barrels became useless and half the crews of both ships died of scurvy. Some of the others decided to strike across country for a mission station, but one by one they died on the journey. How they managed to die in country that was full of game where Eskimos had lived for generations is a mystery. The real tragedy was Franklin’s blunder in not allowing for such a contingency: he had taken along beautiful tea-services, flags and dress uniforms for the celebrations when their mission was accomplished, instead of extra food supplies. Several rescue operations were mounted, one by Lady Franklin herself from the proceeds of public fund she started for that purpose, after the Admiralty had washed it hands of the whole affair, having itself failed in a rather desultory rescue attempt. The truth was actually discovered by an expedition in which the United States Navy took part.

Bob Dylan learned Lord Franklin from Martin Carthy and based his song Bob Dylan’s Dream on it.

Jon Raven sang Lord Franklyn on the 1968 Broadside album The Halliard : Jon Raven.

Louis Killen recorded Lord Franklin in 1968 for his 1973 LP Sea Chanteys. and in 1995 for his CD Sailors, Ships & Chanteys. He also recorded it in 2003 for the anthology Song Links: A Celebration of English Traditional Songs and Their Australian Variants The corresponding Australian variantThe Loss of Bob Mahoney was sung by Danny Spooner.

Pentangle sang Lord Franklin in 1970 on their Transatlantic album Cruel Sister.

Derek Sarjeant and Hazel King sang Lord Franklin in 1978 on their album English & Scottish Folksongs and Ballads.

Martyn Wyndham-Read sang Lord Franklin in 1978 on his album Ballad Singer.

Nic Jones sang Lord Franklin live in Italy in 1981. This recording was included in his CD In Search of Nic Jones.

Cyril Tawney sang Lady Franklin’s Lament on his 1990 Neptune Tapes cassette Sailor’s Delight.

Jo Freya sang Lord Franklin in 1992 on her Saydisc album Traditional Songs of England.

Éilís Kennedy’s sang Lord Franklin in 2001 on her album Time to Sail.

Artisan sang Lady Franklin’s Lament in 2001 on the Fellside anthology of unaccompanied English traditional songs, Voices in Harmony.

David Jones sang Lady Franklin’s Lament in 2002 on the Revels’ CD Homeward Bound.

Tom and Barbara Brown sang Franklin in 2014 on their WildGoose album of songs collected by Cecil Sharp in Minehead, Somerset, from Captains Lewis and Vickery, Just Another Day. They commented in their liner notes:

Following the loss of Lord Franklin’s 1945 exploratory voyage to find the north-west passage,a campaign was led by Franklin’s widow, to try to get the government to mount an expedition to find out what happened. Part of that campaign was a long broadside written in 1850 by George Boker, of which fragments remained in the tradition. Here is Vickery’s delightfully abbreviated version with the text slightly tidied up.

Hannah Sanders sang Lord Franklin in 2015 on her CD Charms Against Sorrow.

Andy Turner sang Lord Franklin as the November 21, 2015 entry of his project A Folk Song a Week.

Jim Moray sang Lord Franklin in 2016 on his CD Upcetera. He commented in his sleeve notes:

Learned from versions sung my Martin Carthy and Nic Jones. Lady Franklin funded several search expeditions to look for her husband and his crew, and this is possibly the first charity single. The sum of ten thousand pounds mentioned in the final verse was the reward for successfully finding a north-west passage trade route.

Lyrics

Both A.L. Lloyd’s and Nic Jones’s versions are very similar in wording to Martin Carthy’s version listed below. Nic Jones left out the third verse and repeated the first verse at the end.

Martin Carthy sings Lord Franklin Sam Henry, Songs of the People
(from Digital Tradition)
It was homeward bound one night on the deep,
Swinging in my hammock I fell asleep.
I dreamed a dream and I thought it true
Concerning Franklin and his gallant crew.		 We were homeward bound all in the deep,
Alone in my hammock I fell asleep.
And I dreamt a dream that I thought was true
Concerning Franklin and his bold crew.
With a hundred seamen he sailed away
To the frozen ocean in the month of May
To seek that passage around the pole
Where we poor sailors do sometimes go.Through cruel hardships these men did go
His ship on mountains of ice was drove
Where the Eskimo in his skin canoe
Was the only one who ever came through
As I was musing on yon foreign shore
I heard a lady and she did deplore.
She wept aloud and to me did say,
Oh, my loving husband, he stops long away.It is seven long years since three ships of fame
Caused my dear husband to cross the main,
And a hundred seamen of courage stout
A northwest passage for to find out.They sail-ed east and they sail-ed west
To find their passage they knew not best.
Ten thousand pounds would I freely give
If I only knew if my husband lived.There is Captain Parry of high renown,
There is Captain Hoggs of Seamore town,
There is Captain Ross and many more,
I’m afraid they are lost on some foreign shore.
In Baffin Bay where the whale fish blow
The fate of Franklin no man may know.
The fate of Franklin no tongue can tell,
Lord Franklin along with his sailors do dwell.		 In Baffin’s Bay where the whale fish blows
The fate of Franklin no one knows
I am afraid he is lost on yon foreign shore
Where he left his home to return no more.
And now my burden it gives me pain,
For my long lost Franklin I’d cross the main.
Ten thousand pounds would I freely give
To know on earth that my Franklin do live.

Acknowledgements and Links

See also Just Another Tune’s study Bob Dylan’s Dream & Lady Franklin’s Lament.

The Fate of Franklin website

Martin Carthy’s version transcribed by Garry Gillard.

The American Folk Experience is dedicated to collecting and curating the most enduring songs from our musical heritage.  Every performance and workshop is a celebration and exploration of the timeless songs and stories that have shaped and formed the musical history of America. John Fitzsimmons has been singing and performing these gems of the past for the past forty years, and he brings a folksy warmth, humor and massive repertoire of songs to any occasion. 

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Greenland Whale Fisheries

Greenland Whale Fisheries

by | Mar 11, 2017

Songs of the Sea & Fo’castle

The Greenland Whale Fisheries

The American Folk Experience

The Greenland Whale Fisheries

by John Fitzsimmons | The American Folk Experience

~Traditional 

‘Twas in eighteen hundred and fifty-three
And of June the thirteenth day,
That our gallant ship her anchor weighed,
And for greenland bore away, brave boys,
And for greenland bore away.

The lookout in the crosstrees stood
With spyglass in his hand;
There’s a whale, there’s a whale, there’s whalefish he cried
And she blows at every span, brave boys
She blows at every span.

The captain stood on the quarter deck,
And a fine little man was he;
“Overhaul, overhaul! Let your davit tackles fall,
And launch your boats for sea, brave boys
And launch your boats for sea.

Now the boats were launched and the men aboard,
And the whale was full in view.
Resolv-ed was each seaman bold
To steer where the whalefish blew, brave boys
To steer where the whalefish blew.

We stuck the whale the line paid out,
But she gave a flourish with her tail,
The boat capsized and four men were drowned,
And we never caught that whale, brave boys,
And we never caught that whale.

“To lose the whale,” our captain said,
It grieves my heart full sore,
But oh! to lose (those) four gallant men
It grieves me ten times more brave boys
It grieves me ten times more.

The winter star doth now appear,
So, boys we’ll anchor weight;
It’s time to leave this cold country
And homeward bear away, brave boys
And homeward bear away.

Oh Greenland is a dreadful place
A land that’s never green
Where there’s ice and snow, and the whalefishes blow
(and the) daylight’s seldom seen brave boys
But the daylight’s seldom seen.

 

If you have any more information to share about this song or helpful links, please post as a comment. Thanks for stopping by the site! ~John Fitz

I am indebted to the many friends who share my love of traditional songs and to the many scholars whose works are too many to include here. I am also incredibly grateful to the collector’s curators and collators of Wikipedia, Mudcat.org, MainlyNorfolk.info, and TheContemplator.com for their wise, thorough and informative contributions to the study of folk music. 

I share this scholarly research on my site with humility, thanks, and gratitude. Please cite sources accordingly with your own research. If you have any research or sites you would like to share on this site, please post in the comment box.  

Thanks!

 

Source: Wikipedia

Edit links
This article is about the folk song. For whaling in Greenland, see Whaling § Greenland.
Greenland Fisheries
Tune for Greenland Fisheries
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"Greenland Whale Fisheries" (also called "The Greenland Whale Fishery", "Sperm Whale Fishery", or "The Ballad of the Greenland Whalers") is a traditional sea song, originating in the West Indies but known all over the Atlantic Ocean.[1] In most of the versions collected from oral sources, the song opens up giving a date for the events that it describes (usually between 1823 and 1853). However, the song is actually older than this and a form of it was published as a ballad before 1725.[2] It has been given a Roud number of 347.[3]

The song tells of a whaling expedition that leaves for Greenland. The lookout spots a "whalefish", and harpoon boats are launched. However, the whale strikes the boat with its tail, capsizing it, and several men are killed. The captain grieves over losing his men, but especially for having lost his prey. He then orders the ship to sail for home, calling Greenland a "dreadful place".

Like most traditional songs, "Greenland Whale Fisheries" exists in different versions.[4] Some change details (such as the date of the expedition), and others add or remove verses. Some modern versions, including the ones recorded by Judy Collins and Theodore Bikel, The Chad Mitchell Trio, and later by The Pogues, flip the captain's expression of grief to make him regret losing his catch even more than losing his crew.

In the version popularized by The Weavers and Peter, Paul and Mary, a shanty recorded by Alan Lomax from a Bahamian fisherman[5] is appended, which begins, "When the whale gets strike, and the line run down, and the whale makes a flounder with her tail, and the boat capsized, and we lost our darling man, No more, no more Greenland for you you, Pray Boys, No more, no more Greenland for you."...."[6]

Folk singer Paul Kaplan recorded a song with the same tune under the title "Call Me the Whale". Following a similar chronology, it tells the story from the whale's perspective.[7]

In the Futurama episode "The Birdbot of Ice-Catraz", Bender, in an ironic state of soberness, sings a snippet of the song.

The Greenland Whalefishers, a Celtic punk band from Norway, is named after the song.

Recorded versions

References

  1. ^ "The Greenland Whale Fishery (Roud 347; Laws K21; G/D 1:9)". mainlynorfolk.info. Retrieved 2024-08-05.
  2. ^ R. Vaughan Williams & A.L. Lloyd (editors): The Penguin Book of English Folk Songs, Penguin Books, 1959. p.115
  3. ^ "Vaughan Williams Memorial Library Roud 347 entry".
  4. ^ e.g. Vaughan Williams & Lloyd p.50. Version collected by Anne G. Gilchrist from the singing of W. Bolton, Southport, Lancashire, 1906
  5. ^ "Bahamas 1935: Chanteys & Anthems from Andros & Cat - Alan Lomax | Songs, Reviews, Credits | AllMusic". AllMusic.
  6. ^ Check-list of Recorded Songs in the English Language in the Archive of Folk Song, United States Work Projects Administration. District of Columbia - 1942,Page 435
  7. ^ Call Me the Whale Lyrics
source: https://en.wikipedia.org/wiki/Greenland_Whale_Fisheries

Source: Mainly Norfolk

The Greenland Whale Fishery

[ Roud 347 ; Laws K21 ; G/D 1:9 ; Ballad Index LK21 ; trad.]The Greenland Whale Fishery is a song about the Spitsbergen right whale fishing in the 1720s. A version collected from W. Bolton, Southport, Lancashire in 1906 by Anne Gilchrist was printed in A.L. Lloyd and Vaughan Williams’ The Penguin Book of English Folk Songs (1959).A.L. Lloyd sang The Greenland Whale Fishery in 1956 on his, Ewan MacColl and Harry H. Corbett’s album The Singing Sailor. This recording was reissued on their albums Singing Sailors (Wattle Records, Australia) and Off to Sea Once More (Stinson Records, USA).

A.L. Lloyd also recorded this song for his and Ewan MacColl’s Riverside LP Thar She Blows! (where it was called Sperm Whale Fishery) and, for a third time, in 1967 for the album Leviathan! Ballads and Songs of the Whaling Trade. He commented in the latter album’s sleeve notes:

This is the oldest—and many think the best—of surviving songs of the whaling trade. It had already appeared on a broadside around 1725, very shortly after the South Sea Company decided to resuscitate the then moribund whaling industry, and sent a dozen fine large ships around Spitsbergen and the Greenland Sea. The song went on being sung with small changes all the time to bring it up to date. Our present version mentions the year 1834, the ship Lion, its captain Randolph. Other versions give other years, and name other ships and skippers (there was a whaler the Lion, out of Liverpool, but her captain’s name was Hawkins, and she was lost off Greenland in 1817). We may take it that the incident described in the song is not historical but imaginary, a stylisation like those thrilling engravings of whaling scenes that were once so popular. But the song’s pattern of departure, chase, and return home, was imitated in a large number of whaling ballads made subsequently. It is the ace and deuce of whale songs.

Ewan MacColl sang just three verses—5, 8 and 9—of The Greenland Whale Fishery in the musical score of the 1962 film Whaler Out of New Bedford.

Philip Hamon and Hilary Carre of Sark on the Channel Islands sang The Whale Fishery on the anthology Sailormen and Servingmaids (The Folk Songs of Britain Volume 6; Caedmon 1961; Topic 1970).

The Watersons sang a concise six-verse version of The Greenland Whale Fishery in 1965 on their very first record, New Voices. This wonderful recording was included on the Topic sampler Sea Songs and Shanties and on the French compilation Chants de Marins IV: Ballads, Complaintes et Shanties des Matelots Anglais, reissued on the Watersons’ CD Early Days, included on the 1993 Topic sampler Blow the Man Down: Sea Songs and Shanties and in 2004 on the Watersons’ 4 CD anthology Mighty River of Song.

A.L. Lloyd commented in the New Voices sleeve notes:

How old is this song? In the Watersons’ version the date 1864 is given, which is thirty years too late for Greenland whaling, for by 1830 the Greenland grounds were fished out and the expeditions had transferred their attention to the seas of Baffin Bay. In any case, we know the song is very much older than it seems, for it was already in print as a broadside before 1725. The Dutch and English had opened up the Greenland grounds (where, by the way, they fished for right whales, not sperm whales) early in the sixteenth century so the song came into being some time between then and the opening years of the eighteenth. It remained a great favourite, being reprinted over and again by broadside publishers, and many versions of it have been collected from country singers during the present century. It’s one of the great sea songs.

Mike Waterson and Louis Killen sang The Greenland Whale Fishery in 1965 in the BBC TV documentary about the Watersons, Travelling for a Living.

The Pogues recorded Greenland Whale Fisheries in 1984 for their first album, Red Roses for Me, and Van Dyke Parks sang it in 2006 on Rogue’s Gallery: Pirate Ballads, Sea Songs & Chanteys.

Jon Boden sang Greenland Whale Fishery as the August 4, 2010 entry of his project A Folk Song a Day. He noted in the blog:

My first introduction to The Watersons was on a Topic LP Sea Songs and Shanties that I borrowed from Winchester library at a tender age. I had heard Norma sing on the first Waterson:Carthy album but was absolutely knocked out by the ferocity of the sound the three siblings and cousin John could produce. This was one of [four] Waterson tracks on the album.

This YouTube video shows the Exmouth Shanty Men singing Greenland Whale Fisheries at the Blackmoor Theatre Exmouth in November 2008:

Lyrics

A.L. Lloyd sings The Greenland Whale Fishery The Watersons sing The Greenland Whale Fishery
We may no longer stay ashore
Since we’re so deep in debt.
So off to Greenland we will steer
Some money for to get, brave boys,
Some money for to get.
It was eighteen hundred and thirty-four,
On March the seventeenth day,
That we hoist our colours to the top of the tree
And for Greenland bore away, brave boys,
For Greenland bore away		 They took us jolly sailor lads
A-fishing for the whale.
On the fourth day of August in 1864
Bound for Greenland we set sail.
John Randolph was our captain’s name,
Our ship the “Lion” so bold.
We had fifteen men and they were brave
For to face the wind and cold, brave boys,
To face the wind and cold
It was when we come to them icy grounds
Our good ship for to moor.
It was then that we wished ourselves back again
With the pretty girls ashore, brave boys,
With the pretty girls ashore
Our bosun he goes up aloft
With a spyglass in his hand.
“It’s a whale, a whale, oh a whale-fish,” he cries,
“And he blows at every span, brave boys,
And he blows at every span.”		 The lookout stood on the cross-trees high
With a spyglass in his hand.
“There’s a whale, there’s a whale, there’s a whale-fish,” he cried,
“And she blows at every span.”
Our captain walked on the quarterdeck
And the ice was in his eye
“Overhaul, overhaul, let your davit tackle falls.”
And we launch our boats all three, brave boys,
We launch our boats all three.		 The captain stood on the quarterdeck,
And a sod of a man was he.
“Overhaul, overhaul, let your davit tackles fall.”
And we’ll launch them boats to sea.
Well, every keel had its bold harpooner,
It’s pikeaneer a steerer also,
And four jolly tars for to pull at the oars.
And a-whaling we did go, brave boys,
Oh a-whaling we did go.
Well, our boats got down, and the men all in
And the whale was full in view.
Resolved, resolved, was them whalermen so bold
To strike when the whale-fish blew, brave boys,
To strike when the whale-fish blew.
Well, the harpoon struck, and down went the whale
With a flourish of his tail.
And by chance we lost two men overboard.
No more Greenland for you, brave boys,
And we never caught that whale.		 We struck that whale and the line played out
But she gave a flurry with her tail.
And the boat capsized, we lost seven of our men,
And we never caught that whale.
When the captain heard of the loss of his men,
It grieved his heart full sore.
But when he heard of the loss of the whale,
It was half-mast colours all, brave boys,
It was half-mast colours all.		 Now the losing of seven fine seamen,
It grieved the captain sore.
But the losing of a bloody sperm whale
Oh, it grieved him ten times more.
The winter star did now appear,
And it’s time our anchor for to weigh,
To stow below our running gear
And from Greenland bear away, brave boys,
From Greenland bear away.
Oh, that Greenland is a dreadful place,
No longer can we stay.
Now the cold winds blow and the whales do go
And it’s seldom ever day, brave boys,
It’s seldom ever day.		 Now, Greenland is a horrid place,
Where our fisher lads have to go,
Where the rose and the lily never bloom in spring;
No there’s only ice and snow.

Acknowledgements

The Watersons’ version was transcribed by Garry Gillard. A.L. Lloyd’s version is from the Leviathan! sleeve notes.

Performances, Workshops, Resources & Recordings

The American Folk Experience is dedicated to collecting and curating the most enduring songs from our musical heritage.  Every performance and workshop is a celebration and exploration of the timeless songs and stories that have shaped and formed the musical history of America. John Fitzsimmons has been singing and performing these gems of the past for the past forty years, and he brings a folksy warmth, humor and massive repertoire of songs to any occasion. 

Festivals & Celebrations

Coffeehouses

School Assemblies

Library Presentations

Songwriting Workshops

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House Concerts

Pub Singing

Irish & Celtic Performances

Poetry Readings

Campfires

Music Lessons

Senior Centers

Voiceovers & Recording

““Beneath the friendly charisma is the heart of a purist gently leading us from the songs of our lives to the timeless traditional songs he knows so well…”

 

Globe Magazine

Join Fitz at The Colonial Inn

“The Nobel Laureate of New England Pub Music…”

Scott Alaric

Adventures in the Modern Folk Underground

On the Green, in Concord, MA Every Thursday Night for over thirty years…

“A Song Singing, Word Slinging, Story Swapping, Ballad Mongering, Folksinger, Teacher, & Poet…”

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  Like birds of a feather, we gather together, 'Cuz they're feeling exactly like you... ~John Prine   I am not afraid of being a white minority. I had lunch today with a Jamaican drummer, a Ugandan farmer, and a Senagalese potter. I don’t say this out of...
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The Mystery Within

by | August 15, 2014 | Journal, Poetry | 0 Comments

EJ wanted a banana tree for Christmas so that early morning brought a plastic bag, a few meager roots and no directions. I bought some potting soil and a square cedar box EJ placed deliberately by a westward window. He gently splayed the roots, pressed the soil, and...
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Concord

by | July 14, 2014 | Poetry, Raccoon | 0 Comments

The people, the music filledness of rush hour traffic skirting puddles work crews packing in laughswearingmudyellowed slickers lighting candle bombs. My sadness the euphoric detachment. I love this town. It breathes me.
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Contact John Fitzsimmons...and thanks!

Shenandoah

Shenandoah

by | Mar 10, 2017

American Folk Songs

& Ballads

Shenandoah

The American Folk Experience

Shenandoah

by John Fitzsimmons | The American Folk Experience

~Traditional 

Oh, Shenandoah, I long to hear you,
Way hey, you rolling river.
Shenandoah, I long to hear you
Ha ha, we’re bound away ‘cross the wide Missouri.

Oh, Shenandoah, I love your daughter
Wey hey, you rolling river.
Oh Shenandoah, I love your daughter
ha ha, we’re bound away ‘cross the wide Missouri

Missouri she’s a mighty river…
When she rolls down, her topsails shiver…

Seven years, I courted Sally…
Seven more, I longed to have her…

Farewell, my dear, I’m bound to leave you…
Oh, Shenandoah, I’ll not deceive you…

Child Ballad #

If you have any more information to share about this song or helpful links, please post as a comment. Thanks for stopping by the site! ~John Fitz

I am indebted to the many friends who share my love of traditional songs and to the many scholars whose works are too many to include here. I am also incredibly grateful to the collector’s curators and collators of Wikipedia, Mudcat.org, MainlyNorfolk.info, and TheContemplator.com for their wise, thorough and informative contributions to the study of folk music. 

I share their research on my site with humility, thanks, and gratitude. Please cite their work accordingly with your own research. If you have any research or sites you would like to share on this site, please post in the comment box.  Thanks!

Source: Wikipedia

This article is about the American folk song. For other uses, see Shenandoah (disambiguation).
"Shenandoah"
"Shenandoah" as performed by the Singing Sergeants of the United States Air Force Band
Problems playing this file? See media help.

"Oh Shenandoah" (also called "Shenandoah", "Across the Wide Missouri", "Rolling River", "Oh, My Rolling River", "World of Misery") is a traditional folk song, sung in the Americas, of uncertain origin, dating to the early 19th century.

The song "Shenandoah" appears to have originated with American and Canadian voyageurs or fur traders traveling down the Missouri River in canoes and has developed several different sets of lyrics. Some lyrics refer to the Oneida chief Shenandoah and a canoe-going trader who wants to marry his daughter. By the mid 1800s versions of the song had become a sea shanty heard or sung by sailors in various parts of the world. The song is number 324 in the Roud Folk Song Index.

Other variations (due to the influence of its oral dispersion among different regions) include the Caribbean (St. Vincent) version, "World of Misery", referring not to an "Indian princess" but to "the white mullata".[1][2]

History

Until the 19th century, only adventurers who sought their fortunes as trappers and traders of beaver fur ventured into the lands of the indigenous peoples as far west as the Missouri River. Most of these French colonial "voyageurs" in the fur trade era were loners who became friendly with, and sometimes married, Native Americans. Some lyrics of this song heard by and before 1860 tell the story of a trader who fell in love with the daughter of the Oneida Iroquois chief Shenandoah (1710–1816) who lived in the central New York state town of Oneida Castle. He was a co-founder of the Oneida Academy which became Hamilton College in Clinton, New York, and is buried on the campus grounds.

["Shenandoah"] probably came from the American or Canadian voyageurs, who were great singers ... . In the early days of America, rivers and canals were the chief trade and passenger routes, and boatmen were an important class. Shenandoah was a celebrated Indian chief in American history, and several towns in the States are named after him. Besides being sung at sea, this song figured in old public school collections.

— W.B. Whall (1910)[3]

The canoe-going fur-trading voyageurs were great singers, and songs were an important part of their culture.[3] In the early 19th century flatboatmen who plied the Missouri River were known for their shanties, including "Oh Shenandoah". Sailors heading down the Mississippi River picked up the song and made it a capstan shanty that they sang while hauling in the anchor.[4] This boatmen's song found its way down the Mississippi River to American clipper ships—and thus around the world.[5]

The song had become popular as a sea shanty with seafaring sailors by the mid 1800s.[6] A version of the song called "Shanadore" was printed in Capt. Robert Chamblet Adams' article "Sailors' Songs" in the April 1876 issue of The New Dominion Monthly.[7] He also included it in his 1879 book On Board the "Rocket".[8] "Shanadore" was later printed as part of William L. Alden's article "Sailor Songs" in the July 1882 issue of Harper's New Monthly Magazine,[9][10][11] and in the 1892 book Songs that Never Die.[12] Alfred Mason Williams' 1895 Studies in Folk-song and Popular Poetry called it a "good specimen of a bowline chant".[13]

Percy Grainger recorded Charles Rosher of London England singing Shenandoah in 1906 and the recording is available online via the British Library Sound Archive.[14] A recording sung by former shantyman Stanley Slade of Bristol, England, in 1943 is also publicly available.[15]

In a 1930 letter to the UK newspaper The Times a former sailor who had worked aboard clipper ships that carried wool between Australia and Great Britain in the 1880s said that he believed the song had originated as an African American spiritual which developed into a work song.[a]

One of the first popular singers to record it was Paul Robeson, who released several versions from the 1930s onwards.[17]

Lyrics

Since "Shenandoah" was a riverman's and then sailor's song and went through numerous changes and versions over the years and centuries, there are no set lyrics. Modern variations may include[citation needed] lyrics such as the following:

Earlier versions

Charles Deas' The Trapper and his Family (1845) depicts a voyageur and his Native American wife and children

Lyrics from prior to 1860, given by Whall (1910)[3] were reported as follows:

Missouri, she's a mighty river.
Away you rolling river.
The redskins' camp lies on its borders.
Ah-ha, I'm bound away, 'Cross the wide Missouri.
The white man loved the Indian maiden,
Away you rolling river
With notions[b] his canoe was laden.
Ah-ha, I'm bound away, 'Cross the wide Missouri.
"O, Shenandoah, I love your daughter,
Away you rolling river.
I'll take her 'cross yon rolling water."
Ah-ha, I'm bound away, 'Cross the wide Missouri.
The chief disdained the trader's dollars:
Away you rolling river.
"My daughter never you shall follow."
Ah-ha, I'm bound away, 'Cross the wide Missouri.
At last there came a Yankee skipper.
Away you rolling river.
He winked his eye, and he tipped his flipper.
Ah-ha, I'm bound away, 'Cross the wide Missouri.
He sold the chief that fire-water,
Away you rolling river.
And 'cross the river he stole his daughter.
Ah-ha, I'm bound away, 'Cross the wide Missouri.
"O, Shenandoah, I long to hear you,
Away you rolling river.
Across that wide and rolling river."
Ah-ha, I'm bound away, 'Cross the wide Missouri.

J.E. Laidlaw of San Francisco reported hearing a version sung by a black Barbadian sailor aboard the Glasgow ship Harland in 1894:[18]

Oh, Shenandoah! I hear you calling!
Away, you rolling river!
Yes, far away I hear you calling,
Ha, Ha! I'm bound away across the wide Missouri.
My girl, she's gone far from the river,
Away, you rolling river!
An' I ain't goin' to see her never.
Ha, Ha! I'm bound away, (&c.)[c]

Lyrics to "Oh Shenandoah" as sung by Tennessee Ernie Ford (1959):

Oh Shenandoah, I hear you calling,
Hi-o, you rolling river.
Oh Shenandoah, I long to hear you,
Hi-o, I'm bound away.
'Cross the wide, Mis-sou-ri.
Mis-sou-ri, She's a mighty river,
Hi-o, you rolling river.
When she rolls down, her topsails shiver,
Hi-o, I'm bound away,
'Cross the wide, Mis-sou-ri.
Farewell my dearest, I'm bound to leave you,
Hi-o, you rolling river.
Oh Shenandoah, I'll not deceive you,
Hi-o, I'm bound away.
'Cross the wide Mis-sou-ri.

Modern usage

The song is popular in local organizations such as Shenandoah University, Southern Virginia University, Washington and Lee University, Virginia Tech and the Virginia Military Institute.

"Shenandoah" was proposed as the "interim state song" for Virginia in 2006 with updated lyrics.[19] The proposal was contentious because the standard folksong refers to the Missouri River and in most versions of the song the name "Shenandoah" refers to an Indian chief, not the Shenandoah Valley or Shenandoah River, both of which lie almost entirely in Virginia.[19][20]

"Our Great Virginia" which uses the melody of "Shenandoah" was designated by the Virginia Legislature as the official traditional state song of Virginia in 2015.

In the movies it is featured in the soundtrack of the 1965 movie Shenandoah, starring Jimmy Stewart. It is also heard repeatedly in 1947's Mourning Becomes Electra, and as part of a medley in the 1962 film How the West Was Won. As a sea chanty, it is heard in Java Head (1934). Choral arrangements of the song have been used in the films The Good Shepherd and Nixon.

Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time.[21]

Various arrangements by Percy Grainger have been recorded by John Shirley-Quirk and other classically trained singers. "A song of the waters: variations on the folksong Shenandoah" is a classical composition by James Cohn. At least one version was arranged by Leslie Woodgate.[22]

The song is featured in the Fallout series, being played on Appalachia Radio in the game Fallout 76.

Selected notable recordings

See also

Footnotes

  1. ^ This chantey is obviously of American origin ... . 'Shenandoah' was more a wool and cotton chantey than a capstan chantey. I have many times heard it sung down the hold on the wool screws by the Sydney waterside workers ... and many were full-blood negroes, who undoubtedly brought these chanteys off the cotton ships ... . With regard to the words, these vary according to the taste of the chantey man in the first and third line of each verse, there being no effort called for on these two lines, but the second and fourth lines were always the same, these being the rhythm lines on which the weight was used. When I was in the wool trade in the eighties, in both The Tweed and Cutty Sark this chantey was daily used on the wool screws. — R.L. Andrews (1930)[16]
  2. ^ Old "notions" = modern "knick-knacks".
  3. ^ Brookington added his informant Laidlaw had later heard it sung "almost word for word as the sailor of Harland sang it" in 1926 at Monterey Presidio by a captain of the 9th U.S. Cavalry, and that this regiment, though officered by whites, was made up largely of black troopers. Brookington speculated, therefore, the song was originally a negro spiritual.[18]

References

  1. ^ Version sung by The Chicago based folk duo of Jacquie Manning and Rich Prezioso
  2. ^ [1] Archived 2022-01-17 at the Wayback Machine California State University, Fresno, Folklore Department]
  3. ^ a b c Whall, W.B., ed. (1913) [1910]. Ships, Sea Songs, and Shanties. collected by W.B. Whall, Master Mariner (First 1910, Third 1913 ed.). Glasgow: James Brown & Son – via Archive.org.
  4. ^ "Shenandoah" Archived 2014-10-22 at the Wayback Machine. BalladofAmerica.com. Retrieved August 21, 2016.
  5. ^ In a 1931 book on sea and river shanties, David Bone wrote that the song originated as a river chanty or shanty, then became popular with seagoing crews in the early 19th century. (David W. Bone (1931). Capstan Bars. Edinburgh: The Porpoise Press. OCLC 896299.)
  6. ^ The Times. September 12, 1930. p. 8, column B.
  7. ^ Capt. R. C. Adams (April 1876). "Sailors' Songs". The New Dominion Monthly. Montreal: John Dougall & Son: 262. Retrieved March 27, 2014.
  8. ^ Robert Chamblet Adams (1879). On Board the "Rocket". D. Lothrop. p. 317. Retrieved March 27, 2014.
  9. ^ "About "Shenandoah"". Song of America Project. Library of Congress. Retrieved 2010-03-06.
  10. ^ "Sailor Songs", Harper's New Monthly Magazine, vol. 65, no. 386, p. 283, July 1882
  11. ^ "Harpers New Monthly Magazine from 1882". ebooks.library.cornell.edu. Retrieved September 29, 2012.
  12. ^ Buck, Dudley. Songs that Never Die. B. F. Johnson, 1892. p. 36.
  13. ^ Alfred Mason Williams (1895). Studies in Folk-song and Popular Poetry. London: Elliot Stock. pp. 5–7., as reprinted in Alfred Mason Williams (2005). Studies in Folk-song and Popular Poetry. BiblioBazaar. ISBN 978-0-559-78728-7.
  14. ^ "Shenandoah - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds". sounds.bl.uk. Archived from the original on 2023-06-23. Retrieved 2023-06-23.
  15. ^ "Stanley Slade, Bristol (Kennedy 1950 and BBC 1943) - Peter Kennedy Collection - World and traditional music | British Library - Sounds". sounds.bl.uk. Archived from the original on 2021-01-18. Retrieved 2020-08-24.
  16. ^ Andrews, R.L. (19 September 1930). "Shenandoah". The Times (letter). London, UK. p. 6.
  17. ^ Cheal, David (9 October 2017). "Shenandoah — a song steeped in history and mystery". Financial Times. Retrieved 2023-01-03.
  18. ^ a b Brookington, A.A. (12 September 1930). "A letter from A.A. Brookington of Liverpool". The Times (letter). No. 45616. relaying a report by J.E. Laidlaw, of San Francisco. p. 8. col B.
  19. ^ a b Sluss, Michael (March 2, 2006). "Proposed state song doesn't bring down the House". The Roanoke Times.{{cite news}}: CS1 maint: deprecated archival service (link)
  20. ^ "Virginia Searches For A New State Song". NPR.org. Retrieved 2016-10-23.
  21. ^ Western Writers of America (2010). "The Top 100 Western Songs". American Cowboy. Archived from the original on 19 October 2010. Retrieved 9 August 2014.
  22. ^ British Library (1 January 1987). The Catalogue of Printed Music in the British Library to 1980. Saur. ISBN 978-0-86291-359-5.
  23. ^ "Paul Robeson - Shenandoah". lost.fm. Retrieved 2023-05-11.
  24. ^ Friedwald, Will (2017). The Great Jazz and Pop Vocal Albums. Pantheon. p. 306. ISBN 9780307379078.
  25. ^ a b c d e f Margotin, Philippe; Guesdon, Jean-Michel (2020). Bruce Springsteen: All the Songs: The Story Behind Every Track. Octopus. p. 660. ISBN 9781784727253.
  26. ^ Elphland, John (December 1999). ""Keith Jarrett: The Melody At Night, With You"". Down Beat. Retrieved 23 August 2024.
  27. ^ Caligiuri, Jim (July 28, 2000). "Cowboy Nation: A Journey Out Of Time". Austin Chronicle. Retrieved 2023-01-26.
  28. ^ "Cowpunk Survivors". OC Weekly. January 18, 2001. Retrieved 2023-01-26.
  29. ^ "Duluth - Trampled by Turtles". AllMusic. Retrieved 2024-07-24.
source: https://en.wikipedia.org/wiki/Oh_Shenandoah

Source: Mainly Norfolk

Shenandoah

[ Roud 324 ; trad.]

Brian Mooney, Glen Tomasetti or Martyn Wyndham-Read sang Shenandoah in 1965 on their Australian album Will Ye Go Lassie Go?, and Martyn Wyndham-Read sang Shenandoah in 1984 on the album The Old Songs, accompanied by a chorus of John Kirkpatrick, Martin Carthy and Maggie Goodall.

Don McLean with a chorus of Gordon Bok, Jon Eberhard, Bob Killian, Pete Seeger and Andy Wallace sang Shenandoah in 1774 on the album Clearwater.

Jolly Jack sang Shenandoah in 1988 on their Fellside album A Long Time Travelling.

Richard Greene and Jack Shit sang Shenandoah in 2006 on the anthology of pirate ballads, sea songs and chanteys, Rogue’s Gallery.

Future Pilot A.K.A. and Karine Polwart sang Shenandoah in 2007 on the former’s album Eyes of Love.

Barbara Brown and Keith Kendrick sang Shanandore in 2012 on the anthology of songs of John Short collected by Cecil Sharp, Short Sharp Shanties Vol. 2. The anthology’s notes commented:

A shanty that is usually sung very freely—despite it’s being invariably cited as a capstan or windlass shanty. Sharp comments that “The tune is always irregular in its rhythm” and notated Short’s version in 3:2 varying into 2:2. However, Short’s beautiful version works perfectly and regularly (as it would need to for capstan work) if notated in 2:4—and sounds no different!

Another anecdote of Short is worth recounting here: Several years after he had initially introduced his parishioner, John Short, to Cecil Sharp, the Rev. Alan Brockington—by now a vicar in Liverpool—wrote to The Times in response to a discussion about the origins of Shenandoah, going on to say that: “I visited Mr. Short again in 1928. My wife was with me, and I asked him to sing Shanadar for her benefit. He said: ‘I don’t know as I like Shanadar.’ I wondered why he did not like the song, and then I remembered that that we had omitted from the published book one line he had sung in 1914, on account of its—well, unsuitability. Mr. Short seeing a lady was present and being too old to change his words at a moment’s notice, escaped from his embarrassment by saying that he did not like the song. Whereas in 1914, it was the only tune that, of his own proper volition, and without any remark from Cecil Sharp, he had praised.” The line, duly noted in Sharp’s notebook and faithfully recorded on the CD is, of course:

Oh Shanadar, I love your daughter
I love the place she makes her water.

Hugill commented that: “This is one of the shanties collectors have always thought to be clean, but when crossed, as it often was, with Sally Brown(owing to her having a daughter like Shenandoah) not even the most broadminded collector could call it clean.” Yankee Jack’s version does court Sally, but never descends to filth—unless, of course, Short was hiding behind his frequent ‘bound away’ verses! Most collectors tend to make similar comments to Terry, who did not publish Short’s version, but wrote: “This is one of the most famous of all shanties. I never met a sailor to whom it was unknown, nor have I ever found any two who sang it exactly alike. This version (sung to me by Capt. Robertson) is almost, but not quite, identical with the one I learnt as a boy. Shenandoah (English seamen usually pronounce it ‘Shannandore’) was a celebrated Indian chief after whom an American town is named. A branch of the Potomac river bears the same name. The tune was always sung with great feeling and in very free rhythm.” So you pays your money, and you takes your choice—but we’ve come to really like John Short’s version of the tune—sung here with a regular capstan timing!

Lyrics

Martyn Wyndham-Read sings Shenandoah

Oh Shenandoah, I long to hear you,
Away, you rolling river.
Oh Shenandoah, I long to hear you,
Away, I’m bound to go ‘cross the wide Missouri.

Oh Shenandoah, I took a notion,
Away, you rolling river.
To sail across the stormy ocean,
Away, I’m bound to go ‘cross the wide Missouri.

Oh Shenandoah, I’m bound to leave you,
Away, you rolling river.
Oh Shenandoah, I’ll nor deceive you,
Away, I’m bound to go ‘cross the wide Missouri.

Oh Shenandoah, I love your daughters,
Away, you rolling river.
I love the music of your waters,
Away, I’m bound to go ‘cross the wide Missouri.

‘Tis seven long years since last I saw you,
Away, you rolling river.
But Shenandoah, I’ll never grieve you,
Away, I’m bound to go ‘cross the wide Missouri.

Oh Shenandoah’s my native valley,
Away, you rolling river.
Beside her waters I love to dally,
Away, I’m bound to go ‘cross the wide Missouri.

Oh Shenandoah’s a lovely river,
Away, you rolling river.
And I shall not forget you ever,
Away, I’m bound to go ‘cross the wide Missouri.

Links

See also the Mudcat Café thread Origin: Shenandoah.

Performances, Workshops, Resources & Recordings

The American Folk Experience is dedicated to collecting and curating the most enduring songs from our musical heritage.  Every performance and workshop is a celebration and exploration of the timeless songs and stories that have shaped and formed the musical history of America. John Fitzsimmons has been singing and performing these gems of the past for the past forty years, and he brings a folksy warmth, humor and massive repertoire of songs to any occasion. 

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I scoop that boy right into my arms,
And this is what I say:

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by | January 31, 2014 | Essays, Journal, Teaching | 0 Comments

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by | May 4, 2014 | Essays, Journal | 0 Comments

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by | August 12, 2014 | Fires in the Belly, Songs | 0 Comments

I lost the time I hardly knew you,
half-assed calling:
“How you doing?
Laughing at my hanging hay field;
I never knew the time
that tomorrow’d bring,
until it brung to me.

Yuan lai jui shuo: “Zenmoyang ni?”
Xianzai chang shu: “Dou hai keyi”;
Xiexie nimen, dou hen shang ni.
Xiwang wo men dou hen leyi
Dou hen leyi

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by | March 28, 2022 | Essays, Journal | 0 Comments

Good intentions are easily hobbled by inaction. There has always been a murky and muddied No Mans Land in every war where the evil and the righteous trade the moral high ground. This is not the case in Ukraine. Putin’s actions are evil--pure, unmitigated, unprovoked...
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by | July 23, 2015 | Essays, Journal, Teaching | 0 Comments

I           The dull staccato throb in light rain on a dark night. Unseen barges make their way up the QianTian River—concrete shores marked by the arch of the bridge, the spans of beam stretched on beam, the impeccable symmetry of the street-lights broken by a stream...
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by | September 29, 2017 | Essays, Journal | 0 Comments

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by | April 20, 2016 | Journal | 0 Comments

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by | July 27, 2016 | Essays, Journal | 0 Comments

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by | July 25, 2019 | Journal, Teaching | 0 Comments

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by | July 8, 2017 | Journal, Poetry | 0 Comments

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by | April 10, 2014 | Essays, Journal | 0 Comments

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by | December 7, 2013 | Journal | 0 Comments

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by | October 17, 2014 | Journal, Teaching | 0 Comments

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by | May 24, 2016 | Journal, Poetry | 0 Comments

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by | January 29, 2014 | Essays, Journal, Teaching | 0 Comments

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Contact John Fitzsimmons...and thanks!

The Erie Canal

The Erie Canal

by | Mar 10, 2017

American Folk Songs & Ballads

The Erie Canal

The American Folk Experience

The Erie Canal

by John Fitzsimmons | The American Folk Experience

I’ve got a mule and her name is Sal
Fifteen miles on the Erie Canal
She’s a good old worker and a good old pal
Fifteen miles on the Erie Canal

We haul’d some barges in our day
Filled with lumber, coal and hay
We know every inch of the way
From Albany to Buffalo

Low bridge, everybody down
Low bridge, we’re comin’ to a town
And you’ll always know your neighbor
And you’ll always know your pal
If ya ever navigated on the Erie Canal

We’d better look around for a job, old gal
Fifteen miles on the Erie Canal
You can bet your life I’ll never part with Sal
Fifteen miles on the Erie Canal

Get up mule, here comes a lock
We’ll make Rome ’bout six o’clock
One more trip and back we’ll go
Right back home to Buffalo

Low bridge, everybody down
Low bridge, we’re comin’ to a town
You’ll always know your neighbor
And you’ll always know your pal
If ya ever navigated on the Erie Canal

Where would I be if I lost my pal?
Fifteen miles on the Erie Canal
I’d like to see a mule good as my Sal
Fifteen miles on the Erie Canal

A friend of mine once got her sore
Now he’s got a broken jaw
‘Cause she let fly with an iron toe
And kicked him back to Wisconsin

Low bridge, everybody down
Low bridge, ’cause we’re comin’ to a town
You’ll always know your neighbor
And you’ll always know your pal
If ya ever navigated on the euphrates canal

Low bridge, everybody down
Low bridge, we’re comin’ to a town
You’ll always know your neighbor
And you’ll always know your pal
If ya ever made a livin’ on the Erie Canal

(Low bridge, everybody down)
(Low bridge, we’re comin’ to a town)

Original Version: 1905 Thomas Allen 

If you have any more information to share about this song or helpful links, please post as a comment. Thanks for stopping by the site! ~John Fitz

I am indebted to the many friends who share my love of traditional songs and to the many scholars whose works are too many to include here. I am also incredibly grateful to the collector’s curators and collators of Wikipedia, Mudcat.org, MainlyNorfolk.info, and TheContemplator.com for their wise, thorough and informative contributions to the study of folk music. 

I share their research on my site with humility, thanks, and gratitude. Please cite their work accordingly with your own research. If you have any research or sites you would like to share on this site, please post in the comment box.  Thanks!

Source: Wikipedia

"Low Bridge, Everybody Down"
Cover of sheet music published in 1913.
Original publication of "Low Bridge, Everybody Down"
Also known as
  • "Fifteen Years on the Erie Canal"
  • "Fifteen Miles on the Erie Canal"
  • "Erie Canal Song"
  • "Mule Named Sal"
LyricsThomas S. Allen, 1913
MusicThomas S. Allen, 1913
Audio sample
"Low Bridge! Everybody Down" (Original piano accompaniment for the song by Thomas S. Allen. From the 1913 sheet music. Performed by Steven M. Alper.)

"Low Bridge, Everybody Down" is a folk song credited to Thomas S. Allen (although its origin and authorship remain in question[1]), first recorded in 1912,[2] and published by F.B. Haviland Publishing Company in 1913.[3] It was written after the construction of the New York State Barge Canal, which would replace the Erie Canal, was well underway, furthering the change from mule power to engine power, raising the speed of traffic. Also known as "Fifteen Years on the Erie Canal", "Fifteen Miles on the Erie Canal", "Erie Canal Song", "Erie Barge Canal", and "Mule Named Sal", the song memorializes the years from 1825 to 1880 when the mule barges made boomtowns out of Utica, Rome, Syracuse, Rochester, and Buffalo, and transformed New York into the Empire State.

The music cover published in 1913 depicts a boy on a mule getting down to pass under a bridge, but the reference to "low bridge" in the song refers to travelers who would typically ride on top of the boats. The low bridges would require them to get down out of the way to allow safe passage under a bridge.[4]

Recordings

Early 20th-century recordings of the song include ones by Billy Murray, Vernon Dalhart, and Jack Nerz. The song has become part of the folk repertoire, recorded by folksingers like Glenn Yarborough, Pete Seeger and the Weavers, The Kingston Trio, the children's series VeggieTales, and artists like the Sons of the Pioneers. Dan Zanes included it on a children's album with Suzanne Vega singing lead. Bruce Springsteen recorded the song on his 2006 album We Shall Overcome: The Seeger Sessions. The cartoon series Animanics parodied "Low Bridge" with their song about the Panama Canal. The lyrics are also the text of the book The Erie Canal (1970), illustrated by Peter Spier.

Lyrics

These are the lyrics as they were originally published by Thomas Allen in 1913:

I've got an old mule, and her name is Sal, Fifteen years on the Erie Canal
She's a good old worker and a good old pal, Fifteen years on the Erie Canal
We've hauled some barges in our day, filled with lumber, coal and hay.
And every inch of the way I know, From Albany to Buffalo

Low bridge, everybody down, Low bridge, we must be getting near a town.
You can always tell your neighbor; you can always tell your pal.
If he's ever navigated on the Erie Canal

We’d better look 'round for a job old gal, Fifteen years on the Erie Canal
You bet your life I wouldn’t part with Sal, Fifteen years on the Erie Canal
Giddyap there gal we’ve passed that lock, we’ll make Rome 'fore six o-clock
So one more trip and then we’ll go, Right straight back to Buffalo

Low bridge, everybody down, Low bridge, I've got the finest mule in town
Once a man named Mike McGinty tried to put it over Sal
Now he’s way down at the bottom of the Erie Canal

Oh, where would I be if I lost my pal? Fifteen years on the Erie Canal
Oh, I'd like to see a mule as good as Sal, Fifteen years on the Erie Canal
A friend of mine once got her sore, Now, he's got a broken jaw.
Cause she let fly with her iron toe and kicked him into Buffalo.

Low bridge, everybody down, Low bridge, I’ve got the finest mule in town.
If you're looking 'round for trouble, better stay away from Sal.
She's the only fighting donkey on the Erie Canal

I don't have to call when I want my Sal, Fifteen years on the Erie Canal
She trots from her stall like a good old gal, Fifteen years on the Erie Canal
I eat my meals with Sal each day, I eat beef and she eat hay.
She isn’t so slow if you want to know, she put the "Buff" in Buffalo

Chorus: Low bridge, everybody down, Low bridge, I’ve got the finest mule in town
Eats a bale of hay for dinner, and on top of that, my Sal.
Tries to drink up all the water in the Erie Canal

You'll soon hear them sing everything about my gal, Fifteen years on the Erie Canal
It's a darned fool ditty 'bout my darned fool Sal, Fifteen years on the Erie Canal
Oh, every band will play it soon, Darned fool words and darned fool tune!
You’ll hear it sung everywhere you go, from Mexico to Buffalo

Low bridge, everybody down, Low bridge, I've got the finest mule in town.
She's a perfect, perfect lady, and she blushes like a gal.
If she hears you sing about her and the Erie Canal.[1]

Variations

As with most folk songs, the lyrics have changed over time. The most obvious changes from Thomas Allen's original publication has been changing the word "years" to "miles". Allen's original version commemorates 15 years of working along the canal with Sal. The new version using the word miles refers to the average distance a mule would tow a barge before resting or being relieved by another mule. Dave Ruch's research on this change has been documented in an extensive article.[1]

Another common change is in the second verse. The current line "Git up there mule, here comes a lock" is a change from the original line "Get up there gal, we've passed that lock". The original refers to how mules would rest while waiting for barges to lock through, and then need to be instructed when to start again. The current implies speeding up when a lock is within sight—not a standard course of action.

Alternate lyrics

I've got a mule, and her name is Sal.
Fifteen miles on the Erie Canal
She's a good old worker and a good old pal.
Fifteen miles on the Erie Canal

We hauled some barges in our day.
Filled with lumber, coal and hay.
We know every inch of the way I know.
From Albany to Buffalo

Low bridge, everybody down
Low bridge, we're comin' to a town.
And you'll always know your neighbor.
And you'll always know your pal.
If ya ever navigated on the Erie Canal

We'd better look around for a job, old gal.
Fifteen miles on the Erie Canal
You can bet your life I'll never part with Sal.
Fifteen miles on the Erie Canal

Get up mule, here comes a lock.
We'll make Rome 'bout six o'clock.
One more trip and back we'll go.
Right back home to Buffalo

Low bridge, everybody down
Low bridge, we're comin' to a town.
You'll always know your neighbor.
And you'll always know your pal.
If ya ever navigated on the Erie Canal

Where would I be if I lost my pal?
Fifteen miles on the Erie Canal
I'd like to see a mule good as my Sal.
Fifteen miles on the Erie Canal

A friend of mine once got her sore.
Now he's got a broken jaw.
Cause she let fly with an iron toe.
And kicked him back to Buffalo.

Low bridge, everybody down
Low bridge, cause we're comin' to a town.
You'll always know your neighbor.
And you'll always know your pal.
If ya ever navigated on the Erie Canal

Low bridge, everybody down
Low bridge, we're comin' to a town.
You'll always know your neighbor.
And you'll always know your pal.
If ya ever made a livin' on the Erie Canal

(Low bridge, everybody down)
(Low bridge, we're comin' to a town)

References

  1. ^ a b c "Erie Canal Song - Lyrics, Music, History, and more". 26 May 2020.
  2. ^ "Low bridge! Everybody down!". Library of Congress.
  3. ^ "Low bridge!-everybody down, or, fifteen years on the Erie Canal".
  4. ^ "Home". eriecanalsong.com.
source: https://en.wikipedia.org/wiki/Low_Bridge_(song)

Source: Daveruch.com

Low Bridge, Everybody Down: Origins and History

Originally written sometime between 1905-1912, “Low Bridge! – Everybody Down” (subtitled “Fifteen Years on the Erie Canal”) was composed by Thomas S. Allen (1876-1919) of Natick, Massachusetts.

The song was copyrighted by F.B. Haviland Publishing Company in manuscript form in November of 1912, appearing in sheet music form early the following year (© Jan. 11, 1913; 2 c. Jan. 13, 1913: E 301302).

Thomas S Allen, 15 Miles on the Erie CanalThomas S. Allen was a musical jack-of-all trades, working at various stages of his career (and often simultaneously) as an orchestral violinist, “trick” violinist for burlesque and vaudeville shows, music director for theaters and traveling shows, and composer of songs for the vaudeville stage as well as rags, marches, waltzes, and other items for popular and commercial use.

The year “Low Bridge!” was first registered (1912), it was just one of nine songs copyrighted in Thomas S. Allen’s name.

 

Early Timeline and Changes

1905  The song is often cited as having been composed in this year, although Allen himself says it wasn’t until he saw the canal at Rochester that he wrote it

1911  Thomas S. Allen moves from Boston MA to Rochester NY for a job furnishing orchestras to the leading hotels and theaters – it’s likely that the song is composed around this time (see text from the record slip below)

1912  The song is copyrighted in manuscript form on November 18

1912  Billy Murray makes the first commercial recording of the song (Victor 17250) in Camden NJ on November 18, the same date it’s copyrighted (video below)

1912  The Peerless Quartet(te) records the song for Columbia Records (Columbia A-1296) on December 6; the same recording is released under pseudonyms on several other labels including United (A-1296) by “Quartette”, Aretino (D-750) by “Vocal Quartette,” Standard (A-1296), and Harmony (A-1296) by “The Harmony Male Quartette” (audio below)

1913  The song is copyrighted in sheet music form on Janurary 11 and again on January 13

1913  Edward Meeker records the song on Edison Blue Amberol 1761 (audio below)

1913  Allen, a Massachusetts native, is working at least part-time in Rochester NY, and has been coming (or living) there for at least a few years

map of erie canal in article about the song1924  Henry A. J. Castor of Albany NY writes to song collector and newspaper columnist R.W. Gordon with the first verse and chorus of the song, using “16 years” in place of “15 years” and saying it was “occasionally sung at Canal Meetings in this state and was for a great many years the prime favorite with canal drivers.” Gordon responds by saying “Your enclosure interests me greatly; I have a number of canal songs which have come in from various sailors, but none at all like this.”

1925  R.W. Gordon, still unaware of Allen’s published composition, receives another handwritten copy of the song from a reader (verses 1, 2, and 5 only), and replies “Certain things about it make me fairly certain that it originated on the vaudeville stage rather than on the canal, and that it is not very old.” 

1926  The song appears in print with “15 miles” in place of “15 years” for the first time, in Sigmund Spaeth’s book ‘Read ‘em and Weep.’ Spaeth claimed two sources for the song – journalist and author George Chappell (“Captain Traprock,” Spaeth called him), and Mike Ross, who worked at the Pennsylvania Hotel in New York City

1927  Carl Sandburg published the song in his book ‘The American Songbag’, also from George S. Chappell (whom he called “Dr. Traprock”)

1928  F.B. Haviland sues Doubleday, Page and Company for publishing the song in ‘Read ’em and Weep’ without permission; Doubleday counters that the song has been in circulation long before Haviland’s copyright date (see image below)

1929  Vernon Dalhart records the song electronically (Columbia 15378-D) on January 16, and acoustically (Harmony 831-H, Velvet Tone, Viva labels) under the pseudonym Mack Allen on January 21

1929  Frank Crumit makes an unreleased recording of the song for the Victor label on January 25

1934  John and Alan Lomax publish the song in ‘American Ballads and Folk Songs,’ as collected from Rev. Charles A. Richmond of Washington DC

Did Allen really write the song?

We think so; he’s quoted in the original record slip for Edward Meeker’s 1913 recording as follows:

Erie Canal Song - lyrics, sheet music, history

Thanks to Bill Hullfish for uncovering this reference.

However, a 1928 Music Trade Review article gives some reason to believe that the song may have been in use prior to 1912, and perhaps even before Allen’s 1905 composition date:

Erie Canal Folk Song history

Music Trade Review, June 23, 1928

Did Thomas S. Allen really compose “Low Bridge,” a song that is thematically unlike any others in his stable? Or, did he appropriate some lyrics and a theme that were already in use on the canal, embellish them, and simply claim them as his own as so many others have done through the years?

This is a question I am actively pursuing. There could be some revealing information in Haviland’s or Doubleday’s 1928 files and/or court records. (Can you help track these things down? Please email me at dave “at” daveruch “dot” com if so.)

Is “Low Bridge Everybody Down” a folk song?

One of the hallmarks of “folk” or “traditional” songs is that they don’t rely on commercial distribution to circulate. As such, they can – and do – take on a life of their own, changing as they’re passed from person to person and community to community.

oral tradition folk songs passing from person to personIf we’re using that definition, then “Low Bridge! – Everybody Down” has certainly become a folk song in spite of its origins as a published composition by a professional songwriter. Most people now sing “15 Miles” in place of “15 Years.” Others learned it as “16 Miles,” or “16 Years.” Some sing two verses, some know three. Sometimes (thanks to the Kingston Trio, among others) the melody and verses vary almost completely from the original composition.

I’d call that a folk song.

Source: Eriecanalsong.com

  • Erie Canal Song by Thomas S. Allen

    The Erie Canal Song, as it is commonly known by today, was written in 1905 under the title Low Bridge, Everybody Down about life on the Erie Canal. In addition to the The Erie Canal Song and Low Bridge, Everybody Down titles, the song has also been referred to by the following names over the years: Fifteen Years on the Erie Canal, Mule Named Sal and Fifteen Miles on the Erie Canal. Around 1905 mule powered barge traffic had converted to steam power and diesel power was about to take over.  The Erie Canal Song was written to commemorate the history of nearly 100 years of life along the Erie Canal.

    The Erie Canal Song is the most recognised of all the Erie Canal folksongs. A pdf of the song with notes for guitar and piano can be found here. Its interesting to note that the cover depicts a boy riding a mule leaned down to fit under a bridge, but in actuality the song is about the people in the boats. Travelers would typically ride on the roof of boats when the conditions allowed, but the low bridges along the route would require that they either duck down or get off the roof to fit under bridges.

    Lyric Variations

    Like most folk songs, the lyrics (and title!) of The Erie Canal Song has changed over time. The most obvious changes from Thomas Allen’s orignal version has been changing the word years to miles. Allen’s original version commerates 15 years of working along the canal with Sal. The new version using the word miles refers to the average distance a mule would tow a barge before resting or being relieved by another mule.

    Another change is in the second verse. The current line: “Git up there mule, here comes a lock” is a change from the original line: “Get up there gal, we’ve passed that lock”. The current version does not necessary make as much sense as the former. The former refers to how mules would rest while waiting for barges to lock through, and then need to be instructed when to start again. The current implies speeding up when a lock is within site. Without breaks or a simple way to slow a barge, this would not necessarly be the best course of action.

    Audio Versions Available:

    1.) Billy Murray (1912) click here.
    2.) Edward Meeker (1913) click here.
    (right click and ‘save as’ if necessary)

    The Erie Canal Song Lyrics

    I’ve got an old mule and her name is Sal
    Fifteen years on the Erie Canal
    She’s a good old worker and a good old pal
    Fifteen years on the Erie Canal
    We’ve hauled some barges in our day
    Filled with lumber, coal, and hay
    And every inch of the way we know
    From Albany to Buffalo

    Chorus:
    Low bridge, everybody down
    Low bridge for we’re coming to a town
    And you’ll always know your neighbor
    And you’ll always know your pal
    If you’ve ever navigated on the Erie Canal

    We’d better look ’round for a job old gal
    Fifteen miles on the Erie Canal
    ‘Cause you bet your life I’d never part with Sal
    Fifteen miles on the Erie Canal
    Git up there mule, here comes a lock
    We’ll make Rome ’bout six o’clock
    One more trip and back we’ll go
    Right back home to Buffalo

    Chorus

    Oh, where would I be if I lost my pal?
    Fifteen miles on the Erie Canal
    Oh, I’d like to see a mule as good as Sal
    Fifteen miles on the Erie Canal
    A friend of mine once got her sore
    Now he’s got a busted jaw,
    ‘Cause she let fly with her iron toe,
    And kicked him in to Buffalo.

    Chorus

    Don’t have to call when I want my Sal
    Fifteen miles on the Erie Canal
    She trots from her stall like a good old gal
    Fifteen miles on the Erie Canal
    I eat my meals with Sal each day
    I eat beef and she eats hay
    And she ain’t so slow if you want to know
    She put the “Buff” in Buffalo

    Chorus

    Author Information

    Thomas S. Allen (1876-1919) was an early Tin Pan Alley composer with many popular songs not related to the canal life. His first major hit was Any Rags in 1903, only two years before that of the Erie Canal Song.

A great version by Bruce Springsteen!

 

Performances, Workshops, Resources & Recordings

The American Folk Experience is dedicated to collecting and curating the most enduring songs from our musical heritage.  Every performance and workshop is a celebration and exploration of the timeless songs and stories that have shaped and formed the musical history of America. John Fitzsimmons has been singing and performing these gems of the past for the past forty years, and he brings a folksy warmth, humor and massive repertoire of songs to any occasion. 

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Fitz’s Recordings

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Songs, poems, essays, reflections and ramblings of a folksinger, traveler, teacher, poet and thinker…

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“A Master of Folk…”

The Boston Globe

Fitz’s now classic recording of original songs and poetry…

Download from the iTunes Music Store

Now Available on iTunes!

“A Masterful weaver of song whose deep, resonant voice rivals the best of his genre…”

Spirit of Change Magazine

“2003: Best Children’s Music Recording of the Year…”

Boston Parent's Paper

Fitz & The Salty Dawgs Amazing music, good times and good friends…

Listen here

TheCraftedWord.org

Writing help

when you need it…

“When the eyes rest on the soul…that’s Fitzy…”

Lenny Megliola

WEEI Radio

A Different Kind of Classroom

by | March 25, 2026 | Essays, Journal, Teaching | 0 Comments

I have been teaching, writing, playing and performing for over thirty-five years, while during these last ten years I have been given the time and space and support (and funds) to create a classroom and pedagogy that through stops and starts and a deliberate evolution...
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Wisdom

by | May 13, 2016 | Essays, Journal | 0 Comments

Wisdom starts in non-action… The doing and non-doing are the equal balance. Without the luxury of contemplation there would not be a prioritizing of need versus want. Wisdom balances physical reality… Wisdom does not shuffle tasks out of view but finds a way to...
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What’s in a Song

by | May 4, 2014 | Essays, Journal | 0 Comments

Every heart sings a song, incomplete, until another heart whispers back. Those who wish to sing always find a song. At the touch of a lover, everyone becomes a poet. ~Plato         Writing a song is not just an exercise in seeking some kind of future fame. It is...
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The Gift Unclaimed

by | February 27, 2018 | Journal, Poetry | 0 Comments

I have an old lobster buoy Hanging dully from A wrought-iron basket hook— A rough cutaway Filled with suet, Clabbered in wire mesh. . I had imagined chickadees Squabbling with angry jays And occasional sparrows, finches— Maybe even cedar waxwings tired of scrounging...
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QuickWin Casino: Fast‑Fire Play para el Ganador Consciente del Móvil

by | March 25, 2026 | Journal | 0 Comments

Quick Wins en Movimiento: Por qué las Sesiones Cortas Dominan el DíaEn la era de la gratificación instantánea, muchos jugadores desean una experiencia de juego que encaje en una pausa para el café o un viaje en tren. QuickWin Casino ha adaptado su plataforma para...
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Nurture Passion

by | December 10, 2013 | Essays, Journal, Teaching | 0 Comments

How about we all take the bull by the horns and make this blog thing work! Your job this week is to do something with your blog that is powered by the passion that is in you. Passion is the one thing you have some control over. There are plenty of smarter, more...
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No Dad To Come Home To

by | August 12, 2014 | Dawghouse, Songs | 0 Comments

Rain’s falling outside of Boston—
Thank God I’m not working tonight.
I’ve got six of my own,
And a stepdaughter at home,
And a momma keeping things right.
I wonder if they’re at the table
With their puzzles, their papers and pens?
When I get off the highway
And pull in that driveway,
Will they run to the window again?

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Quit Your Whining

by | January 31, 2014 | Essays, Journal, Teaching | 0 Comments

Anything worth succeeding in is worth failing in~Ben Franklin     "Quit your whining and complaining" is probably a clause that can easily be translated into every language in every culture on earth, for, from what I know and have seen in the world, bitching about...
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Supermoon

by | August 10, 2014 | Journal, Poetry | 0 Comments

Last night the August supermoon reminded me of the fickleness of time and how substance becomes shadow and memories begin to etch themselves immutably into the hardness of what is already lost.
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Thanksgiving

by | July 30, 2014 | Poetry | 0 Comments

I am surprised sometimesby the suddenness of November:beauty abruptly shedto a common nakedness--grasses deadenedby hoarfrost,persistent memoriesof people I’ve lost.It is left to those of us dressed in the hard barky skin of experienceto insist on a decorumthat rises...
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Opinie o kasynie online Vavada w roku 2026

by | December 29, 2023 | Journal | 0 Comments

Opinie na temat kasyna online Vavada w roku 2026 Opinie o kasynie online Vavada w roku 2026 Decydując się na rozrywkę w wirtualnym świecie gier, warto zwrócić uwagę na Vavada. Ta platforma przyciąga entuzjastów hazardu z wielu powodów. Wysoka jakość gier oraz...
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A New Hearth

by | December 7, 2013 | Journal | 0 Comments

It has been a long time since I wrote a simple old "this is what I am going to do today" post. So this is what I am going to do today: [and trust me, it will have nothing--absolutely nothing--to do with school work:)] Before the true winter settles in, I am going to...
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The Mystery in the Cradle

by | December 25, 2013 | Journal | 0 Comments

This picture is from Christmas eleven years ago when Tommy was only two weeks old, and now all of them—and Gio and Pipo--are playing charades or some such game in the dining room, shouting and laughing at each other's miscues and fortifying another enduring memory...
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Out of the Forge: April 6, 2017

by | April 11, 2017 | Journal, Out of the Forge | 0 Comments

Some nights I feel like I am singing in a mall. Tonight--in a fun way--it felt a bit like I walked into the Natick mall at Christmas time and pulled out my guitar in front of the Apple store and started to play, but like every night down at the inn it evolved into a...
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A Late Night Metacognition

by | April 13, 2014 | Essays, Journal | 0 Comments

Many men go fishing all of their lives without knowing that it is not fish they are after ~Henry David Thoreau           When you need something done, find a busy person to help you get it done. My mother loved repeating that to me all the way to her dying day,...
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The March Snow

by | March 11, 2018 | Journal, Poetry | 0 Comments

An early March snow brought down all these branches Cracking and crashing throughout a long night, Piling them impatiently in the yard Like jacksticks in a child’s messy room. The stepladder I used to rake the ridge Stands like an awkward sculpture draped in white...
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Marriage & Magnanimity

by | September 6, 2015 | Essays, Journal | 0 Comments

If we want to have the freedom to marry whom we want to marry, why is it so important that the state (government) recognise that marriage? Is it simply the expediency of dispensing the entitlements of a marriage certificate: tax benefits, employment benefits, or the...
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In Reply To Einstein

by | July 14, 2014 | Poetry, Raccoon | 0 Comments

*God casts the die, not the dice. ~Alfred Einstein I am cold down the neck, turtling my head to showers of ice that fall dancing and skidding on skins of crusted snow. I hold my breath when I step, inflating hopes of a weightlessness, and so be undetected
to the play...
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Thanksgiving

by | November 28, 2013 | Journal, Poetry | 0 Comments

I am surprised sometimes by the suddenness of November: beauty abruptly shed to a common nakedness— grasses deadened by hoarfrost, persistent memories of people I’ve lost. It is left to those of us dressed in the hard barky skin of experience to insist on a decorum...
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Redefining Literacy

by | August 8, 2014 | Essays, Journal, Teaching | 0 Comments

 My life is the poem I could have writ, But I could not both live and utter it ~Henry David Thoreau    The common man goes to an orchard to taste the fruit. The rich man man learns how to plant his own orchard. The poet, however,  grows an even better fruit and gives...
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Life Ain’t Hard; Its Just a Waterfall

by | August 12, 2014 | Fires in the Belly, Songs | 0 Comments

You say, hey,
who are you to say that you’re the one
to go telling me just where I’m coming from.
You can have your cake
but don’t frost me ‘til I’m done.
I can’t be fixed and I can’t afford to stall;
because life ain’t hard it’s just a waterfall.

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Molting

by | July 10, 2014 | Poetry, Raccoon | 0 Comments

I am always molting; leaving my hollowed skin in awkward places, scaring people and making them jump. They touch me and think I’m real; then laugh and say things like “What a riot.” I’m tired of this changing of skins. I’d rather stumble on myself and be fooled; and...
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Canobie lake

by | June 3, 2014 | Essays, Journal | 0 Comments

Going to Canobie Lake is always the turning point of the year for me. It is like some primal signal that It is time to turn away from the school year and towards the future.  Obviously, it is my hope that you learned some useful skills this year, but, more...
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Me & God

by | April 9, 2018 | Essays, Journal | 0 Comments

        I am not done with God, nor God with me. I remain obsessed with the notion of the unmoved mover who set the pattern of creation into its initial motion. I stubbornly try to trace my existence back to some infinite beginning—so much so that I loathe the...
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Calvary

by | August 23, 2014 | Out of the Forge, Songs | 0 Comments

It seems like it ain’t been a long time,
But I’m damn pleased your coming by again.
It’s been a while since we sat down and rambled
About this and that and why and who and then
You said that you had to get a move on,
Move on and leave a space behind.
So I spent a while hitting all those old roads:
Old friends and kicking down the wine.

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Chores

by | May 15, 2016 | Journal, Poetry | 0 Comments

The day sometimes slip away from me, a huge pine half-bucked in the backyard, the kids old tree fort cut into slabs, a ton of coal waiting to be moved in a train of buckets to the bin. Sipping cold water on the back deck, sharpening the dulled teeth of a worn...
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The Storm of Fallibility

by | October 29, 2017 | Journal | 0 Comments

       One good cigar is better than two bad cigars, or so it seems right now. It is a beautiful and stormy night--pouring rain and howling wind, and I thought a good smoke would be a fitting end to a busy and over-booked week. As it goes, I bought a couple of cheap...
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Goathouse

by | May 23, 2014 | Poetry, Raccoon | 0 Comments

Goat house In reaching for the scythe I’m reminded of the whetstone and the few quick strokes by which it was tested-- the hardness of hot August; the burning of ticks off dog backs. It’s winter now in this garage made barn, and the animals seem only curious that I’d...
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Get Back in the Game

by | January 16, 2022 | Journal | 0 Comments

Out on the back porch, not as cold as earlier today, waiting for the storm to arrive in a few hours--curious if I will get that call at 2:00 AM to head out and plow the Concord streets. Most of me hopes for the call; another side of me wants a day stuck at home,...
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What a Picture Tells

by | May 6, 2014 | Essays, Journal, Teaching | 0 Comments

"Zou Ma Guan Hua" You can't ride a horse and smell the flowers ~Chinese Proverb Sometimes I love just browsing through old folders of pictures of my kids when they were just kids in every sense of the word. Just seeing the pictures is a visceral experience for me as I...
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Practicing What I Preach

by | April 10, 2014 | Essays, Journal | 0 Comments

It is not where you go. It is how you go. ~Fitz Is there any value in coming to the page this late at night after three hours of singing in a pub, just because I said I would? I expect you to go to the empty page and pry tired and stubborn thoughts and lay them on the...
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No Dad To Come Home To

by | August 26, 2014 | Dawghouse, Songs | 0 Comments

Rain’s falling outside of Boston—
Thank God I’m not working tonight.
I’ve got six of my own,
And a stepdaughter at home,
And a momma keeping things right.
I wonder if they’re at the table
With their puzzles, their papers and pens?
When I get off the highway
And pull in that driveway,
Will they run to the window again?

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New Ways

by | February 21, 2017 | Journal | 0 Comments

Time for a change. Feeling it in a lot of ways. After months of steady workouts, I’ve been finding too many convenient ways to let the day slip by. Still feel better than I have in years, but the days seem to have got the best of me. Excuses, procrastination and...
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A Monday Ramble

by | August 25, 2014 | Journal | 0 Comments

There is always a hard shift for me at the end of the summer, and today is that day for me. I miss the freedom of last week: I'd wake in the morning, come out to the deck to write poetry or work on my novel--but now today, I feel like I should be preparing for school,...
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Welcome

by | August 12, 2014 | Essays, Journal, Poetry | 0 Comments

I, on my side, require of every writer, first or last, a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land... ~Henry David Thoreau, Walden I’ve...
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Ghetto of Your Eye

by | November 11, 2015 | Fires in the Belly, Journal, Songs | 0 Comments

A Veteran's Day Remembrance I wrote this song back in the winter of 1989 in the dining car of a steam driven train, somewhere along the Trans-Siberian railway, after meeting a group of Russian soldiers fresh from battle in Afghanistan—that poor country that has been a...
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Chicken Road: Quick‑Hit Crash Game voor Snelle Winsten

by | March 25, 2026 | Journal | 0 Comments

De nieuwste crash‑stijl sensatie, Chicken Road, laat je grote multipliers najagen in minuten—geen lange marathon nodig. De kern van het spel draait om een dappere kip die probeert over een drukke weg te steken terwijl jij beslist wanneer je uitbetaalt voordat hij...
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A Priori

by | May 24, 2016 | Journal, Poetry | 0 Comments

How do I know what I know? The sharp angles of this simple cottage perfected  in every board sawn, shingle split and beam hewn into place goes together placed, splined, slid together, bound more by intuition than knowing.
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If you don’t stand, you cower…

by | July 19, 2019 | Journal | 0 Comments

     Maybe it is time to be less forgiving. I have rarely agreed with our president, but I held on to the shreds of truth that shore up his arguments: we can’t welcome every immigrant who makes it to our border; we cannot bow to the audacity of corrupt governments in...
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Weekend Custody

by | August 21, 2014 | Out of the Forge, Songs | 0 Comments

Jesse calls up this morning—
“You can come downstairs now;
You see the grapefruit bowl?
Well, I fixed it all;
I fixed everything for you.”

Everything’s for you…

“Let me help you make the coffee,
Momma says you drink it too.
I can’t reach the stove,
But I can pour it, though—
What’s it like living alone?”

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Contact John Fitzsimmons...and thanks!

Red River Valley

Red River Valley

by | Mar 10, 2017

TAmerican Folksongs & Ballads

John Hardy

The American Folk Experience

Red River Valley

by John Fitzsimmons | The American Folk Experience

From this valley they say you are going
We will miss your bright eyes and sweet smile
For they say you are taking the sunshine
That has brightened our path for a while

Come and sit by my side if you love me
Do not hasten to bid me adieu
But remember the Red River Valley
And the cowboy who loved you so true

Won’t you think of the valley you’re leaving
Oh how lonely, how sad it will be?
Oh think of the fond heart you’re breaking
And the grief you are causing to me

As you go to your home by the ocean
May you never forget those sweet hours
That we spent in the Red River Valley
And the love we exchanged mid the flowers

by James Kerrigen in 1896

If you have any more information to share about this song or helpful links, please post as a comment. Thanks for stopping by the site! ~John Fitz

I am indebted to the many friends who share my love of traditional songs and to the many scholars whose works are too many to include here. I am also incredibly grateful to the collector’s curators and collators of Wikipedia, Mudcat.org, MainlyNorfolk.info, and TheContemplator.com for their wise, thorough and informative contributions to the study of folk music. 

I share this research on my site with humility, thanks, and gratitude. Please cite their work accordingly with your own research. If you have any research or sites you would like to share on this site, please post in the comment box.  Thanks!

Source: Wikipedia

This article is about a folk song. For other uses, see Red River Valley (disambiguation).

"Red River Valley" is a folk song and cowboy music standard of uncertain origins that has gone by different names (such as "Cowboy Love Song", "Bright Sherman Valley", "Bright Laurel Valley", "In the Bright Mohawk Valley", and "Bright Little Valley"), depending on where it has been sung. It is listed as Roud Folk Song Index 756 and by Edith Fowke as FO 13. It is recognizable by its chorus (with several variations):

From this valley they say you are going,
We will miss your bright eyes and sweet smile.
For they say you are taking the sunshine
That has brightened our pathway a while.

So come sit by my side if you love me.
Do not hasten to bid me adieu.
Just remember the Red River Valley
And the cowboy that has loved you so true.

Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time, ranked #10.[1]

Lyrics and chords

Wikiversity offers more help singing this song[2]

{\language "english" \new PianoStaff \transpose c c << \new Staff\relative c'{\set Staff.midiInstrument= #"reed organ" \clef treble \key g \major\time 4/4 \tempo 4=90 r2 r4 d8 g8 b4 b8 b8 b4 a8 b8 a4 g2 b8 b8 b4 g8 b d4 c8 b a2. d8 c b4 b8 a g4 a8 b d4 c4 ~c4 e,8 e8 d4 fs8 g8 a4 b8 a g1 } \addlyrics{From this val -- ley they say you are go -- ing. We will miss your bright eyes and sweet smile, for they say you are ta -- king the sun -- shine, that has bright -- ened our path -- way a while.} \new ChordNames {\chordmode {\clef treble g,2 g, g d:7 g, g, g g:7 d:7 c g g:7 c c d:7 g c g } }>>}

Origins

The song's first appearance in any printed source appears to have been in Milwaukee newspaper The Weekly Wisconsin in 1887. On June 25 a list appeared of song titles whose lyrics readers had requested,[3] including Red River Valley, and a version of the lyrics appeared in the September 17 issue, supplied by a resident of the western Wisconsin town of Mondovi.[4] According to Canadian folklorist Edith Fowke, there is anecdotal evidence that the song was known in at least five Canadian provinces before 1896.[5] This finding led to speculation that the song was composed at the time of the 1870 Wolseley Expedition to Manitoba's northern Red River Valley. It expresses the sorrow of a local woman (possibly a Métis) as her soldier lover prepares to return to the east.[6] Fowke's anecdotal evidence for a date before the 1880s, however, is sparse and dubious, and any connection with the Wolseley Expedition almost completely unsupported by evidence. The Red River Valley extends into the United States, where it forms the border between Minnesota and North Dakota. The question of the song's exact geographic origin therefore remains unresolved, though the great weight of the evidence does establish that it refers to this Red River and not to any southern or western American river by that name.

"Red River Valley"
Single by Hugh Cross and Riley Puckett
B-side"When You Wore a Tulip"
Writtenc. 1880s
ReleasedJanuary 1928 (1928-01)
RecordedNovember 3, 1927 (1927-11-03)[7]
StudioAtlanta, Georgia
GenreCanadian folk music, Country, Western
Length2:54
LabelColumbia 15206
SongwriterTraditional

The earliest known written manuscript of the lyrics, titled "The Red River Valley",[8] bears the notations "Nemaha 1879" and "Harlan 1885."[9] Nemaha and Harlan are the names of counties in Nebraska, and are also the names of towns in Iowa.

The song appears in sheet music, titled "In the Bright Mohawk Valley", printed in New York in 1896 with James J. Kerrigan as the writer.[10] The tune and lyrics were collected and published in Carl Sandburg's 1927 American Songbag.[11]

An important recording in this song's history was the 1927 Columbia Records master (15206-D) performed by Hugh Cross and Riley Puckett under the actual title of "Red River Valley". This version was the very first commercially available recording of this song under its most familiar title, and it was the inspiration for many of the recordings that followed.[12]

Film appearances

TV appearances

1962-63, sung by Ken Curtis on his TV series Ripcord, with Harry Carey Jr. playing guitar. It was one of two guest appearances Carey made on the show (one in 1962, and the other in 1963).

Other cultural references

  • The song is played by Randall in Recess in the episode "One Stayed Clean" while he is sitting with TJ, Gus and the diggers in their hole. In the episode, the gang helps Gus (who has never had a picture day because of his constantly changing schools) stay clean so he can have a great school photo.
  • "Red River Valley" was the theme song of Our Gal Sunday, a soap opera broadcast on CBS radio from 1937 to 1959.[17]
  • "Jarama Valley", a song about the Battle of Jarama of the Spanish Civil War, used the tune to "Red River Valley". It was recorded by Woody Guthrie and The Almanac Singers, featuring Pete Seeger.
  • The tune to "Red River Valley", set to new lyrics and titled "Can I Sleep in Your Arms", was used on Willie Nelson's 1975 album Red Headed Stranger. This version was based on the song "Can I Sleep in your Barn Tonight Mister."
  • Johnny Cash wrote and performed a humorous song titled "Please Don't Play Red River Valley" for his 1966 album Everybody Loves a Nut
  • Bob Dylan wrote and recorded "Red River Shore" — which uses motifs and plays with themes from "Red River Valley" — for Time Out of Mind (1997). Left off the album, two versions of it were included in The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006 in 2008.
  • The Kidsongs Kids parodied this song on their 1995 Let's Put on a Show video as "We'll Put on a Show".
  • The Swedish song "I'm a Lapp", recorded in 1959 by Sven-Gösta Jonsson, is based on the melody of "Red River Valley."[18]
  • Johnny and the Hurricanes recorded a rock and roll instrumental version in 1959 of the song titled "Red River Rock", which became a hit in the U.S. (#5), the UK (#3), and Canada (#3).[19]
  • The tune of "Red River Valley" was used for the verses of the 1963 Connie Francis hit "Drownin' My Sorrows" (#36 in the US and #40 in Canada.[20][21])
  • "Drownin' My Sorrows" was covered in German as "Ich tausche mit keinem auf der Welt" in 1964 by Margot Eskens and in Croatian as "Uz Tebe Sam Sretna" in 1968 by Ana Štefok.
  • The premier Czech vocalist Helena Vondráčková made her recording debut in September 1964 with "Červená řeka", a rendering of "Red River Valley".
  • A fatalistic chorus can be found in some sources related to F-105 pilots in Vietnam:[22][23]

Come and sit by my side at the briefing,
We will sit there and tickle the beads,
Then we'll head for the Red River Valley,
And today I'll be flying Teak lead,

To the valley he said we are flying,
With a Thud of the plane to the earth,
Many jockeys have flown to the valley,
And a number have never returned

  • In its soundtrack, the 2010 video game Fallout: New Vegas adapted the lyrics and tune of "Red River Valley" as "New Vegas Valley".
  • The first four verses of the chant "Scouser Tommy", sung by supporters of Liverpool F.C., is to the tune of "Red River Valley".
  • "Red River Valley" is the official Slow March of the Fort Garry Horse, a reserve Line Cavalry Regiment of the Canadian Army.
  • The 19th-century Manitoba song "Red River Valley" is played weekly on TV in the Philippines on a GMA TV comedy show titled Bubble Gang, with varied Tagalog humorous lyrics sung to the accompaniment of ukuleles, recurring from circa 2011 to present day by various performers.
  • David McEnery (1914–2002), singer-songwriter, otherwise known as Red River Dave, takes this name from the song.
  • The Ant and the Grasshopper story is sung to the tune of "Red River Valley" in a Cocomelon video (2018).[24]

Sources

  • Edith Fowke and Keith MacMillan. (1973). The Penguin Book of Canadian Folk Songs. Harmondsworth, Middlesex: Penguin.
  • Allen, Jules Verne. "Singing Along" (reprinted from New Mexico Magazine, 1935). Roundup of Western Literature: An Anthology for Young Readers pp. 82–85, edited by Oren Arnold.
  • Kerrigan, James J. "In The Bright Mohawk Valley". New York: Howley, Haviland & Co. (1896).
  • Fowke, Edith "The Red River Valley Re-examined." Western Folklore 23 (July 1964) 1630–71.
  • Fuld, James J. The Book of World-Famous Music: Classical, Popular, and Folk. Dover Publications (2000).
  • Waltz, Robert B; David G. Engle. "The Red River Valley". The Traditional Ballad Index: An Annotated Bibliography of the Folk Songs of the English-Speaking World. Hosted by California State University, Fresno, Folklore, 2007.

References

  1. ^ Western Writers of America (2010). "The Top 100 Western Songs". American Cowboy. Archived from the original on October 19, 2010.
  2. ^ Chords from irish-folk-songs.com
  3. ^ The Weekly Wisconsin (Milwaukee, Wisconsin), June 25, 1887, page 2.
  4. ^ The Weekly Wisconsin (Milwaukee, Wisconsin), September 17, 1887, page 3.
  5. ^ Fowke, Edith (1964). "'The Red River Valley' Re-Examined". Western Folklore. 23 (3): 163–171. doi:10.2307/1498900. JSTOR 1498900.
  6. ^ H. Stewart Hendrickson (Research Professor Emeritus, University of Washington), Red River Valley Archived February 16, 2013, at the Wayback Machine (Retrieved March 23, 2014)
  7. ^ "Columbia matrix W145091. Red River Valley / Hugh Cross; Riley Puckett - Discography of American Historical Recordings". adp.library.ucsb.edu. Retrieved April 16, 2022.
  8. ^ The Red River Valley, Edwin Ford Piper Collection, The University of Iowa Libraries, Iowa City, Iowa.
  9. ^ Fuld, James J. (1966). The book of world-famous music, classical, popular and folk. Internet Archive. New York, Crown Publishers.
  10. ^ Kerrigan, In The Bright Mohawk Valley.
  11. ^ Sandburg, Carl (1927). The American Songbag. New York: Harcourt, Brace & Company. p. 130. Retrieved July 6, 2014.
  12. ^ "Hugh Cross Songs, Albums, Reviews, Bio & More". AllMusic. Retrieved December 31, 2021.
  13. ^ Hickey, Matthew (May–June 1996). "TV's Silent Panic: Harpo Marx & the Golden Age of Television". Filmfax magazine. pp. 64–69.
  14. ^ "ShoutFactoryTV : Watch The Marx Brothers TV Collection Episode: The Marx Brothers: Mr. Smith Goes To Washington". Shoutfactorytv.com. Retrieved December 31, 2021.
  15. ^ "Cannibal Ferox (1981)". IMDb.com. Retrieved June 20, 2017.
  16. ^ Planes, Trains and Automobiles | Hollywood.com. Archive.is. Retrieved on April 11, 2017.
  17. ^ Fairfax, Arthur (December 28, 1940). "Mr. Fairfax Replies" (PDF). Movie Radio Guide. 10 (12): 43. Archived from the original (PDF) on January 19, 2015. Retrieved January 19, 2015.
  18. ^ Jones-Bamman, Richard (2001). "From 'I'm a Lapp' to 'I'm a Saami': Popular Music and Changing Images of Indigenous Ethnicity in Scandinavia". Journal of Intercultural Studies. 22 (2): 189–210. doi:10.1080/07256860120069602. S2CID 145791883.
  19. ^ "CHUM Hit Parade - August 24, 1959".
  20. ^ Billboard Vol. 75 #29 (July 20, 1963) p. 4
  21. ^ "CHUM Hit Parade - September 2, 1963".
  22. ^ There Is a Way – F-105 Jets / United States Air Force 1967 Educational Documentary – WDTVLIVE42. YouTube (June 27, 2012). Retrieved on 2017-04-11.
  23. ^ The Tiger Band Unhymnal, Clemson University, South Carolina, 1967.
  24. ^ "The Ant and the Grasshopper | CoComelon Nursery Rhymes & Kids Songs - YouTube". YouTube. November 13, 2018.
source: https://en.wikipedia.org/wiki/Red_River_Valley_(song)

Source: Manitoba Historical Society

Manitoba History: The True Story of the Song “Red River Valley”

by James J. Nystrom
Bothell, Washington

Number 72, Spring-Summer 2013

The folk songs of traditional music have evolved from the blending of different cultural traditions. Familiar songs sometimes spring from surprising origins. One of the most notable is the popular folk song “Red River Valley.” What appears to be a simple song of lament sung by cowboy singers around campfires is, in reality, the end of a musical mix that has its foundation in the melodies of traditional folk songs sung in the mists of a Gaelic past and whose lyrics were written in a personal expression of the cultural conflict occurring during the nineteenth-century settlement of the American continent by Europeans and the related displacement of the indigenous natives.

“Red River Valley” was first recorded as “Cowboy Love Song” in 1925 by Carl T. Sprague, one of the first cowboy singers from Texas. The biggest hit of the cowboy version was the 1927 version by Hugh Cross and Riley Puckett. In both recordings of the song, the lyrical associations are about the Red River Valley that marks the border between Arkansas and Texas.

A song named “Bright Mohawk Valley” with the same tune was published as sheet music on Tin Pan Alley in 1896 with James J. Kerrigan as the writer, but the song was thought to have been adapted for a New York audience. The earliest known written manuscript of the lyrics to “Red River Valley” were found in Iowa bearing the notation of the year 1879.

Although it is not widely known, there are two significant Red River valleys on the American Continent: The Red River Valley of the South and the Red River Valley of the North. And it is to this Red River Valley of the North that the origins of “Red River Valley” lead. The famed Canadian folklorist, Edith Fowke, gave mostly anecdotal evidence that the song was known in at least five Canadian provinces prior to 1896 and speculated that the song was composed at the time of the Wolseley Expedition of 1870 in Manitoba. She claimed that the song was well known on the Canadian prairies and held the form of a story about a Métis girl lamenting the departure of her Anglo lover, a soldier who came west to suppress the Red River Rebellion. The text for Fowke’s version of the song was published in “Western Folklore” in 1964 and was discovered in the papers of a former Canadian Mounted Police officer, Col. Gilbert Sanders. Fowke has written, “This is probably the best known folk song on the Canadian prairies. Later research indicates that it was known in at least five Canadian Provinces before 1896 and was probably composed during the Red River Rebellion of 1870.” Here are the lyrics discovered by Edith Fowke:

The Red River Valley

From this valley they say you are going,
I shall miss your bright eyes and sweet smile,
For alas you take with the sunshine
That has brightened my pathway awhile.

Chorus:

Come and sit by my side if you love me,
Do not hasten to bid me adieu.
But remember the Red River Valley
And the girl who has loved you so true.

For this long, long time I have waited
For the words that you never would say,
But now my last hope has vanished
When they tell me you’re going away.

When you go to your home by the ocean
May you never forget the sweet hours
That we spent in the Red River Valley
Or the vows we exchanged mid the bowers.

Will you think of the valley you’re leaving?
Oh, how lonely and dreary ’twill be!
Will you think of the fond heart you’re breaking
And be true to your promise to me.

The dark maiden’s prayer for her lover
To the spirit that rules o’er the world
His pathway with sunshine may cover
Leave his grief to the Red River girl.

There could never be such a longing
In the heart of a white maiden’s breast
As dwells in the heart you are breaking
With love for the boy who came west.

The Red River Valley of the North has a long and storied past in the history of the settlement of North America. The river is one of the few north-flowing streams on the American continent and it originates at the confluence of the Bois de Sioux and Otter Tail rivers in the southern border of North Dakota and Minnesota and it flows northward over 900 kilometres as the border between the two states into Manitoba before finally emptying into Lake Winnipeg whose waters eventually flow into Hudson Bay and the Arctic Ocean.

The watershed of the area was part of Rupert’s Land (named after Prince Rupert of the Rhine, a nephew of Charles I and the first Governor of the HBC), the Hudson’s Bay Company land concession in north central North America granted in 1670. It was first settled by French-Canadian fur trappers who came to the area to trap beaver for pelts. These trappers married First Nations women and established the first true “Métis” culture (part native and part French-Canadian) in North America. In the latter part of the eighteenth century, HBC traders established fur posts inland from Hudson Bay to compete with the North West Company that operated out of Montreal. The establishment at the forks of the Red and Assiniboine rivers of a colony of displaced Scottish highlanders by Lord Selkirk, a shareholder in the HBC, was intended to gain control of this crucial river junction from the rival Nor’Westers. However, within a few decades Red River had become a predominantly Métis settlement of both French and English speakers.

Red River Jig. When this woodcut was published in Harper’s New Monthly Magazine in 1860, it was noted that “Mr. Cameron explains that in his day the dancers were more sedate than they appear here.”
Source: Archives of Manitoba, Red River Settlement #13, N16656.

By the 1860s, as Ontarian immigrants began to arrive in the settlement, pressures grew for annexation of the colony by Canada. Land disputes and cultural conflicts between the settlement’s Métis inhabitants and the growing Anglo elite were exacerbated by Canada’s 1869 annexation of Rupert’s Land. Louis Riel’s Provisional Government negotiated the entry of Assiniboia into Confederation, and in 1870 the Manitoba Act created the Province of Manitoba. To underscore its new jurisdiction in the region, the Canadian government sent the Wolseley Expedition to Red River.

It was during this period of cultural clashing that Edith Fowke has postulated that the song “Red River Valley” was first composed. Part of her anecdotal proof as to the origin of the song hinged on the use of the word “adieu” in the lyrics, a word not normally associated with cowboys of the southwestern plains.

There has been speculation, drawn from the descendants of the settlers in the area, that the song was sung by a Métis woman who was the lover of one of the men in the Wolseley expedition at a gathering to commemorate the military victory of the Hudson’s Bay Company over Louis Riel. She was lamenting in song the departure of her soldier/lover from the Red River Valley after the victory.

A winsome young woman, photographed at the Red River Settlement in 1858 by H. L. Hime (identified in some copies as “Jane l’Adamar” but “Susan—a Swampey Cree” in others) is evocative of the lover pining for her departed soldier from the Wolseley Expedition in the song Red River Valley.
Source: Archives of Manitoba, Hime #29, N12577.

If this speculation were true, then the song would be ironic in both melody and lyrics. The tune of Red River Valley was reminiscent of several Gaelic songs in notes and musical construction. Gaelic songs were composed of notes that could be played on the bagpipe, the hornpipe or the violin, the traditional instruments. The typical form was the ballad which told a story in strophic or repeated musical strains. Two traditional folk songs with similar structure and notes were the “Connemara Cradle Song” (which also has direct similarities with the song, “Down in the Valley”) and “The Drums of Dumbarton”. These songs have ancient origins. “Connemara Cradle Song” was a traditional Irish lullaby about a fisherman’s safe return from the sea. “The Drums of Dumbarton” was included in the “Orpheus Caledonius” collection of traditional Scottish songs published by William Thomson in 1733. In a further irony, a copy of “Orpheus Caledonius” was given to Robert Burns (the acknowledged “Bard of Scotland”) by the sister of Lord Selkirk. Burns included “The Drums of Dumbarton” in his collection of traditional Scottish songs which introduced his most famous lyrical poem, “Love is like a Red, Red Rose”, the words of which Bob Dylan has been quoted as saying were the ones that most influenced him at the start of his musical career. The Gaelic-speaking settlers of Red River Valley had brought along the instruments and songs of their parent country. By singing the song in a stylistic form commonly used by the Scottish settlers rather than the form normally used by the French-Canadian Métis, the singer was both complimentary and critical in her presentation. The lyrics from the Fowke version, if taken in the context of its performance, are even more provocative. The invitation to “Come and sit by my side” was an open acknowledgement of what was then a scandalous affair. “Do not hasten to bid me adieu” asks for recognition of the French culture which the Scots settlers were trying to eradicate or at least ignore. “Be true to your promise to me” tears the veil from the often broken promise of marriage made by soldiers to the Métis women in order to receive sexual favours. There is a direct reference to the racial prejudice that existed in the Scots settler community in the two stanzas that refer the “white maiden” and the “dark maiden”, and to the difference in the “longing” of the different groups of women.

It was no wonder that the song, so mocking in both tune and lyrics, as well as so entertaining in the pleasantness of its melody, would be remembered and played again and again at the many musical gatherings of the two communities which eventually merged over time. The Red River Settlement continued to grow as it became the city of Winnipeg. Some of its people dispersed into other areas of Canada and the United States and they took the “Red River Valley” with them. As is the case with most ballads of the time, they became localized with the changing of the lyrics to fit the new situation. One such localization was the Red River of the South rendition popularized as a cowboy song. It was not the only version. “In The Bright Mohawk Valley”, “Bright Laurel Valley”, “Bright Sherman Valley,” “We Shall Walk Through The Streets Of The City” and “Bright Little Valley” are all localized versions of “Red River Valley.”

One of the final ironies of “Red River Valley” lay in the eventual merging of the two former rival traditions, French and Scottish, when descendants of the Scottish settlers also intermarried with Aboriginal peoples and began producing a Scots-Métis culture. Descendants of the Manitoba (Red River Settlement) Métis people (which included both Scots-Métis and French-Canadian Métis) were affirmed as a distinct nation by the Supreme Court of Canada in 2003. It is estimated that 50% of all Western Canadians have some Métis blood in their ancestry. “Red River Valley” is a song of the Métis struggle to survive and a celebration of their recognition as a distinct culture.

A woodcut published in the Canadian Illustrated News in 1869 “from a sketch by Rev. Mr. W.”, shows how the Wolseley Expedition’s camp at Sault Ste. Marie might have appeared.
Source: Archives of Manitoba, Red River Expedition 1870 #4, N5355.

Sources and Acknowledgements

Boulton, Charles A., Reminiscences of the North-West Rebellions, with a Record of the Raising of Her Majesty’s 100th Regiment in Canada, etc., Toronto, ON: Grip Printing and Publishing Co., 1886.

Bryce, George, The Romantic Settlement of Lord Selkirk’s Colonists, Toronto, ON: The Musson Book Company Ltd., 1909. www.gutenberg.org/files/17358/17358-h/17358-h.htm

Fowke, Edith, “The Red River Valley Re-examined,” Western Folklore Volume 23, Number 3, pp. 163-171, July 1964.

Fowke, Edith, The Penguin Book of Canadian Folk Songs, Markham, ON: Penguin Books Canada, 1986, p. 45.

Fuld, James J. The Book of World Famous Music: Classical, Popular and Folk, New York, NY: Crown Publishers, 1966, p. 457.

Johnson, James, Robert Burns and Stephen Clarke. The Scots Musical Museum, in 6 volumes, Edinburgh: privately published, 1787-1803. http://archive.org/details/scotsmusicalmuse05john.

Stanley, George F. G., The Birth of Western Canada, London, New York, Toronto: Longmans, Green and Co., 1936.

Stanley, George F. G., Toil and Trouble: Military Expeditions to Red River, Canadian War Museum Publ. 25, Toronto: Dundurn Press, 1989.

Thomson, William, Orpheus Caledonius: Or, A Collection of Scots Songs, Set to Music, in 2 volumes, London: privately published, vol. 1, 1725; vol. 2, 1733.

The Burns Encyclopedia, www.robertburns.org/encyclopedia/index.shtml

King Laoghaire, The Home of Irish Ballads and Tunes, www.kinglaoghaire.com/site/home/

Page revised: 15 September 2015

Performances, Workshops, Resources & Recordings

The American Folk Experience is dedicated to collecting and curating the most enduring songs from our musical heritage.  Every performance and workshop is a celebration and exploration of the timeless songs and stories that have shaped and formed the musical history of America. John Fitzsimmons has been singing and performing these gems of the past for the past forty years, and he brings a folksy warmth, humor and massive repertoire of songs to any occasion. 

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Auto Draft

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by | November 28, 2013 | Journal, Poetry | 0 Comments

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by | July 12, 2014 | Poetry, Raccoon | 0 Comments

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by | April 23, 2017 | Journal, Out of the Forge, Songs, The American Folk Experience | 0 Comments

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by | July 9, 2016 | Journal | 0 Comments

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by | August 26, 2014 | Dawghouse, Songs | 0 Comments

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by | May 2, 2014 | Essays, Journal, Teaching | 0 Comments

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by | March 1, 2015 | Essays, Journal, Teaching | 0 Comments

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by | April 7, 2014 | Essays, Journal, Teaching | 0 Comments

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by | July 9, 2017 | Journal, Poetry | 0 Comments

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by | August 12, 2014 | Fires in the Belly, Songs | 0 Comments

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by | November 17, 2013 | Essays, Journal, Teaching | 0 Comments

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by | November 24, 2014 | Essays, Journal, Teaching | 0 Comments

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by | July 8, 2017 | Journal, Poetry | 0 Comments

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by | November 26, 2014 | Journal, Poetry | 0 Comments

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by | August 21, 2014 | Out of the Forge, Songs | 0 Comments

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by | July 14, 2014 | Poetry, Raccoon | 0 Comments

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by | August 31, 2014 | Poetry | 0 Comments

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by | March 28, 2022 | Essays, Journal | 0 Comments

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by | November 11, 2013 | Essays, Journal | 0 Comments

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by | September 6, 2015 | Essays, Journal | 0 Comments

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by | May 4, 2014 | Essays, Journal | 0 Comments

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by | November 21, 2013 | Essays, Journal | 0 Comments

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Don’t Let Go of Your Soul

by | August 11, 2014 | Fires in the Belly, Songs | 0 Comments

Sometimes yeah.
Sometimes no.
Sometimes it’s somehow somewhere in between.
Sometimes it’s somewhere that no one has been–
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Don’t you ever let go–

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