Categories
Script for audio journal

Take This Frame Away

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

In my first journal entry for the sequence The Summa Quotidian way back in 2015, I mentioned the fact that it had been fifty years since I had written my first song. For this concluding entry to the sequence, A Bit of Banter, I wish to record the fact that the song included here took me fifty years to complete! I wrote the first part as a 17-year-old, pimply, schoolboy on the inside cover of a Clancy Brothers songbook that I had been working my way through. I added to it over the years, putting a final touch to it three years ago, when I was 67. A couple of other examples from the 120 songs in The Summa Quotidian, also underwent a similarly, leisurely (some might aver, slothfully) compositional process. By comparison, the 56 songs recorded over the past two months (61 days,) in lockdown, for the sequence, A Bit of Banter, achieved warp-speed! Of course, they are all, with the exception of the song at the end of this entry, covers, and not original compositions. So, what was happening just two days before I began recording for this project? Read on-

Just before dawn on Anzac day, April 25th, I stood in my driveway and listened to the broadcast from the Australian War Memorial. I set a candle on my letterbox and, glancing up and down the street saw men and women, at the end of their driveways, paying silent tribute to the fallen. A 70-something veteran with a chest full of medals walked slowly past and we nodded a greeting. After the ceremony, I returned to my home, where we are in lockdown, and thought, this was good– nothing like it before or, perhaps, after, the usual gatherings at war memorials throughout Australia cancelled because of the threat the virus posed, particularly to the aged. The thousands of Australians, like me, who shared in this experience will remember it, I would think, for the rest of their lives- long or short. 

Some Millennial commentators have welcomed the advent of SARS-CoV-2 as an efficient Boomer Remover. Unfortunately for them, it does not so finely discriminate. While those of retirement age are more heavily afflicted, the virus does strike down many of those in other demographics as well. Careful what you wish for, eh?

Have you noticed that the crisis engendered by the pandemic has brought people of real worth to the fore? Not the vain-glorious bloviating buffoons who, hitherto, pranced across the (inter)national stage. I’m thinking about media-hungry politicians and the gross (and grossly overpaid) shock jocks. But now, quietly spoken experts in epidemiology, nurses, doctors, check-out operators and shelf-stackers in supermarkets, paramedics, truck drivers and public transport employees-to name but a few- have engaged the respect of the public by their willingness to step forward in these strange times and do their duty, fully mindful of the potential consequences for themselves and their families. Meanwhile, the self-absorbed, those self-serving politicians and god-alone-knows how many vacuous celebrities infesting the media (social and mainstream) all continue to flout the regulations as if they don’t apply. Dante would have found a special circle of hell to accommodate them…

I’m now north of seventy years old with a handful of co-morbidities. My wife’s sister-in-law has died from coronavirus (on April 6, 2020, in Northern Ireland) and will be buried next to her mother in a small country graveyard in Rasharkin, County Antrim. She is the first person in our family circle to have been taken from us by the pandemic (May she rest in peace). Because her husband had pre-arranged their funeral-and-burial details some years previously, there have been no problems with the internment. Hitherto, some had felt that he was just too…what? Fastidious? Careful? Over-scrupulous?

What about, perspicacious! How many in the world today will follow her to a grave that will not be marked by the usual obsequies because of the overwhelming wave of deaths that will accompany the savagery of SARS-CoV-2 as it sweeps across the planet. When I viewed the mass graves in New York City on April 10, it was with horror I asked, Are we living in the 21st Century? And then I reflected: this has been happening in all too many countries, without respite, for every year of this century (and the one before) while most of us were looking away, or at fatuous reality shows on TV… 

I do not know if I will survive this event. I may hope. I certainly will pray. I intend to persevere and, Deo Volente, endure. I had intended to update the posts to The Summa Quotidian which occupied 14 months from 27 April 2015 to the following 14 June 2016. Or 414 days. But I got side-tracked on the A Bit of Banter, sequence. Consequently, instead of Take This Frame Away being the start of something, I have decided that it might, more appropriately, put a full stop to the A Bit of Banter sequence.

Categories
Script for audio journal

The Old House

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Old House had always brought to my mind the ruins of Irish cottages you can find scattered throughout the island, redolent of failed lives and suffused with emigrant longing. And then I started to research (online, of course, especially but not only during the exigencies of the present pandemic). What did I find? Not what I expected! I envisioned a humble schoolmaster, perhaps, setting down these lines to an old half-remembered Irish air as he dwelt on his impoverished beginnings. The truth was diametrically opposed to my former imaginings! The writer of the song was a scion of an ancient Irish family: read on.

For many years, Baltrasna House was the ancestral home of the O’Reilly family…Baltrasna House and Estate were in the control of the O’Reilly family and later through marriage the O’Connor’s until the early 20th century … In the early 19th century the O’Reilly’s of Baltrasna House fell into financial difficulties… When the O’Reilly’s failed to keep up with the repayments they were dispossessed… However, the new owners were despised by their tenants and were terrorised by the Ribbon Men, a secret society that was active in pre-Famine times, that specialised in making life difficult for notorious landlords. The upshot of all this was that Anthony O’Reilly was reinstated at Baltrasna and continued to reside there until his death aged 62 in 1874…Anthony planted a tree for each of his seven daughters along the main avenue to the house. With the death of his only son, James, the family name at Baltrasna died with him. Anthony’s eldest daughter, Harriet Georgina (born 1841) married Matthew Richard Weld O’Connor in 1865 (source, irishidentity.com)

 Lieutenant-Colonel Sir William Frederick Travers O’Connor  (30 July 1870 – 14 December 1943) was an Irish diplomat and officer in the British and British Indian armies. He is remembered for his travels in Asia, cartography, study and publication of local cultures and language, his actions on the Younghusband expedition to Tibet, Royal Geographic Society council member,  member of the Royal Automobile Club and for his work negotiating and signing the Nepal–Britain Treaty of 1923. O’Connor was born in 1870, Longford, Ireland, son of land agent Matthew Weld O’Connor, and Harriet Georgina, daughter of Anthony O’Reilly, of Baltrasna, County Meath. (source, Wikipedia)

O’Connor noted in his book, Things Mortal, that the famous Irish tenor, John McCormack, sang The Old House at The Royal Albert Hall in London on November 27, 1938. He was an exemplar of the British Imperial administrative elite- resourceful, multi-talented, showered with medals and widely travelled. Educated at Charterhouse, he attended the Royal Military Academy and was gazetted into the Royal Artillery. After a long, distinguished military career, ending in 1925, he travelled to the Americas where, in 1931 he was reported as inviting five men, with deep pockets, to accompany him on a tiger hunt to India for $100,00 apiece! Whether this transpired or not is problematical because two days later a bankruptcy petition was filed against him. Will I sing the song, anyway? Hell yes!

I use an orchestral ¾ time Band-in-a-Box setting and, as this is such a short song, I play mandolin over a penultimate instrumental verse. The song has no chorus, just three verses, so I follow some other artists in rising a semitone in the final verse. Compared to John MCormack and my favourite rendition by John McDermott- and I know I don’t compare-this version fairly lopes along at 100 bpm.

Categories
Script for audio journal

Nancy Spain

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

In 1969, Christy Moore played a gig at a club in St Helier on the island of Jersey. The resident singer at the club was a man… called Barney Rushe, and that night he played some songs that he had written, two of which in particular caught Christy’s attention – The Crack Was Ninety and Nancy Spain…”We hooked up after the gig and we swapped songs late into the night,” Christy recalls. “When I heard him sing Nancy Spain, I was instantly smitten by this beautiful song. People are not aware that Nancy Spain was the name of a real woman, of a very different kind to the one that we might have in mind when we hear the ballad.”

“Barney explained it to me,” Christy recalls. “When he was writing this love song, he needed a name to tie it all together. Nancy Spain was a famous English journalist back in the 1960s, and Barney really liked the sound of her name. That was the name he chose for the subject of his song.”

Nancy Spain was no ordinary journalist, but one promoted as a free-roaming controversialist by the Daily Express which declared proudly, if somewhat feverishly: “They call her vulgar. . . they call her the worst dressed woman in Britain. . .”And the reason “they” found her badly dressed may have had more to do with the repressions of the 1950s than with Nancy Spain’s own sense of style. In her public appearances on TV shows such as What’s My Line? she tended to favour “natty gents sportswear” and what they called “mannish” clothes. Nancy Spain was, in fact, a lesbian. 

And it is said that she had many affairs with other women, including Marlene Dietrich. All of which was apparently accepted in good spirit by her soulmate Laurie. The two women even died together when the light aircraft in which they were travelling to the 1964 Grand National crashed into a cabbage field near Aintree racecourse. Noel Coward wrote that “it is cruel that all that gaiety, intelligence and vitality should be snuffed out, when so many bores and horrors are left living.”

Barney Rushe, who loved that name, had an interesting life too. His friend Mick Curry, himself a fine musician whose song Lawless has also been covered by Christy Moore, describes Barney as essentially a troubadour. Born in 1946, he played in bands – mainly blues bands – in the early 1960s. On a holiday in Jersey he found that he could make a living there, playing at the Royal Hotel, a period during which he had that crucial encounter with Christy Moore.

From Jersey he had moved to Ibiza, then Germany, where he ran a pub near Nuremburg… He moved to Spain, where he played in bars in Malaga…On a recent visit back to Dun Laoghaire, Barney Rush suffered an aneurysm, and died. At his funeral Christy Moore sang Nancy Spain – whoever she may be. (abridged from an article by Declan Lynch writing in The Irish Independent, October 4, 2014) 

Read the whole article for a fuller account and, of course, her Wikipedia entry, which goes into detail about a marvellously talented woman who lived life to the full. I think she would have been mightily amused to think that her name is used as the title of this love song.

Another lockdown special: we’ve never performed this in public; however, we were planning to- the singer yet to be determined. I’ll throw my hat in the ring with this: although, with acoustic-electric guitar, bodhran, mandolin and fiddle only as backing,  it won’t be very much like this version which has Nashville drums, electric bass, acoustic fingerpicked guitar, acoustic strummed guitar, electric guitar and organ/harmonica filling out the choruses. The vocal is just a straight-through solo.

Categories
Script for audio journal

The Mountains of Mourne

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Like so many high places, the Mournes have a mystical aura when you ascend one of the peaks. I did this, in the mid-1980s, with a group of students from The Ballymena Academy, in the company of Roger, a gentle but very fit R.E. teacher from the school. Before we were half-way up, I was struggling, regretting a lifetime of being unfit and rather fat. As the group ascended out of sight, I rested on a stone wall to recuperate. Then, vaulting over the wall came a trio of British soldiers who asked if I was part of their training team! Breathless, I assured them that I was not- and they loped away across the side of the mountain. I did finally get to the summit, and yes, as the cliché goes- it was worth it. At about the same time, I was involved as in a cabaret-style,  A night with Percy French, involving songs, stories, and skits at Cushendall Golf Club- a social and sometime performance venue for our local drama group.  Thirty-five years later, I hope that such activities still exist and haven’t been entirely submerged by the world of Tik Tok etc. The estimable Wikipedia now takes up the account:

William Percy French (1 May 1854 – 24 January 1920) became known as one of Ireland’s foremost songwriters and entertainers. Thanks to the late Oliver Nulty, French has become recognised for his watercolour paintings as well. William Percy French was a gifted polymath who had a number of artistic talents at his command. He could work very quickly, and his output is prodigious across many genres.

The lyrics to the song The Mountains of Mourne (originally spelt The Mountains o’ Mourne) were written by Irish musician Percy French (1854–1920), the music was composed by Houston Collisson (1865–1920)… The song is representative of French’s many works concerning the Irish diaspora. The Mourne Mountains of the title are located in County Down in Northern Ireland.

The song is a whimsical look at the styles, attitudes and fashions of late nineteenth-century London as seen from the point of view of an emigrant labourer from a village near the Mourne Mountains… It contrasts the artificial attractions of the city with the more natural beauty of his homeland. [An example of French’s satirical wit is set out below]

Are Ye Right There Michael, a song ridiculing the state of the rail system in rural County Clare caused such embarrassment to the rail company that – according to a persistent local legend – it led to a libel action against French. According to the story, French arrived late at the court, and when questioned by the judge he responded, “Your honour, I travelled by the West Clare Railway”, resulting in the case being thrown out…[source, Wikipediadonate if you can]  

French is also known as the author of a famous poem called, Abdul Abulbul Amir (1877) which  in the century and a half following its composition, has spawned quite a few risqué parodies- beloved by students with a sophomoric sense of humour and countless rugby teams. Here is a verse extracted from the original followed by an extract of one of the tamer parodies:

There are heroes in plenty, and well known to fame/In the ranks that were led by the Czar,/But the bravest of all was a man by the name/Of Ivan Potschjinski Skidar. /He could imitate Toole, play Euchre and Pool/And perform on the Spanish guitar./In fact quite the cream of the Muscovite team/Was Ivan Potschjinski Skidar. [Toole was a famous contemporary actor and entrepreneur]

The harems of Egypt are fine to behold/And the harlots are lovely and fair/But the fairest, a Greek, was wed to a sheikh/Called Abdul Abulbul Amir./A travelling brothel came into the town/
‘Twas run privately by the Tsar/Who wagered a hundred that no-one could out-shag/Count Ivan Skavinsky Skavar.

Banter started to perform this song a couple of years ago as we were expanding the group’s repertoire. As we are still in lockdown, I use the virus, shamelessly, to purloin yet another of Sam the Man’s songs. I use Band-in-a-Box’s Medium Waltz setting featuring acclaimed session musos- Byron House on acoustic bass, Jeff Taylor on acoustic piano, Jason Roller on  strummed acoustic guitar and Brent Mason on finger-picked guitar. What more do you need? The solo vocal (with a touch of chorus on the last line of each verse) relates the artfully crafted story.

Categories
Script for audio journal

Little Old Wine Drinker, Me

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

I can remember visiting my brother, who was a Vet in West Cork, Ireland, where we always made sure we had an adequate supply of Sherry from the Wood. (Does anyone remember that concoction?) A group of us would play cards, chat, drink wine and listen to records into the early hours of the morning. As was exceedingly common for that era (late 60s-early 70s) the room was wreathed also, in tobacco smoke from the cigarettes, pipes and cheroots on the go. One of our favourite 45s (the single vinyl discs rather than those heavy handguns) was Dean Martin singing this song. Now for some info courtesy of my favourite site for research, Wikipedia:

Little Old Wine Drinker Me” is a song that was first released by Charlie Walker in 1966, on the album Wine, Woman & Walker. The song became a hit when it was released by Robert Mitchum in early 1967, and by Dean Martin later the same year on his album Welcome to My World. The Dean Martin version is a hit with Scottish football club Clydebank and can often be heard being chanted on the terraces with ‘Tennessee’ being replaced with ‘Kilbowie’ in homage to the club’s former ground in the town…The song’s title parodies a catchphrase used in contemporary TV advertising by the Italian Swiss Colony wine company: “The little old winemaker, me!”…  In 2015 the descendant of the company, now operating under the name Asti Winery and selling wine under the Souverain brand, and owning America’s sixth-largest wine production facility, was purchased by E & J Gallo Winery from its owner, Australia-based Treasury Wine Estates. (source, Wikipedia)

So, there’s an Aussie connection, too! Like many others, I misunderstood part of section B because I mis-heard it. I rendered I matched the man behind the bar…as I asked the man behind the bar… which makes no sense when you think about it. Jukeboxes are kept out in the general bar area with lights flashing to entice punters- not behind the bar with the bar-tender! I guess I misheard it because I was not familiar with the verb matched in this context. I imagine the scene: early evening, the heart-broken narrator is having a few in a bar near where he is staying. Nothing much is going on- certainly, no-one is putting coins into the jukebox, and the barman holds up two bits and offers to match the guy. This involves each person holding a 25-cent coin and slamming it down on the counter. The punter gets to call match or no match. If he wins the match, he gets to put the won coin into the jukebox and play three songs (or, if he’s heart-broken he might want to double the number of sad song and put his two bits in, too…) Today, in Oz you would play with a two-dollar coin, I suppose. Of course, the house always wins- that sly ol’ bar-tender was going to put a coin into the jukebox, anyway, to liven up the joint!

I’ve loved the song from the moment I heard Dino’s suave delivery. This country-blues gem (clocking in at two and a half minutes) references those part of the US that are part of the country tradition: it also has a broken heart, a train, a bar, rain and a jukebox. What more could you ask for, apart from a dog and a pick-up truck? (And who’s to say the narrator didn’t drive his beat up old truck from Nashville to Chicago with his best friend hanging his muzzle out of the passenger window?)

I’ve sung this song for gigs during the past couple of years. The lockdown is still preventing live music gigs, so, here I use a basic Band-in-a-Box country ballad setting with Nashville drums, strummed and finger-picked guitars and bass. I bring up the fiddle in the second sections and add the vocal. With songs like this- less is more, IMHO.

Categories
Script for audio journal

The Irish Rover

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Irish Rover is an Irish folk song about a magnificent though improbable sailing ship that reaches an unfortunate end. It has been recorded by numerous artists, some of whom have made changes to the lyrics over time.

The song describes a gigantic ship with “twenty-seven masts”, a colourful crew and varied types of cargo in enormous amounts. The verses grow successively more extravagant about the wonders of the great ship. The seven-year voyage comes to a disastrous end when the ship sinks. The narrator becomes the only survivor, “the last of the Irish Rover“, leaving no one else alive to contradict the tale.

According to the 1966 publication Walton’s New Treasury of Irish Songs and Ballads 2, the song is attributed to songwriter/arranger J. M. Crofts. (source, Wikipedia)

However, I have not been able to verify this after an internet search where this song is most often said to be traditional. I know if I had written it, I wouldn’t be hiding my light under a bushel- everyone would know about it!

Burl Ives is the earliest artist I can find who sang the song- his 1959 version, where he accompanies himself on nylon guitar, holds up rather well, over 60 years later. Of course, he was a noted singer with a great voice as well as actor and entertainer. He cruelled his place in history, IMHO, by recanting his socialist links during the McCarthyite blacklist period by appearing before the House Un-American Activities Committee (HUAC) in 1952 and by naming names to preserve his income from various projects in the entertainment industry. This precipitated a bitter rift between Ives and folk singers such as Pete Seeger, which lasted for decades.

The first time I heard the song, though, was from a 1962 Clancy Brothers and Tommy Makem vinyl disc recorded live in a Chicago night-club. It was the first song on the first side. This group is arguably the catalyst for the explosion of Irish folk music in Ireland and across the world in the decades since this great recording. When The Dubliners teamed with The Pogues in 1987 the song gained a new lease on life.

Now, while the three oldest members of the band had been singing the song since the 1960s, when Banter formed in the mid-1990s, the fiddler, Mark, son of mandolinist Jim, was hesitant of playing the song with just guitar, fiddle, and bodhran as it couldn’t compete, sonically, with the racy and raucous rendition of the Dubs/Pogues!

So, here in lockdown, with the assistance of the Band-in-a-Box/RealBand combo and n-Track 9 mastering, I present something that approaches the density of that 1987 recording. The rhythm section is labelled Factory Industrial Rock comprising RockHard LA drums, metal electric guitar, and three House-Techno Trance loops. To keep within a light-year or two of the Irish influence, I use bluegrass mandolin, fiddle, banjo and accordion successively as acoustic embellishment of the verses. In the instrumental verse, I introduce the accordion and bring up the rest of the instruments which saw, blow and pick up a storm through the final verse. I sing the verses without doubling- there isn’t a chorus, alas, to use as a pretext…

Categories
Script for audio journal

Three Rivers Hotel

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Three Rivers Hotel was written by Stan Coster. We, the band Banter, have performed the song for twenty-five years. Stan is another one of those larger than life Aussies that this land seems to produce in prodigious numbers. Below I give a potted biography of his life that demonstrates this. I also wish to pay tribute to a performer and songwriter that didn’t make it to the biblical span of three score and ten- but didn’t he cram a lot of living and a lot of songs into the time he had!

Stan Coster was born at Casino on the north coast of New South Wales, Australia in 1930. He left school at the age of 14 and worked for a local butcher in Woolgoolga, NSW. By the age of 16, he was cutting sleepers for train tracks and at 18 years of age he went to work as a station hand before moving to Sydney and in 1948 moved to Cooma, New South Wales, to work on the Snowy Mountains Scheme. While on the land Coster worked as a ringer, fencer, slaughterman, horse-breaker, kangaroo shooter, and shed hand and was able to draw these experiences into his bush ballads. In 1950, at age 20, Coster joined a travelling rodeo as a rough rider.

In 1956, Coster began writing songs and met Slim Dusty in 1960 at Longreach, Queensland. Dusty recorded his first Coster song, “Return of the Stockman” in 1962. Dusty went on to record another 70 of Stan Coster tracks. Popular compositions such as his “Three Rivers Hotel”, which tells the story of building a train line into a remote nickel mine, were based on his own life experiences and brought to popular attention through performances and recordings by Slim Dusty and other artists. In 1977, Coster won the Golden Guitar for APRA Song of the Year with his composition “Three Rivers Hotel”, recorded by Slim Dusty.

In the 1980s Coster started his Stan Coster Show at the Tenthill Hotel in Tenthill, Queensland in the 1980s to crowds too large to be accommodated in the hotel.  In 1987, Coster won another Golden Guitar for APRA Song of the Year for “He’s a Good Bloke When He’s Sober”. In 1989 he was awarded an OAM for “Services to Country Music” and was in 1990 inducted into the Australian Roll of Renown at Tamworth. He won the 1995 Golden Guitar (Heritage Award) for Bush Ballad Song of the Year with “Lawson’s Loaded Dog” and in 1996 released his last album Come Back to the Bush. (adapted from source, Wikipedia)

Sam the Man sings John Williamson’s take on the song on this site: Banter IV  Song 45. For the lockdown redux version I have added three verses that are in Slim Dusty’s version. I also slowed it down a bit to 165 bpm in waltz time using the Band-in-a-Box/RealBand combo comprising acoustic bass, fingerpicked and strummed guitars with Nashville waltz drums for the rhythm section. I use vintage electric piano, pedal steel guitar and gritty electric guitar variously in the verses and use a B3 organ in the chorus with doubled voices.

Categories
Script for audio journal

Will Ye Go Lassie Go?

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Will Ye Go Lassie Go? is an Irish/Scottish folk song. The lyrics and melody are a variant of the song “The Braes of Balquhither” by Scottish poet Robert Tannahill (1774–1810) and Scottish composer Robert Archibald Smith (1780–1829), but were adapted by Belfast musician Francis McPeake (1885–1971) into “Wild Mountain Thyme” and first recorded by his family in the 1950s.

McPeake is said to have dedicated the song to his first wife, but his son wrote an additional verse in order to celebrate his father’s remarriage. “Wild Mountain Thyme” was first recorded by McPeake’s nephew, also named Francis McPeake, in 1957 for the BBC series As I Roved Out

While Francis McPeake holds the copyright to the song, it is generally believed that rather than writing the song, he arranged an existing travelling folk version and popularised the song as his father’s.(source, Wikipedia)

And there it is! Again! Once more! The perennial tug-of-war about authorship among a varying number of contenders. Something similar goes on with Ewan McColl’s songs which are derivative also of sources that did not originate solely within his brain. Another folk colossus who used various sources for his songs is Dominic Behan. My nephew, Joe, pointed out that songs such as McAlpine’s Fusiliers would not exist were it not for Behan’s genius at putting together words and melody. To say nothing of his constant touring and promulgating of his oeuvre.

The same may be said for the song posted here- were it not for Francie McPeake sitting down at his kitchen table at 5 Springfield Road, Belfast sometime in the mid-1950s, and writing the song out- it would not exist. Care for a little thought experiment? Suppose that McPeake had never set this song down. It’s conceivable that someone else may have been able to put together the pieces and come up with something analogous- but would it have been this song? The what-might-have-been industry, churns out a substantial range of poems, novels, plays and songs to satisfy the appetite for such things among its various niche audiences.

And what about me? (Could this work as part of a song-lyric?) I do take an interest in identifying sources and I do take pains to acknowledge anything I use that is the product of someone else’s industry. But the final determinant of whether I spend any time on a song and its sources is simple- does it appeal? If it does, then I care not a jot whether it is purebred or mongrel- or even if it is neither fish nor fowl…

This lockdown version uses the Band-in-a-Box/RealBand combo with mastering by n-Track 9 featuring as a 160 bpm waltz-time rhythm section comprising Nashville drums, acoustic bass, a brace of guitars: fingerpicked and strummed, fiddle and harp (cliché, I know, but still…) with an organ added on choruses, with doubled vocal. We were, as the band Banter, developing this song with Sam the Man as main vocal, but SARS-CoV-2, shuttered him in at his place and ushered in an opportunity for… moi!

Categories
Script for audio journal

The Shoals of Herring

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Shoals of Herring was written for the third of the eight BBC radio ballads by Ewan MacColl, Charles Parker and Peggy Seeger, Singing the Fishing (first broadcast on 16 August 1960, released on an Argo LP in 1966 and now available on a Topic CD). It was about the herring fishery and fishermen, and the song was designed specifically to highlight the life-story of Sam Larner, who had spent a long life as a herring fisherman, but was retired at the time of the recording. He first went to sea, he said, in 1892, when he was just a boy. (source, mainlynorfolk.info)

 The Radio Ballads…was put together by folk singers Ewan MacColl, Peggy Seeger and ex-submarine commander turned recording pioneer Charles Parker. The first ballad ‘The Ballad of John Axon’ was aired on radio in 1958. It was the first musical documentary of its kind, it was revolutionary in that it combined music with the speech of working people. Whilst this may sound strange today documentaries were usually scripted and read by actors…you’d be lucky to hear any regional accent. This was all just before radio made way for television.

Peter Cox’s brilliant book ‘Set into Song’ which tells the story the Radio Ballads explained how those ballads had a huge impact upon documentary makers in the 60’s in both radio and television and were even used in BBC training courses. In 1971 Philip Donnellan adapted the Radio Ballad ‘Singing the Fishing’ into a TV documentary called ‘Shoals of Herring’ which was televised on BBC 2 in 1972. Donnellan wanted to to show the fishermen’s struggle and how they were being exploited, he felt the original Radio Ballad lacked political edge…something Ewan MacColl would never have taken kindly to. Whilst many Scots families owned their fishing boats Donnellan saw the English fishermen as wage slaves to the big fishing industrial groups (source, folkradio.co.uk)

When I finished writing [this], we sang it to Sam Larner on our next trip up. He was delighted that I knew it for, as he declared, ‘I known that song all my life’. […] A song about fishermen must please fishermen, a song about miners must be convincing to miners, or there is something wrong with it. (MacColl, Journeyman 323) For The Shoals of Herring I tried out and rejected more than a score of tune models and, in the course of a fortnight, sang hundreds of first-line variants before I found one that pleased me. After that, it was a matter of seeing whether the rest of the tune soared naturally out of that first line or whether it had to be coaxed into the open. (MacColl, Journeyman 365) (source, mudcat.org)

If you have an hour or two to spare, you might want to visit Mudcat and follow the various threads that detail the nit-picking that surrounds the authorship of the song. I’m content to go along with the McColl hypothesis (Spoiler alert for conspiracy theorists– I also think that Shakespeare, rather than the Earl of Somethingorother, wrote the plays and sonnets.)

The song has a special place in my pantheon of folk songs because my father, like Sam Larner, first went to sea as a cabin boy, aged 14. He followed his father and grandfather in this choice of occupation, finally reaching the status of captain of a shallow-bottomed oil-tanker running oil from Lake Maracaibo to Aruba, dodging German U-boats, during the Second World War.

This song is another from Banter’s repertoire featuring Sam the Man on vocals. And yet again I substitute on vocals. For this lockdown version, I use the Outlaw Country rhythm section from Band-in-a-Box featuring acoustic piano, acoustic guitar, electric guitar, electric bass and Nashville outlaw drums. Apart from doubling vocals on the final line of each verse, I don’t bother with any other embellishments.

Categories
Script for audio journal

The Shores of Botany Bay

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Botany Bay, discovered on 29 April 1770 by Captain Cook, who first named it Stingray Bay, later Botanists’ (Harbour and Bay), and finally Botany Bay in his journal, probably to honour the botanists aboard HMS Endeavour led by Sir Joseph Banks as well as to mark its floral novelties. Banks later (1786) advocated Botany Bay as an ideal place for a penal colony on account of its supposed fertility. The first fleet under Captain Arthur Phillip landed there on 20 January 1788 and, finding Banks’s account much exaggerated, moved on to Port Jackson, landing there at Sydney Cove. Nevertheless, the name Botany Bay became synonymous with Australia… as a convict settlement. Botany Bay is also the site of Sydney’s (Kingsford-Smith) international airport. (source, Martyn Webb in encyclopedia.com)

The Gweagal Aborigines made first visual contact with Cook and other Europeans on the 29 April 1770 in the area which is now known as “Captain Cook’s Landing Place”,…It was the first attempt made, on Cook’s first voyage, in the Endeavour, to make contact with the Aboriginal people of Australia… In sailing into the bay they had noted two Gweagal men posted on the rocks, brandishing spears and fighting sticks…After an hour and a half, Cook…with 30 of the crew, made for the beach, only to be threatened by two warriors. They threw some gifts on shore, trying to get over the idea they had come to seek fresh water, but the Gweagal men reacted with hostile diffidence. Cook felt it necessary to encourage a change of attitude [!!] by shooting one of the men in the leg with light shot. … The sailors then proceeded to walk onto the beach and up to an encampment. Both Cook and Banks tried, with great difficulty, to make contact with the local people but without success due to the Aborigines avoiding contact after the first encounter. [Do you have to wonder why, really?] (source, Wikipedia)

[The song, The Shores of Botany Bay, was] collected from Duke Tritton by John Meredith. Tritton learned the song while busking in Sydney early this [20th] century. He also wrote the last verse. Second verse is from Therese Radic’s Songs of Australian Working Life. (source, folkstream.com)

Note: listen to Duke Tritton’s The Sandy Hollow Line, on A Bit of Banter: Banter X, song 110, a true classic of life in the Great Depression for Aussie battlers.

The French king, Louis XVI, who was inspired by Captain James Cook’s Pacific voyages…ordered the French expedition[ led by La Perouse ] to show the world that France could also dominate in ocean exploration…On 20 January 1788, the First Fleet arrived in Botany Bay. The British believed they were completely isloated from any other European presence. Just four days later however, Philip Gidley King recorded in his journal: ‘…two Strange Ships were seen standing in the Bay … we judged them to be the two Ships under the orders of Monsieur de la perouse.’…La Perouse’s ships sailed out of Botany Bay in March 1788. The British lookout on South Head saw them leave. This was probably the last time the French expedition was seen by Europeans…It was not until 1964 that the wreck of La Boussole was finally discovered on Vanikoro’s reefs. At last the fate of La Perouse and his crew was known. (source, State Library of New South Wales)

The song has long been a favourite in Aussie bush music circles and Banter regularly features it with Sam the Man taking the vocals. This, though, is a lockdown special where I usurp Sam’s role, ably assisted by the Band-in-a-Box/RealBand combo featuring acoustic bass, Nashville drums, nylon guitar, fiddle, electric pickin’ and clean guitars as well as solo bluegrass mandolin and accordion. I have read somewhere that the song originated in 19th Century English music-hall. But what cares I when it has such up-beat energy- not all immigrant songs have to be doleful, after all.

Categories
Script for audio journal

The Sandy Hollow Line

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

I thought I had put up a post about this song, earlier in the year. But I can’t find it so I’ll put this one up. I first heard the song in the mid-1970s from the a capella singing of Kevin Baker, the composer of The Snowy River Men. As a document of what so many people had to endure in the Great Depression, this has few equals. Duke Tritton wrote this from first hand experience as he was one of the blasters on the Sandy Hollow Line, an initiative of the Australian government to give work to men who had no means to support their families. It began as an unemployment relief scheme of the NSW Government, achieving infamy for having no modern mechanical devices used on it, other than trucks carrying concrete for the 5 tunnels and bridge piers, all other work being done with picks, shovels, hand drills, horses and carts. Construction continued through World War 2 at a desultory pace, held up by money, labour and especially steel shortages, only to be abandoned unfinished, approximately 92% complete, a few years later in 1951. (source, Wikipedia).Well, well, isn’t it good to see that the stupidity of government initiatives have survived the 20th century and are still alive and kicking in modern Australia? I wonder, are there echoes of this in the present pandemic? I give the lyrics below because it is a primary document of the suffering of those who worked on this scheme. It is also a primer on how to write long-form lyrics that punch through from beginning to end. It comprises 10 quatrains rhyming aabb with a concluding couplet. I know I had indicated in an earlier post that, as a rule, I did not publish lyrics on the grounds that if they were not comprehensible on listening, then they were not worth setting down. Here, though, is another exception that proves the rule.

The sun was blazing in the sky and waves of shimmering heat/Glared down on the railway cutting, we were half dead on our feet,/And the ganger stood on the bank of the cut and snarled at the men below,/’You’d better keep them shovels full or all of you cows will go.”// I never saw such a useless mob, You’d make a feller sick./As shovel men you’re hopeless and you’re no good with the pick.’/There were men in the gang who could belt him with a hand tied at their back/But he had the power behind him and we daren’t risk the sack.// So we took his insults in silence, for this was the period when/We lived in the great depression and nothing was cheaper than men,/And we drove the shovels and swung the picks and cursed the choking dust;/We’d wives and hungry kids to feed, so toil in the heat we must,//And as the sun rose higher the heat grew more intense,/The flies were in their millions, the air was thick and dense./We found it very hard to breathe, our lungs were hot and tight/With the stink of sweating horses and the fumes of gelignite.//But still the ganger drove us on, we couldn’t take much more,/We prayed for the day we’d get a chance to even up the score./A man collapsed in the heat and dust, he was carried away to the side;/It didn’t seem to matter a damn if the poor chap lived or died.// ‘He’s only a loafer’, the ganger said, ‘A lazy useless cow./I was going to sack him anyway, he’s saved me the trouble now.’/He had no thoughts of the hungry kids, no thought of a woman’s tears/As she struggled and fought to feed her brood all down the weary years.//But one of the Government horses fell down and died in the dray;/They hitched two horses to him and dragged his corpse away./The ganger was a worried man and he said with a heavy sigh,/’It’s a bloody terrible thing to see a good horse die.’//You chaps get back to your work, don’t stand loafing there./Get in and trim the batter down, I’ll get the engineer.’/The engineer came and looked around and said as he scratched his head,/’No horse could work in this dreadful heat or all of them will be dead.’//’They’re much too valuable to lose, they cost us quite a lot,/And I think it’s a wicked shame to work then while it’s hot./So we will take them to the creek and spell then in the shade./You men must all knock off at once. Of course you’ll not be paid.’//And so we plodded to our camps and it seemed to our weary brains/We were no better than convicts, though we didn’t wear the chains./And in those drear depression days we were unwanted men,/But we knew that when a war broke out we’d all be heroes then.//And we’d be handed a rifle and forced to fight for the swine/Who tortured us and starved us on the Sandy Hollow Line.///

Another Aussie folk legend, John Dengate, set Duke Tritton’s words to music (I think, derived from an Irish air). Both men typify, for me, several admirable Australian character traits- fairness, humour, grit and determination under duress, summed up by these lines from John Dengate: We won’t surrender, won’t give in, although our hair is graying;/We come from tough rebellious kin…/Sometimes we lose, sometimes we win…We go on disobeying.

I have only sung this song once at The Penrith Gaels, about nine months ago. At that time, the feedback I got from most of the punters was along the lines of- It was a bit dirgy- stick to the faster stuff. I wonder, after we emerge, blinking into the new normal of the post-pandemic era, if there will be as much feedback along the “dirgy” line? Or if there will be such a thing as an audience?

This lockdown version features the Band-in-a-Box/RealBand combo of acoustic piano, strummed and fingerpicked guitars featuring Jason Roller, bass and Nashville drums as the rhythm section and fiddle, harmonica and synth electro flutes as embellishment, with n-Track 9 mastering.

Categories
Script for audio journal

Scarlet Ribbons (for her hair)

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

LOS ANGELES — Jack Segal, lyricist for such standards as “Scarlet Ribbons,” “When Sunny Gets Blue,” and “When Joanna Loved Me,” died Thursday in Tarzana. He was 86.

The songwriter’s hits, which have sold an estimated 65 million records, have been recorded by such artists as Harry Belafonte, Tony Bennett, Frank Sinatra, Dinah Shore, and Perry Como.

The ballad that was perhaps Mr. Segal’s greatest hit, “Scarlet Ribbons,” flowed, he said, onto paper in a mere 15 minutes in 1949. It happened when he was invited to the Port Washington, N.Y., home of concert pianist Evelyn Danzig Levine to hear some of her formal compositions. (Source, Myrna Oliver, Los Angeles Times  |  February 18, 2005)

Evelyn Danzig born Waco, Texas 16 January 1902; died Los Angeles 26 July 1996.: “Scarlet Ribbons” was written in only 15 minutes in 1949 at Danzig’s home in Port Washington, New York after she invited lyricist Jack Segal to hear her music (Source, Wikipedia)

In the annals of Tin Pan Alley, there are many examples of “One- Hit Wonders” – songwriters who only ever managed a single enduring success… Evelyn Danzig’s was the affecting folk-style ballad “Scarlet Ribbons (For Her Hair)”.

In 1949 Danzig co-wrote “Scarlet Ribbons” with Jack Segal, the future lyricist of “When Sunny Gets Blue”. Their ballad was first recorded by Juanita Hall, who was then appearing on Broadway as the original “Bloody Mary” in Rodgers and Hammerstein’s South Pacific

Although her [many other songs] failed to achieve popularity, more than 40 years of royalties from “Scarlet Ribbons” were sufficient to keep Evelyn Danzig comfortably until the age of 94.

(source, Dick Vosburgh writing in the Independent)

Both she and Jack lived long lives. Maybe not so rare in today’s world, but for people born back early in the 20th Century, this was exceptional. The moral may be: write a smash hit early in your career and live long off the proceeds…

The first person I remember hearing sing this song was Jim Reeves. Known as gentleman Jim and, with Chet Atkins, his producer, one of the originators of the Nashville Sound which is characterised by lush sounds. He toured Ireland in 1963 and was immediately taken up by Irish audiences. Reeves returned the compliment, although he did not rate, at all,  the quality of the pianos in those many draughty country halls in which he and his band performed. He charted many times in Ireland both before and after his tragic death in July, 1964 at the controls of his own single-engine aircraft at age 40. His silky, trademark, baritone voice is still popular 56 year later. Head on over to YouTube and listen to him sing this gem accompanied only by acoustic guitar.

A couple of years ago, with Banter, I gathered up the courage to subject myself to unflattering comparisons with Reeves, Belafonte, et. al. and sang Scarlet Ribbons in the Penrith Gaels Club. It’s long been a favourite of mine, even though, in my rebellious, rock-infused, teenage years, I hid this almost blasphemous affection. It is amazing how many people of all ages and conditions love this product of Tin Pan Alley, cobbled together in a quarter of an hour over 70 years ago.

For this lockdown version, I follow the less-is-more ideal (although not quite so pared back as YouTube’s Jim Reeves and solo guitar). The 80 bpm slow ballad Band-in-a-Box combo with acoustic piano, guitars, bass and drums is used throughout the song with no added embellishments from fiddles, flutes etc. I did experiment, briefly, with a more embellished version, but decided to junk it.

Categories
Script for audio journal

The Snowy River Men

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

I do not, as a rule, post the lyrics of songs I have recorded. If they are not comprehensible on listening then there is no point in printing them. It’s a bit like having to explain a joke after the punch-line. But I will make an exception in this case- and here are the reasons why: first, this is one of the finest songs ever written about the Great War and Australia’s involvement in it from the point of view of the soldiers actually doing the fighting. Second, my great-uncle, Private John Joseph Mitchell (5141) of the 22nd Battalion, Australian Infantry, A.I.F., died on 18 September, 1917, near Polygon Wood. This was the day before Hal Archer, the subject of the song, was killed (also by an artillery round). This killing ground was where one of the Snowy River Men, Private Ernest Albert Corey, a decorated Military Medal and three bars recipient, was a stretcher bearer during that horrific period of time.Third, Kevin Baker, the writer of this fine song has been a long-time friend of mine. And, finally, it is a much longer song than those I generally present in these posts. It is AAB in form, with ten separate verse quatrains and five identical chorus quatrains ( / = line divisions; // = verse divisions )

Dear Mrs Allen, I write to you today, / To say that I was with your son just before he passed away / I trained with him at Goulburn and we travelled on to France / And I was there when he got hit in the German advance.// It seems so long ago now since we marched into your town / and all the young men heard the call and signed their names straight down / and the girls and the children proudly cheered us all along / Ah, Bibbenluke that day was a feast of speech and song.

Chorus But The Snowy River Men just couldn’t march today / There’s far too many of them dead for the rest to feel that way / The cold ground of Europe has been watered with their blood /T here’s a strange new crop of crosses rising in this foreign mud

From Goulburn to Sydney then a ship from Circular Quay, / A spirit of adventure stood and filled both Les and me / It was great to be with comrades true and travelling abroad / For a while the war seemed far away, and the world was to be toured // In Durban, the natives took us travelling in style / In rickshaws that they pulled along at a shilling a mile / In Cape Town we watch the black boys diving in the bay / The Snowies had a good time there and would have liked to stay Chorus

When we landed at Plymouth, we’d spent eight weeks at sea / And entrained straight way for Wilton where our camp turned out to be / They treated us well there so we really can’t complain / That the sky was grey the weather bleak and it always seemed to rain // When we set sail for France the weather had turned fine / And it wasn’t long before the call to reinforce the line / Then a shell whined above us and we were raked with stones and mud / And I turned and saw Les sitting there in a pool of his own blood  Chorus

He stared as the blood poured out of his legless thigh / And I carried him back to the aid post close nearby / His blood soaked my uniform, but he never breathed a sigh / And I had no idea then that he was going to die // When I left him he spoke of a pain inside his chest / I suppose that’s what killed him I just don’t know the rest / But I know that we all miss him and can’t help but wonder why / So many Snowy men so quickly had to die Chorus

We hear the king’s grateful for all the men who’ve died / And is sending home a photo of the graves in which they lie / Well I still think the cause is right but it’s not clear anymore / Why so many Australian men should die in Europe’s war / We hope with our hearts that time will ease the pain / Of never once to see his face or hear his voice again / But I’ve seen so much death now since that day on which he died / That I can’t now be the Snowy Man that once I was inside. Chorus

Have you ever heard of the “SNOWY RIVER MEN” Recruitment march? This was one of many recruitment drives which took place around Australia circa 1916 to boost the number of enlistments into the AIF during World War One. The march was organised by a Captain by the name of F.R. WEDD and started on the 6th of January, 1916. A small group of 14 men proceeded to walk from the small country town of Delegate in southern New South Wales. Their route would take them through many other localities within the Monaro District – to conclude at the AIF Training Depot in Goulburn. A distance of roughly 350 kilometres. It was hoped that at least 200 men would join up as a result, but to the dismay of Captain WEDD, this number fell well short.

The route took the marchers through many small towns and localities:- from Delegate through to Craigie, Mila, Bombala, Bibbenluke, Holt’s Flat, Nimmitabel, Summer Hill, Rock’s Flat, Cooma, Bunyan, Numerella, Billylingera, Bredbo, Colinton, Michelago, Williamsdale, Queanbeyan, Bungendore, Deep Creek, Tarago, Inveralochy, Tiranna and finally through to Goulburn after 23 days of marching.

They marched under a banner, made by the women of Delegate. By the time they reached Goulburn on the 29th of January, 1916 – one hundred and forty-four (144) men had joined the procession. The majority were then enlisted into the 55th Infantry Battalion, Australian Imperial Forces and sadly – many would later lose their lives in the bloody battles which occurred between 1916 to 1918.

Perhaps the most famous of the marchers, was Private Ernest Albert COREY who, as a stretcher bearer – was to be awarded the Military Medal a total of 4 times. He was born and bred in the small town of Numerella but he is said to have enlisted from Nimmitabel. It was from this town, that the war would take him to the other side of the world. His first award of the M.M. was for his actions in rescuing wounded comrades at Queant near Bullecourt during the horrific fighting on the 15th of May of 1917. He would be awarded his first ‘bar’ to the Military Medal for similar actions on the 26th of September, 1917 at Polygon Wood. The second ‘bar’ would be won at Peronne roughly twelve months later, for his work as a stretcher bearer on the 1st & 2nd of September, 1918. His third ‘bar’ being awarded for his actions at the Hindenburg Line north of Bellicourt on the 30th of September 1918. One may consider it unique – that all of his awards were given as a result of “saving life” and not “taking life”.

The song by Kevin BAKER is in my opinion – one of the most moving songs to be composed with regards to the First World War. His voice is very ‘Australian’ and lends itself to the subject matter. It is hard not to feel the emotion that would have been behind the letter written by Private Hal ARCHER (2121 Private Halloran ‘Hal’ ARCHER from Tarcutta). His mate, 2124 Private Samuel Leslie ‘Les’ ALLEN of Bibbenluke had been fatally wounded by artillery fire on the 19th of May 1917. Les had been a school teacher and was 27 years of age. During the actual march; when the volunteers approached the town of Bibbenluke, Les and the school children had travelled out to meet them. When the two groups met, the children “fell in” behind the marchers and joined the procession into the village. Les later accompanied the group when he joined them at Holt’s Flat. So after his mate’s death, Hal Archer takes it upon himself to write the letter to Mrs Elizabeth ALLEN – the mother of Les. I believe that Kevin BAKER was inspired to write this song, so many years later after reading this letter – which would lead one to believe that this letter still survives. I have made numerous attempts to contact Kevin, with a negative result. If any reader may be able to assist – I would like to ascertain from Kevin his motivation and sentiment in composing this song which I believe, is exceptional. (source, from medalsgonemissing.com administrator, Gary Traynor)

Yes, Gary, Kevin did have the letter. (I have tried to contact Gary through the site above) Kevin had gone on a song-collecting journey to the Snowy Mountain area. It must have been after he returned to Australia from Germany and Ireland (where he stayed with us for several weeks in 1981 during the Republican Prisoners Hunger Strikes).

I first met Kevin in 1973 or 1974- I was sent to Warrawong High School by the NSW Department of Education after being recruited from Northern Ireland where I had graduated the year before from Queen’s University, Belfast. Kevin transferred to Warrawong High from Berkeley High School in the adjacent suburb in 1974, as I recall. We generally played music together on Friday nights where Kevin played a fine mouth organ, flute or piccolo (accompanied by a goblet or three of wine…) We also played in various groups until I left Wollongong to return to Northern Ireland at the end of 1978.

When I returned to Australia in 1988, I re-established contact with Kevin in Wollongong where he told me of his song- collecting in the Snowy Mountain area and the letter written to Mrs Allen by Hal Archer. In the early 1990s he toured up the east coast of Australia to play at folk venues and I met him again in Ayr, N. Queensland when he was passing through to Townsville and Cairns. We met several more times in the late 1990s and early ‘noughties at festivals such as Gulgong, a 19th-century gold rush town in the Central Tablelands and folk clubs, such as the temperance venue in the western Sydney suburb of Toongabbie (we had a drink afterwards!)

My lockdown version features Band-in-a-Box/RealBand with n-Track 9. The slow ballad combo of drums, bass, acoustic piano and dual guitars drives the song along with verse/chorus roles respectively for mandolin, accordion, fiddle and organ. The vocals are doubled in the choruses. But, search out and listen to Kevin’s classic 1982 original for the authentic take.

Categories
Script for audio journal

One of the Has-beens

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Notes to One of the Has-beens (tune, “Pretty Polly Perkins of Paddington Green”)

…Polly Perkins…is the title of a famous English song, composed by the London music hall and broadside songwriter Harry Clifton (1832-1872), and first published in 1864. It was almost universally known in England until around the mid-1980s and was commonly taught to school children. The title refers to the district of Paddington in London. The song gained a place in the canonical Oxford Book of Comic Verse, and the original manuscript of “Polly” is now held in the Bodleian Library.


It was adapted for the USA by Clifton during the American Civil War, re-titled “Polly Perkins of Abington Green”. Presumably the new title referred to Abington Green, Georgia, in the USA.
Most of Clifton’s songs adapted their tunes from old folk songs, and it is possible that a folk tune is also the origin of the tune for Polly. A folk song in the English county of Northumberland, called Cushie Butterfield, is sung to the same tune as “Polly” – although the “Cushie” tune was always claimed by one Geordie Ridley (1834-1864), a Tyneside comedian and miner. Ridley and Clifton’s death dates mean that both the song and its tune are now firmly in the public domain.

[Below are three verses from Polly Perkins to give a sense of the comic song from the 19th Century]


POLLY PERKINS OF ABINGTON GREEN written by Harry Clifton, 1864.
1. I am a broken-hearted milkman; in grief I’m arrayed/Through keeping of the company of a young servant maid/Who lived on board wages, the house to keep clean,/In a gentleman’s family near Abington Green.

CHORUS: Oh! She was as beautiful as a butterfly and as proud as a queen,/Was pretty little Polly Perkins of Abington Green.

4. When I asked her to marry me, she said, “Oh what stuff!”/And told me to drop it, for she’d had quite enough/Of my nonsense. At the same time, I’d been very kind/But to marry a milkman she didn’t feel inclined. CHORUS

7. In six months, she married, this hard-hearted girl,/But it was not a ‘Wicount’ and it was not a ‘Nearl’./It was not a ‘Baronite’, but a shade or two wuss./’Twas a bow-legged conductor of a twopenny ‘bus. CHORUS

The tune, with new lyrics, found its way into the Australian bush culture, among outback farmers and sheep shearers, in the song “One of the Has-beens”

A.L. Lloyd sang One of the Has-Beens in 1958 on his Wattle album, Across the Western Plains. He commented in the album’s sleeve notes:

I first heard this one New Year’s Day, in the late 1920’s, in hospital in Cowra, N.S.W. The matron was away, and the patients had a party in the ward. A teamster from Grenfell sang the song, and one or two of the old bushwhackers took umbrage, because they thought the stranger was getting at them. I now learn from [Douglas] Stewart and [Nancy] Keesing’s Old Bush Songs [Sydney: Angus and Robertson, 1957] that One of the Has-Beens is the work of a former horse-breaker, shearer and gold-digger named Robert Stewart, born 1833 in N.S.W. The tune is that of the familiar early nineteenth century stage song, Pretty Polly Perkins [of Paddington Green]. (source, mainlynorfolk.info)

Parody below composed by Don Henderson, folk-singer, composer, poet, and musical-instrument maker. [Aficionados of Aussie folk music will be able to relate to the lines below.]

I’m one of the has-beens/A folksong I mean. In oral tradition/I once was serene.
Illiterate agrarians my worth would avow, but you may not believe me/ ’cause they don’t do it now./Chorus
I’m as awkward as a new one,/much more cap and gown/than a blithe air of arcadia;/I’ve been written down

Eluding the Banjo,/Vance Palmer, Bert Lloyd,/Jones, Durst and O’Connor/I did likewise avoid./Manifold, Meredith, Tate, de Hugard,/both Scotts, all found/ finding me was too hard./ Chorus (Source, Mudcat.org)

I reckon that the Australian lyrics that you hear on this post are superior: they perfectly capture the loss of vitality, strength and skill that even the gun shearers would suffer should they live long enough to experience the inevitable effects of ageing. Of course, as a septuagenarian, conscious of my own decline, the verses may reflect where I’m at in- (What is that cliché, again?)- my journey.

I first heard this song in Wollongong in the 1970s, sung a capella by Kevin Baker, a noted Illawarra poet and songwriter with whom I had a long association.

This lockdown version uses the Band-in-a-Box/RealBand combo and N-Track 9 mixing software.

Again, the backing uses the virtuoso finger-picked guitars of Brett Mason and Jason Roller, and rhythm section of acoustic piano, and acoustic bass: with accordion and fiddle alternating verse accompaniment roles. I use a solo voice for the verse and doubled voices chorus. The arrangement is one of my lock-down preferences- not too simplistic nor overly produced.

Categories
Script for audio journal

The Old Bog Road

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Teresa Brayton was born in Kilbrook, County, Kildare, in 1868 and also died there in 1943 having returned from New York, Her father was Hugh Boylan and her republican family were associated with the rising of 1798. She knew most of the leaders of the 1916 rising and around her neck she wore a chain, a piece of the flagstaff which flew the flag of the Irish Republic from the G.P.O. in Dublin on Easter Monday 1916. The chain was given to her by Countess Markievicz. The air of the song is an original air by Madeline O’Farrelly. Thanks to Johnny McEvoy for keeping the song alive. (from irish-folk-songs.com)

Teresa Brayton was born on the 29th of June 1868 as Teresa Cora Boylan at Kilbrook, County Kildare. Teresa attended Newtown National School where, by all accounts, she excelled in her studies. 

In 1895 Teresa followed the emigrants trail across the broad Atlantic where she ended up becoming a vital cog in the workings of Irish nationalist organizations in New York and Boston. 

Teresa was renowned in Irish American circles for her organizations of fund raisers to aid the war effort against British rule in her native land. Nationalism ran through Teresa’s blood; her great grandfather had taken part in the Battle of Prosperous  in 1798 and she wrote a number of pieces to celebrate the centenary of the United Irishmen rebellion in 1898.

In 1932 Teresa returned to Ireland after the death of her husband and first lived in Bray with her sister before finally settling back in her beloved Kildare where she would live out the rest of her days. 

Among those who held Teresa in high regard were Arthur Griffith, Eammon de Valera and Michael Collins. Among the many fundraisers  Teresa organized in the United States was one to keep St Enda’s school open after the executions of Padraig and Willie Pearse in 1916. Teresa organized a big ceilidh in New York to aid Mrs Pearse who was trying to maintain the school after her sons’ deaths. 

Teresa died, where she was born, at Kilbrook on the 19th of August 1943. She was buried in Cloncurry cemetery and Enfield Muintir na Tire erected a fine stone Celtic cross over her resting place which was then officially unveiled by [Irish President] Eammon de Valera in 1959.  (source, irishcentral.com)

Many Irish people, of a certain age, identify with this song. Just about all of them, urban or rural, know of an old bog road from their own youth or that of their parents. Just a few yards up the road from where I lived in Cushendall was the start of The Old Road which led from the Barrack Brae across the foot of Lurigethan onto the Ballyeamon Road which connected the village to Ballymena. It was unpaved and passable only on foot or by tractor and I quite often used it as a short-cut to my cousin John’s farm. It made for an idyllic wandering in Spring or Summer.

Teresa Brayton 1913

The above extracts extol Teresa Brayton and her song. But there is another view; one that sees such compositions as sentimental sludge. The following extract from an Irish Times article will stand in for all the nay-sayers:

The Old Bog Road is still a very popular song in midland lounges, where three-piece bands, usually consisting of drums, keyboards and accordion, play genteel ballads discreetly, so as not to disturb elderly couples drinking lemonade…

When I got home I lit the fire and sat there all morning, dozing, as if I too was an elderly doddering man, like the ones that in my youth always sat in the corner of every kitchen. Back then old people wore black, and passed their days rolling up newspapers into firelighters, or dangling string in front of cats, or minding grandchildren from falling into the fire…

…Nor do I know what’s in store for anyone who gets the airport bus from Rochfortbridge. Maybe they too will make fortunes, or just end up carrying sandwich boards, on the sidewalks of the world, advertising exotic boutiques, with earplugs shielding them from some city’s din. And I don’t know what they’ll be listening to, on their iPods, but it certainly won’t be The Old Bog Road. (From The Irish Times article, God be with you Ireland and the Old Bog Road by Michael Harding,18th February, 2011)

And where do I stand in this minor skirmish in one of the battlefronts of the culture wars that engulf the planet in the 21st Century? Somewhere in between, initially. But, then, about a year ago, my wife suggested the song to me for our band, Banter, as it was the favourite song of her father’s and one he used to sing many years ago. Jim, her brother, sang it once or twice before the virus closed Banter’s performances  down.The song grew on me as I started to research its origins and as I worked on the music. So, I guess I’m now on the side of the song’s protagonists.

We are still in lockdown and I present my Band-in-a-Box version. It features the twin fingerpicking guitar wizardry of Brent Mason and Jason Rolling. With Nashville drums, acoustic bass, and piano, it provides a suitable accompaniment, IMHO, for this emigrant song of longing.

Categories
Script for audio journal

McAlpine’s Fusiliers (expanded)

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

 McAlpine’s Fusilier’s/Instrumental– Over the years this has proved to be one of the most popular items in our repertoire. Obviously, we enjoy playing whatever song or instrumental we happen to be performing. We play for enjoyment and not for pay. All we ask is a reasonable sound system. While we won’t make money doing this, we will make craic- and isn’t that all that matters. Dominic Behan wrote this song [see notes below for an update on this assertion.] (among many other fine examples from the genre) and it captures the essence of the Irish navvies who, in their thousands and tens of thousands built the rail, the roads the tunnels and canals and a lot more of the infrastructure in Britain and farther afield. (Listen to our version, from which these notes are taken, at Song 57- a field recording of almost a decade past) For a deep dive into the origins of the song, read on. If this is not to your taste, just go to the song itself, which you will discover has an extra verse. The reason? Ah, if you really want to know that, then you’ll just have to read on!

McAlpine’s Fusiliers is an Irish ballad set to a traditional air, popularised in the early 1960s by Dominic Behan.

The song relates to the migration of Irish labourers from Ireland to Britain during the 20th century. The ballad’s title refers to the eponymous construction company of Sir Robert McAlpine, a major employer of Irish workmen at the time. John Laing and Wimpey (also referred to in the opening monologue; an integral part of the ballad although not included in some cover versions of the song) were other major construction companies employing Irish ‘navvies’ (a British term referring to building labourers and originally coined for the labourers who built the British canals or ‘navigations’)

The colloquial and local terms in the song’s monologue and lyrics include references to a ‘spike’ (a hostel or ‘reception centre’ sometimes used by Irish navvies who could not find or afford lodgings) and to ‘shuttering’ (a rapidly constructed wooden casing made to hold concrete while it sets). Holyhead, also referred to in the monologue, is a port on Anglesey (Ynys Môn) in Wales where the main ferry service across the Irish Sea from Dún Laoghaire used to dock. 

Cricklewood is a district of North West London which had a relatively large Irish population. The Isle of Grain is an area in Kent where the River Medway joins the Thames Estuary east of London which was a large construction site for several years while a large power station was built there The song offers a satirical view of the life and work of the Irish labourers of the times and as such proved popular.

While some sources suggest that the words of the song were derived from an earlier poem or poems, the song’s arrangement was attributed to Dominic Behan. Along with a number of other songs, Behan provided the song to The Dubliners for use in a new set-structure In its original form, the song was performed in two parts, a spoken monologue (originally spoken by Ronnie Drew of The Dubliners self-accompanied by his flamenco guitar) followed by the sung verses supported by the full band. [Below is the spoken monologue]

Twas in the year of 39 and the sky was filled with lead
Hitler was heading for Poland and Paddy for Holyhead.
Come all you Pincher Laddies and you long distance men
Never work for McAlpine, or Wimpey or John Laing
For he’ll stick you behind the mixer ‘til your skin is turned to tan
And shout come on you Paddy with your passport in your hand.
The craic was good in Cricklewood but they wouldn’t leave The Crown
There was bottles flying and Biddy’s crying, sure, Paddy was going to town.
Oh mother dear I’m over here and I’m never going back
What keeps me here is the rake of beer the women and the craic.

[Source above, adapted from Wikipedia]

For many years it has been an open secret among Irishmen who toiled in the construction trade in England that Dominic Behan did not write the words to McAlpine’s Fusiliers.

When the song was released by the Dubliners in 1965, Dominic was given credit for writing the words, and Essex Music International got the copyright.

But the reality according to many people who were around that environment in that era is that what Dominic did was to use his undoubted writing skills to tidy up and make presentable the rhymes that had been passed around construction sites all over Britain since the start of the second World War.

Even his own brother Brian accused him on a national television talk show of stealing the words and then went on to say that the nearest that Dominic had ever came to working on a building site was when he posed as a hod-carrier with a straw hat on his head.

So, who did write McAlpine’s Fusiliers? Well according to numerous sources the originator of most of the words was a labourer by the name of Martin Henry from Rooskey, on the East Mayo/ South Sligo border.

He was the youngest member of the well-known Henry family who were famed for their fiddle playing.

As often happens, Henry’s words would have been passed around from job to job on scraps of paper, where aspiring site poets would add a line here and there and pub laureates would recite verses of it when sufficient ale was taken on a Saturday night. It seems likely that by the mid-1950’s the words were fairly well known among Irish navvies.

There’s other evidence that back up the case for Martin Henry. He wrote a poem, The Men of 39, which is like the monologue that Ronnie Drew of the Dubliners uses to introduce McAlpine’s Fusiliers. Also, Martin Henry was a near neighbour and good friend of the legendary ‘Darkie Finn’ who was from Cloonlarin, just inside the Mayo border and they worked together in Kent, England, on the massive Isle of Grain, Power Station that was being built by McAlpine’s in the 1950s.

This project hired thousands of Irish workers and was also the scene of some violent incidents between Connemara men and Dublin men that stemmed from a card game and carried on sporadically for years.

The second verse of the song attributed to Behan starts, “I stripped to the skin with the Darkie Finn down by the Isle of Grain.”Pat ‘the Darkie’ Finn’, was regarded as a highly skilled and sought-after shuttering carpenter who is also mentioned in a verse of a different song.

“I watched the frame take the strain, but the concrete all caved in
And George Wimpey searched all Manchester ‘til he found the Darkie Finn.”

Now here are the words of the poem The Men O’ 39 which many people credit with being the penmanship and poetry of Martin Henry. It was quite a lengthy poem so I’ll just show [lines below from it] but I think you will be able to see the similarities.

Come all you Pincher Kiddies and all long distance men,
You may be over in this land, nine years or maybe ten,
You may have tramped this country o’er from Plymouth to the Tyne,
But there’s not a word about the boys sir came in ‘39.
There’s not a word about the lads from old Kinsale,
And took the road to Dublin; from Dun Laoghaire they did sail.
The man up in the Globe Hotel, he gave them the ‘o’grand’,
Saying, good luck upon you Paddy, with the passport in your hand.
Some of those Pincher Kiddies came when England needed men,
His catchword was to catch for the famous Darky Finn.
To slave behind a mixer until your skin turned tanned,
And to say, good on you Paddy, with the passport in your hand.
Now all of you who stayed at home and never crossed the pond,
And didn’t work for Wimpey, McAlpine or John Laing,
Or slave behind a mixer until your skin is tanned,
And to say goodbye to you Paddy, with your passport in your hand.
[We’ll let the jury decide that one…]

There was also another verse in the McAlpine’s Fusiliers song that wasn’t used as part of the release. Old-timers have said that they often used this verse as the second one to last. It refers to the common practice on big jobs of bringing in a Catholic priest on a Sunday to say mass for the men who had to work. As this verse shows the foremen and ganger men were not always too pleased with this practice.

And it came to pass, we should go to mass
On the Immaculate Conception
The foreman met us at the gate
And gave us a terrible reception
“Get down the sewers, ye Kerry hoors
And never mind your prayers
For the only God is a well filled hod
With McAlpine’s Fusiliers

So, it seems that Dominic Behan had a huge amount of material to work with and in fairness to him he was a prolific songwriter and he did rearrange the words, tidy things up and compose a very good, rousing song. The melody he used was a speeded-up version of the haunting tune that accompanied the song The Foggy Dew.

Ronnie Drew, Dominic Behan, Martin Henry and very few of those men who worked on those huge construction projects are still alive, so the question will probably always remain a mystery regarding who wrote the words to ‘McAlpine’s Fusiliers?’

But if any of you readers ever venture around the south Sligo-east Mayo border and pop into towns with names like Rooskey, Cloontia or Sheskeen and ask the locals who wrote the words to McAlpine’s Fusiliers the answer will be a resounding – Martin Henry. If you mention the name Dominic Behan, they will say, “The man from Dublin popularised it, but our own Martin Henry wrote it!” (source above, irelandsown.ie)

So, now that we have explored the disputed origins of McAlpine’s Fusiliers, where does that leave this  version of the song? I will forego the spoken intro to the song, but, I’m going to adapt and incorporate the old-timers’ penultimate verse which is italicised and underlined above-  I guess because, now, as a septuagenarian, I’m an old-timer, too.

And, because I have incorporated the penultimate verse that, almost undeniably, Martin Henry wrote, which expands the song from four to five verses, I will be so bold as to credit the song lyrics jointly to Martin Henry and Dominic Behan. It seems only fair, after reviewing the evidence above. After all, it’s been fifty-five years since The Dubliners record credited Dominic Behan alone…

Categories
Script for audio journal

Whiskey in the Jar (redux)

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

“Whiskey in a Jar,” one of the best known traditional Irish vocal ballads, probably originated in the mid-17th century, according to folklorist Alan Lomax, and it has been found in dozens of forms on both sides of the Atlantic. It tells the story of a highwayman (robber) who robs a military officer and who is subsequently betrayed by his woman. “Whiskey in a Jar” has been recorded by dozens upon dozens of traditional artists, but has also been taken in a rock and roll direction, first by Thin Lizzy (who recorded a version learned from Irish trad sources), and then by the Grateful Dead (who recorded a version learned from American trad sources), and then most successfully by Metallica, who won a 2000 Grammy Award for Best Hard Rock Performance for their version, which was likely learned directly from Thin Lizzy, rather than a traditional source. The song is, as one might guess from the title, a favourite drinking and pub song among fans of Irish music all over the world. “Whiskey in a Jar,” like “Danny Boy,” is a favourite on St. Patrick’s Day. (source Megan Romer, liveabout.com)

The song’s exact origins are unknown. Several of its lines and the general plot resemble those of a contemporary broadside ballad “Patrick Fleming” (also called “Patrick Flemmen he was a Valiant Soldier”) about Irish highwayman Patrick Fleming, who was executed in 1650.

In the book The Folk Songs of North America, folk music historian Alan Lomax suggests that the song originated in the 17th century, and (based on plot similarities) that John Gay’s 1728 The Beggar’s Opera was inspired by Gay hearing an Irish ballad-monger singing “Whiskey in the Jar”. In regard to the history of the song, Lomax states, “The folk of seventeenth century Britain liked and admired their local highwaymen; and in Ireland (or Scotland) where the gentlemen of the roads robbed English landlords, they were regarded as national patriots. Such feelings inspired this rollicking ballad.”

At some point, the song came to the United States and was a favourite in Colonial America because of its irreverent attitude toward British officials. The American versions are sometimes set in America and deal with American characters. One such version, from Massachusetts, is about Alan McCollister, an Irish-American soldier who is sentenced to death by hanging for robbing British officials.

The song appeared in a form close to its modern version in a precursor called “The Sporting Hero, or, Whiskey in the Bar” in a mid-1850s broadsheet.

The song collector Colm Ó Lochlainn, in his book Irish Street Ballads, described how his mother learnt “Whiskey in the Jar” in Limerick in 1870 from a man called Buckley who came from Cork. When Ó Lochlainn included the song in Irish Street Ballads, he wrote down the lyrics from memory as he had learnt them from his mother. He called the song “There’s Whiskey in the Jar”, and the lyrics are virtually identical to the version that was used by Irish bands in the 1960s such as the Dubliners. The O Lochlainn version refers to the “far fam’d Kerry mountain” rather than the Cork and Kerry mountains, as appears in some versions.

The song also appears under the title “There’s Whiskey in the Jar” in the Joyce collection, but that only includes the melody line without any lyrics. Versions of the song were collected in the 1920s in Northern Ireland by song collector Sam Henry. (Source above, the excellent Wikipedia- do donate)

I learned the song early in 1972 from one of the booklets from the series, Irish Folk Songs. With Seannachie in Wollongong, Tony Fitzgerald sang it and later, with Banter in Sydney in the 1990s, Sam the Man sang it. However, down the years, when I was singing on my own in pubs or clubs or as a duo with my wife, I would regularly wheel out the old warhorse. The virus allows this virtual version.

The version here is a Band-in-a-Box/Real Band folk-rock rendition featuring bass guitar, drums, organ, finger-picked 12-string guitar and strummed guitar. Bluegrass fiddle and bluegrass mandolin share alternating verse accompaniment roles until the final chorus when everything is firing. I like to think that this arrangement celebrates the transatlantic aspects of the song.

Categories
Script for audio journal

Spancil Hill (redux)

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

In Song 44: Spancil Hill, I wrote: “Another much loved and requested song from the 70s onwards, in my experience. It was originally a poem written by Michael Considine, who left for America in the wake of the Great Famine. He hoped to make enough money to return home and marry his sweetheart. He died at age 23 in 1873, without ever having fulfilled his dreams. But he sent a poem to his nephew on which the song is based. The punch and power of the ballad, even in its popular, abbreviated form is a testament to his feeling for “my first and only love”.” Now, almost a decade on, I’ll put a bit more info around this.

Spancil Hill is in County Clare…its fair is one of the oldest horse fairs in Ireland…held annually on 23 June. Spancil refers to the practice of “spancilling,” which was to use a short rope to tie an animal’s left fore-leg to its right hind leg, thereby hobbling the animal and stopping it from wandering too far.

Michael Considine… emigrated to the United States of America around 1870. He left intending to make enough money to send for his sweetheart so they could be married. Her name was Mary MacNamara, and she is mentioned in the original song as ‘Mack the Ranger’s daughter’.

Considine worked in Boston for two years or so before moving to California. In failing health, he wrote the poem in memory of the hometown he would not live to see again and posted it to his young nephew in Ireland. Michael Considine died in California in 1873 at the age of twenty-three.

The rendition of the late singer/songwriter Robbie McMahon, who died in 2012 at the age of eighty-six, is widely regarded as the definitive version of Spancil Hill. [There is an external link in the Wikipedia article, from which the information above is taken, on Spancil Hill of Robbie singing the song in Dublin in 1993- it’s worth checking out.]

A lilter, he was renowned for his performance of the Mason’s Apron, in which he simulated the sound of both the fiddle and accompanying banjo.

Possessed of a store of jokes, ranging from the hilarious to the unprintable, he was as much a character as a singer and was more comfortable with the craic and banter of casual sessions than with formal concerts.

He was the subject of a film documentary Last Night As I Lay Dreaming. Clare County Council hosted a civic reception in his honour in 2010, and he was the recipient of the Fleadh Nua Gradam Ceoil in 2011.

The best known version of the song is that sung by the Dubliners and Christy Moore, which is highly abbreviated and makes a number of changes to the lyrics – for example renaming the protagonist “Johnny” instead of “Mike”, and describing his love as daughter of a farmer instead of the local ranger. (Notes above from The Irish Times obituary of 29 December 2012.)

I first learned the song from a Johnny McEvoy record in 1972 and I sang it around Wollongong when we moved there. At present, Sam the Man sings it with our group Banter (now in suspended animation thanks to the virus).

Here I use Band-in-a-Box/Real Band and n-Track 9 to present a folk-pop version with drums, bass, piano, two guitars, mandolin, fiddle and harmonica (not all playing at once!) If you want to check out the version that is closer to the Banter sound go to Song 44 and compare.

If I ever get around to re-recording the song, I will sing the Robbie McMahon version as truer to the original poem.

Categories
Script for audio journal

The Old Maid in the Garret

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Old Maid In The Garrett was recorded by The Clancys , The Flying Column , Steeleye Span, The Dublin City Ramblers. This song dates to the 17th century but the lyrics here are 19th century[sic?] by Martin Parker from London- Not a song you would hear a lot of women sing. A garret is a habitable attic ( loft) or small and often dismal or cramped living space at the top of a house. This was the least prestigious position in a building, and often had sloping ceilings.(notes above by Martin Dardis from his great site, irish-folk-songs.com)

However, when I went looking for Martin Parker, songwriter of 19th Century London I was thrown back a couple of hundred years to:

Parker, Martin (fl. 1624–1647), ballad writer, is an obscure figure. He was probably a Londoner, as his writings were most closely associated with metropolitan culture, though his stories are populated by northern lasses, and were read throughout England. (The Oxford Dictionary of National Biography.)

Martin Parker (c. 1600 – c. 1656) was an English ballad writer, and probably a London tavern-keeper. About 1625 he seems to have begun publishing ballads… John Dryden considered him the best ballad writer of his time. His sympathies were with the Royalist cause during the Civil War, and it was in support of the declining fortunes of Charles I of England that he wrote the best known of his ballads, When the king enjoys his own again, which he first published in 1643, and which, after enjoying great popularity at the Restoration, became a favourite Jacobite song in the 18th century. Parker also wrote a nautical ballad, Sailors for my Money, which in a revised version survives as When the stormy winds do blow. It is not known when he died, but the appearance in 1656 of a funeral elegy, in which the ballad writer was satirically celebrated is perhaps a correct indication of the date of his death. A couple of quotations attributed to Martin Parker are given below:

Ye gentlemen of England/That live at home at ease,/Ah! little do you think upon/The dangers of the seas. This taken from Ye Gentlemen of England, (c. 1630), reported in Bartlett’s Familiar Quotations. Also: In ancient times all things were cheape/’Tis good to look before you leape/When come is ripe ’tis time to reape. From The Roxburghe Ballads (c. 1630), reported in Bartlett’s Familiar Quotations. 

(Notes above from the wonderful Wikipedia and Wikiquotes. If you use this resource, as I frequently do, donate something, when you can, to keep this free resource available to all)

This was one of the first songs I learnt when I was whaling away on my old acoustic and dreaming of fame and fortune- as you do as a young’un. Later, after we moved to Australia, (me, my wife and daughter), we sang this song as part of our set as a folk duo in Wollongong at a couple of restaurants that were trialling folk music as part of their offering to the grazing public (though not our young daughter- we left her with a baby-sitter whenever we went out for such occasions).

When Bridie would sing this song she would gaze kindly at me when she sang the words, There is nothing in this wide world that would make me half so cheery/ As a wee, fat man who would call me his own deary Not that I minded- I got, by far, the better of the deal!

Now, almost fifty years down the track, Banter features this song with Sam the Man taking the vocal credits: but, were you there, you could hear me bellowing the two-line chorus with him- this was when there was such a thing as singing in pubs and clubs. Our coronavirus experts tell us that such singing  is really a virus firehose. So, even, the singing of hymns in church is strictly verboten!

I use a Country Outlaw vibe for the instrumentation behind this version, which is sort of out there in left-field, (to use a term from baseball). And because we are still in lockdown, I get to sing the song.

Categories
Script for audio journal

A Bunch of Thyme

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Sprig of Thyme, The Seeds of Love, Maiden’s Lament, Garners Gay, Let No Man Steal Your Thyme or Rue (Roud #3) is a traditional British and Irish folk ballad that uses botanical and other symbolism to warn young people of the dangers in taking false lovers. The song was first documented in 1689 and the many variants go by a large number of titles.(from Wikipedia)

The metaphor of the garden within which are found, the herb- thyme, and the flower- the rose, are potent symbols in song and literature. One can find such metaphors in the Bible and other texts stretching back millennia. If you want to know more about the meaning of flowers, google Floriography; or just check it out on Wikipedia. You will sink into a thicket of references bewildering in number, scope and meaning. The scents will send your head spinning.

That such a sweet-sounding melody is undercut by the symbolism inherent in the plants mentioned gives the song its peculiar force. Thyme and time are obvious homophones and  the warning in the first verse is telling. Tending your garden- chastity, and keeping it fair- preserving your virginity, leads to the admonition to “Let no man steal away your thyme”.

Verse two is a wistful remembrance of how precious and unrecoverable is that which brings all things to her mind- thyme.

Enters a lusty sailor in verse three and what follows, hot on the heels of the warned-against deed, is the consequence in verse four. Some say that consequence is the canker or sore on the skin- the rose which never would decay which is a manifestation of the dire underlying condition: syphilis- an untreatable and sometimes fatal venereal disease typically carried by those sailors who were frequenters of low establishments in far-flung exotic ports.

I have an idea that Christy collected the version he sings from a woman in England. And, according to an internet source (so it must be true…) he gave it to Foster and Allen which kick-started their career. Be nice if it were true.

I first heard this on Christy Moore’s LP Whatever Tickles Your Fancy which sported a cover photo of a young Christy leaning against a dart-board. No fancy or fanciful artwork at play here at all! This would have been in 1976. I brought it back from a holiday in Northern Ireland to Australia along with a bunch of other great folk albums, and the band I was in then, Seannachie, started to feature it.

In the 1990s, our mandolin player, Jim, featured this song as part of Banter’s repertoire. We haven’t performed it in the latest iteration of the group in the past few years, but I think it’s worth a re-visit and I’ll sing it if Jim doesn’t feel the urge. And if the virus gives us peace (and I’m not referring to the REST IN sort!) You can find Banter’s recording of it, featuring Jim’s singing, on Banter I- song 2 which was done around the table and not in public performance.

This arrangement features a couple of guitars, bass, Nashville drums, organ, mandolin and fiddle in a soft folk-rock mode.

Categories
Script for audio journal

O’Sullivan’s John

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Patrick “Pecker” Dunne (1 April 1933 – 19 December 2012]) was an Irish musician and seanchaí. [storyteller]

Dunne was born in Castlebar, County Mayo, “in the old county home”. His family were Irish Travellers originally from County Wexford, where his father was a fiddle player. He was one of Ireland’s most noted banjo players and was also proficient on the fiddle, melodeon and guitar, and was among an elite of Traveller musicians.

Dunne became known to a wide Irish audience from his regular busking at GAA sporting fixtures, particularly in Munster. Later he played in England, France, Australia and New York City, where he appeared with The Dubliners. He also performed alongside Richard Harris and Stephen Rea in the 1996 feature film Trojan Eddie.

He lived in Killimer, County Clare with his wife and four children. He died there, aged 79, and is buried in Burrane, near Killimer. (Thanks to Wikipedia for the notes above.)

Gifted musician, storyteller and activist Paddy Pecker Dunne has died.

In a statement, the Temple Bar Company said it regretted to announce his death at the age of 80.

“We were honoured to work with Farcry productions to facilitate a gala benefit concert for Pecker Dunne during the 2012 Temple Bar Tradfestival,” it said. “Our thoughts are now with his wife and family at this sad time.”

Artistic director of the Tradfestival Kieran Hanrahan praised Dunne’s musical abilities.

“The Pecker mastered the art and craft of many an instrument, the mandolin, the fiddle and the banjo,” he said.

“He was distinctively known for his most precious of gifts, his voice, and what that voice could deliver. It was the envy of some of the world’s most renowned rock, pop, folk and traditional singers.”

Dunne, a traveller, wrote songs and music to describe injustices and prejudices he and his community faced.

He busked nationwide and played with The Dubliners, who covered his song Sullivans John, and he also played with Christy Moore and The Fureys.

Some of the exploits and anecdotes he was renowned for telling were his meeting Woody Guthrie in Boston, his friendship and work with Richard Harris and playing New York’s Carnegie Hall.

His music career was marked with a gala benefit night at Dublin City Hall last January. (The above is taken from an obituary published by the Belfast Telegraph on December 20, 2012.)

I first heard this song in Wollongong in 1974 when Joe Brown, Bertie McKnight, Tony Fitzgerald and I formed the group, Seannachie. Bertie told me he heard it from the writer, Pecker Dunne. Tony, a Londoner of Irish descent and our main singer,would belt this out at venues around the Illawarra.

But I like the song from first I heard it and would sing it- almost as a party piece- at informal gatherings in various places down the decades. I brought the song to Banter and look forward to being able to sing it at a pub or club in front of an audience-remember that phenomenon from pre-COVID times?

I only use two chords for this song, say, C and Bb, which swings along in 3/4 time. Quite a few Irish songs can be rendered with just two chords. I guess some of us might look at all those three-chord trickers as virtual demi-gods!

Categories
Script for audio journal

The Night They Drove Old Dixie Down

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Night They Drove Old Dixie Down” is a song written by Robbie Robertson and originally recorded by the Canadian-American roots rock group The Band in 1969 and released on their eponymous second album. Levon Helm provided the lead vocals. The song is a first-person narrative relating the economic and social distress experienced by the protagonist, a poor white Southerner, during the last year of the American Civil War, when George Stoneman was raiding southwest Virginia. The song appeared at number 245 on Rolling Stone magazine’s list of the 500 greatest songs of all time.

Joan Baez recorded a version of the song that became a top-five chart hit in late 1971.

Then the concept came to him and he researched the subject with help from the Band’s drummer Levon Helm, a native of Arkansas. In his 1993 autobiography, This Wheel’s on Fire, Helm wrote, “Robbie and I worked on ‘The Night They Drove Old Dixie Down’ up in Woodstock. I remember taking him to the library so he could research the history and geography of the era and make General Robert E. Lee come out with all due respect.”

The last time the song was performed by Helm was in The Last Waltz. Helm refused to play the song afterwards. Although it has long been believed that the reason for Helm’s refusal to play the song was a dispute with Robertson over songwriting credits; according to Garth Hudson, the refusal was due to Helm’s dislike for Joan Baez’s version.

Ralph J. Gleason (in the review in Rolling Stone (U.S. edition only) of October 1969) explains why this song has such an impact on listeners:

Nothing I have read … has brought home the overwhelming human sense of history that this song does. The only thing I can relate it to at all is The Red Badge of Courage. It’s a remarkable song, the rhythmic structure, the voice of Levon and the bass line with the drum accents and then the heavy close harmony of Levon, Richard and Rick in the theme, make it seem impossible that this isn’t some traditional material handed down from father to son straight from that winter of 1865 to today. It has that ring of truth and the whole aura of authenticity. (notes from Wikipedia- donate if you can)

I first heard the song in 1971- the Joan Baez version. It wasn’t until years later that I came across the original when I watched the documentary by Scorcese, The Last Waltz in the mid-80s when I was living in Ballymena, Co Antrim in Northern Ireland. When Banter was formed in the mid-90s in western Sydney, Big Geordie introduced his take on the song to the band and we performed it, off and on, for the few years he was part of the band. It wasn’t until 2015, when Banter re-formed after a decade+ hiatus that I picked the song up and started to perform it.

Levon Helm’s refusal, according to Garth Hudson, to play and sing the song because of his dislike of Baez’s version strikes me as odd. However, we can’t check with the source as, alas, Levon Helm is no longer with us.

The version set down here is probably situated somewhere between Baez and Helm. Johnny Cash recorded a version that is worth a listen.

Categories
Script for audio journal

I’m Missing You


There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Jimmy McCarthy, born in Macroom, Co. Cork, in 1953 wrote this song. Others may claim the honours, (and I have come across an imposter or two on the internet) but it is clear to me that he is the guy!

MacCarthy left school at 15 where he was unhappy and became a stable boy at Vincent O’Brien‘s place in Ballydoyle, but after five years between Tipperary and Newmarket, Jimmy returned home to help his father whose bad heart had led to the end of the business. He then made a living out of singing at pubs and was later busking in the streets of London and doing occasional concerts, opening for other singers’ gigs in Ireland.

MacCarthy is best known as a songwriter. Composing since the late 1970s, his songs have been recorded by many Irish artists including Christy Moore, Mary Black, Finbar Wright, Maura O’Connell, the Corrs and Westlife. “Ride On”, recorded by Christy Moore, is one of his best-known compositions. Moore also recorded MacCarthy’s songs “Missing You”, “Bright Blue Rose” and “Mystic Lipstick”. Mary Black, Maura O’Connell and The Corrs have recorded MacCarthy’s “No Frontiers”, while Black has also recorded his songs “Katie”, “Adam at the Window”, “Diamond Days”, “As I Leave Behind Neidín”, “Shuffle of the Buckled” and “Another Day” (Thank you Wikipedia for the notes above.)

I first heard Missing You  over twenty-five years ago when Bobby, who used to play with the group, Banter, featured this song as part of his repertoire. He left after a couple of years to return to Belfast. However, I didn’t pick it up until about five years ago. The song, as performed by Christy Moore, was the template for Bobby’s version all those years ago, and I guess I kept to that template here.

Jimmy McCarthy has written some of the most important songs from the folk revival in Ireland from the late-1970s onward. Our group has featured Ride On for at least 25 years and songs such as Bright Blue Rose, Katie, As I Leave Behind Neidin, and No Frontiers feature regularly in the Irish program Sam the Man, Ann King and I host every other Sunday for two hours between 10:00 a.m. and noon. It’s called A Touch of Ireland, and is broadcast on WOW FM 100.7, discoverable on the internet, if you want to check it out. At the moment, COVID has us locked out- but I anticipate we’ll be back in action from end June, 2020, God willing.

 I do like to track down originals, so, today, when I heard Jimmy McCarthy’s version (check it out on You Tube) I realised that his was the best version of all! Originals are usually best. If the band, Banter, ever gets together for public performances in the post-COVID dispensation, I think I’ll re-work the arrangement of the song and use  McCarthy’s vision as my template. P.S. Wikipedia spells Jimmy’s surname Mac, but I see it mostly as Mc. Take your pick (or shovel, should you prefer…)

Categories
Script for audio journal

It’s Heaven Around Galway Bay

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

This song I came upon by accident a couple of years ago. I was on You Tube listening to music of various kinds and came upon a Dublin City Ramblers take on it. I have since, listened to several versions but reckon that the DCRs is the gun version. A couple of us in the band were going through songs one night and I pulled out this song thinking that it might suit Sam the Man. He did sing it once or twice in practice but nothing eventuated.

Still in Lockdown (though with restrictions easing here in NSW) I decided to give it a go as the first song on Banter’s ninth collection. I am still so stuck in the 20th Century that I think in terms of LPs or CDs with 12 songs per disc. Actually, Banter, as a group has only featured on the first five collections.

And this only happened because several years ago we were putting together a set of songs and tunes for a good friend and former member of the group who was returning to Ireland for a last look before Parkinson’s claimed him. He wanted to share with friends and relations the music scene he had been involved in out here in western Sydney. Since then I have put down demos thinking that I’ll get the group to record the songs. But, as they say, it’s like herding cats or folding smoke. And, don’t get me wrong, I’m one of the cats, too!

I don’t know much about this song. It was written by Eamon O’Shea (who, I found out, was a man called Herman Weight who lived in the west of Ireland) He adopted the name because it sounded more Irish! Apart from that, I found out that he is better known as the composer of the song, Come Down the Mountain, Katy Daly. This was after a lengthy and fruitless search for the history of the “Galway” song. In no time at all I came up with oodles of stuff on “Katy Daley” but very little authoritative stuff about Herman Weight himself and the provenance of this song.

However, on Mudcat.org there are threads that may interest those who might want to carry on where, clearly, I have given up- see references to herding cats etc, above. Some were surprised that the song was not an American home-grown product and questioned its Irish origins. Below I include some text that may clear this up.

Last year, Richard Hawkins of bluegrassireland.blogspot.com wrote, after nearly sixty years ‘Come down the mountain Katie Daly’ continues to be widely known and sung here; and at “Bluegrass Omagh” this coming weekend, audiences will be able to see a living link with the song’s continuing endurance as a bluegrass classic, when Joe Mullins and the Radio Ramblers come on stage.

The song, with that title, was written and recorded by ‘Eamon O’Shea’ (real name Herman Weight) on Walton’s Dublin-based Glenside label and issued in November 1961.

In 1962 the first American recording of the song was made by the Bluegrass Playboys from Kentucky, with Joe Mullins’s father, Paul (Moon) Mullins on fiddle and vocals. It was later released on the Playboys’ album The world of bluegrass (Briar M-108). The song was a hit for them, became a bluegrass favourite, and was later recorded on the Rebel label (as ‘Katy Daley’) by Ralf Stanley and the Clinch Mountain Boys., adding the word ‘on’ (‘come on down the mountain’).

Unfortunately, I can shed very little light on It’s Heaven Around Galway Bay, which does not seem to attract the same amount of critical attention as its sibling. Not that it matters all that much. If I like a song, I’ll sing it. In this arrangement, I pay tribute to transatlantic musical cross-fertilisation by including, courtesy of PG Music’s Band-in-a-Box, bluegrass mandolin fills and the swinging American waltz guitars. Cead mile failte!

Categories
Script for audio journal

Joe Hill






There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Joe Hill (October 7, 1879 – November 19, 1915),  songwriter, and member of the Industrial Workers of the World (IWW, familiarly called the “Wobblies”). Hill, an immigrant worker frequently facing unemployment and underemployment, became a popular songwriter and cartoonist for the union. His most famous songs include “The Preacher and the Slave” (in which he coined the phrase “pie in the sky”), You will eat, bye and bye/In that glorious land above the sky;/Work and pray, live on hay,/You’ll get pie in the sky when you die.

In 1914, John G. Morrison, a Salt Lake City area grocer and former policeman, and his son were shot and killed by two men. Hill was convicted of the murders in a controversial trial. An appeal to the Utah Supreme Court was unsuccessful. Orrin N. Hilton, the lawyer representing Hill during the appeal, declared: “The main thing the state had on Hill was that he was an IWW and therefore sure to be guilty. In an article for the socialist newspaper Appeal to Reason, Hill wrote: “Owing to the prominence of Mr. Morrison, there had to be a ‘goat’ [scapegoat] and the undersigned being, as they thought, a friendless tramp, a Swede, and worst of all, an IWW, had no right to live anyway, and was therefore duly selected to be ‘the goat’.” Joe Hill was executed by firing squad on November 19, 1915 at Utah’s Sugar House Prison. When Deputy Shettler, who led the firing squad, called out the sequence of commands preparatory to firing (“Ready, aim,”) Hill shouted, “Fire — go on and fire!”

Just prior to his execution, Hill had written to Bill Haywood, an IWW leader, saying, “Goodbye Bill. I die like a true blue rebel. Don’t waste any time in mourning. Organize … Could you arrange to have my body hauled to the state line to be buried? I don’t want to be found dead in Utah.”

It generated international union attention, and critics charged that the trial and conviction were unfair. More recently, Utah Phillips considers Joe Hill to have been a political prisoner who was executed for his political agitation through song-writing.

In a biography published in 2011, William M. Adler concludes that Hill was probably innocent of murder, but also suggests that Hill came to see himself as worth more to the labor movement as a dead martyr than he was alive, and that this understanding may have influenced his decisions not to testify at the trial and subsequently to spurn all chances of a pardon.

His last will requested a cremation and reads: My will is easy to decide/For there is nothing to divide/My kin don’t need to fuss and moan/”Moss does not cling to rolling stone”//My body? Oh, if I could choose/I would to ashes it reduce/And let the merry breezes blow/My dust to where some flowers grow//Perhaps some fading flower then/Would come to life and bloom again./This is my Last and final Will./Good Luck to All of you/Joe Hill

Hill’s body was sent to Chicago, where it was cremated; in accordance with his wishes, his ashes were placed into 600 small envelopes and sent around the world to be released to the winds. Delegates attending the Tenth Convention of the IWW in Chicago received envelopes November 19, 1916, one year to the day of Hill’s execution (and not on May Day 1916 as Wobbly lore claims). The rest of the 600 envelopes were sent to IWW locals, Wobblies and sympathizers around the world on January 3, 1917.

One small packet of ashes was scattered at a 1989 ceremony which unveiled a monument to six unarmed IWW coal miners buried in Lafayette, Colorado, who had been machine-gunned by Colorado state police in 1927 in the Columbine Mine massacre. Until 1989 the graves of five of these men were unmarked. Another famous Wobbly, Carlos Cortez, scattered Joe Hill’s ashes on the graves at the commemoration.

Hill was memorialized in a tribute poem written about him c. 1930 by Alfred Hayes titled “I Dreamed I Saw Joe Hill Last Night,” sometimes referred to simply as “Joe Hill”. The lyrics were turned into a song in 1936 by Earl Robinson, who wrote in 1986, “‘Joe Hill’ was written in Camp Unity in the summer of 1936 in New York State, for a campfire program celebrating him and his songs …” Hayes gave a copy of his poem to fellow camp staffer Robinson, who wrote the tune in 40 minutes. Paul Robeson and Pete Seeger performed this song and are associated with it, along with Irish folk group The Dubliners and Joan Baez. (The notes above taken from a lengthy Wikipedia article-donate!)

I first heard the song, sung by Joan Baez in 1970.  Banter, since its formation over 25 years ago, has been performing this great song. This is another song fronted by Sam the Man and which I have purloined for this post. But then  again- it’s impossible to steal a great song which belongs to the wider world.

Categories
Script for audio journal

The Galway Races

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Galway Races” is a traditional Irish song. The song’s narrator is attending the eponymous annual event in Galway, a city in the west of Ireland. The song was made famous in the UK in 1967 by The Dubliners. It has been recorded by many artists since that time. This Irish horse-racing starts on the last Monday of July every year. Held at Ballybrit Racecourse in Galway, Ireland over seven days, it is one of the longest of all the race meets that occur in Ireland. The busiest days of the festival are Wednesday, when the Galway Plate is held, and Thursday, when the Galway Hurdle and Ladies’ Day take place. The summer festival is the highlight of the business year for most local businesses as crowds and horses flock from all over the world to attend one of the world’s biggest race meetings.

The pub underneath the Corrib Stand, built in 1955, was for many years the longest bar in the world. It was replaced by the Millennium Stand which opened in 1999. Thursday is traditionally the busiest and most stylish day of the week-long Galway Racing Festival. Ladies compete for the coveted title of Best Dressed Lady or Most Elegant Hat. (notes above adapted from Wikipedia- great resource-donate)

Throughout Ireland people of all ages and occupations prepare for the Galway Races with a fervour that is almost religious in its intensity ‘The apparel oft proclaims the man’, wrote the Bard of Avon. Shakespeare would surely have loved the Galway Races where ‘all the men and women are truly players’.

Galway is about voices past and present; those of the late Michael O’Hehir, and the late Luke Kelly singing “As I roved out through Galway to seek for recreation…”  Galway is about horses. Horses with nodding heads and swishing tails, contentedly circling the crowded parade ring before the shrewdly appraising eyes of gamblers and horse-lovers alike.

It is about men with caps pushed back off their foreheads to betoken astonishment at the peculiarities of racing form. Imperturbable men who, minutes after losing heavily on an odds-on certainty, will endeavour once more to prise reluctant secrets from the same specious form book that deceived them in the first place.

Galway race-goers will queue good-naturedly for smoked salmon, hamburgers or baked potatoes. Aromas of freshly mown grass, leather saddles and pipe tobacco will commingle agreeably with the bouquets of brandy and fine wines. Irish dancers will jig to a lone banjo player or the combined strains of fiddle, flute and accordion.  (notes above taken from irishcultureandcustoms.com)

The Galway Races are the subject of At Galway Races, a poem by W. B. YeatsThere where the racecourse is/Delight makes all of the one mind/The riders upon the swift horses/The field that closes in behind./We too had good attendance once,/Hearers, hearteners of the work,/Aye, horsemen for companions/Before the merchant and the clerk/Breathed on the world with timid breath;/But some day and at some new moon/We’ll learn that sleeping is not death/Hearing the whole earth change its tune,/Flesh being wild again, and it again/Crying aloud as the racecourse is;/And find hearteners among men/That ride upon horses. Yeats, with his aristocratic bent, loved the ideal of “the horse”

 Notice from the organisers: The 2020 Galway Races will no longer go ahead as originally planned due to government intervention. Michael Moloney described the Galway Race Committee’s decision as ‘unavoidable’. It read: ‘In light of the evolving situation regarding Covid-19, for public health and safety reasons Galway Race Committee has reached the difficult but unavoidable decision that the 2020 Galway Races Summer Festival, due to be held from Monday 27th July to Sunday 2nd August will not be able to take place.

That bloody virus gets in everywhere and stuffs everything! Is nothing sacred? In our group, Sam the Man usually sings this but, as I have said before, “Lockdown Rules!” So, I have put together this Band-in-a-Box version featuring guitar, drums, bass, mandolin, bouzouki and accordion. ( I couldn’t find a fiddle that sounded right, sorry Mark.) I supply a lone vocal (but I do double the chorus) over the 127- bpm swung instrumentation.

Categories
Script for audio journal

The Curragh of Kildare

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Curragh of Kildare, also known as The Winter, it is Past, is a folk song particularly associated with the Irish tradition. Elements of some versions of the song suggest that it dates from at least the mid-18th century. In the 19th Century the Curragh was used to rally the British Army and then, in 1922 onwards, the Irish Army.

The 5,000-acre plain in County Kildare had, since the earliest times when the legendary men of the Fianna were believed to have trained there, been a welcoming sward to military men. From the end of the sixteenth century onwards there are records of encampment there.

The camp attracted thousands of spectators and camp followers; that is, prostitutes, who soon earned for themselves the sobriquet of wrens. This term was applied to the women as many of them lived all the year round in the furze bushes which are the only ground cover on the plain.

The Curragh was the place chosen by Richard Talbot, Earl of Tyreconnell to prepare his Army for the cause of James II. Wellington passed through here on his way to the peninsular wars. It was the Crimean War (1855-1856) which led to the construction of the first permanent camp at the Curragh. Queen Victoria visited in 1861 to visit her son the Prince of Wales (Edward VII), who was serving in the Curragh, and to inspect troops. 

The history of the text is rather complicated. Versions were taken down at different times in Ireland by  various collectors. The song has also been collected  in Scotland and England; the singer Frank Purslow collected a version (The Winter’s Gone and Past) in Dorset. Petrie thought that it was an “old Anglo-Irish song” and argued that the Scottish versions were most likely developed from it.

Several printed ballad versions exist, under titles such as The Lamenting Maid. The most well-known version of the text, usually referred to by the title The Winter it is Past, is attributed to Robert Burns. He appears to have developed it from a popular stall-ballad, The Lovesick Maid, which referred to a highwayman called Johnson, who was hanged in 1750 for robbery in the Curragh. Burns polished the original text considerably and removed two stanzas referring directly to Johnson. The resulting ballad was published in the collection of the Scots Musical Museum.

Different airs have been used for the song. Petrie suspected that one had been composed expressly for the stall-ballad, probably in Scotland around 1750, but expressed an opinion that “the same song united to a melody unquestionably Irish has been […] known in Ireland […] for an equal or much longer period”. The tune used for Burns’ version has been identified as a (distant) relative of that used for the American ballad Fare You Well, My Own True Love.

The song as currently performed was popularised by The Johnstons, who are said to have received it from Christy Moore, who uncovered a version in a Dublin library in 1961. (notes above taken from Wikipedia and historyireland.com )

Did I know anything of the tangled history of the song before indulging in a bit of online research? Not a bit of it. But I do remember clearly The Johnstons singing this in the late 1960s. In my view, no one has come close to their version of this song in the half century since they recorded their take on it.

IMHO, the song has in it that indefinable “something” that all great songs possess. I don’t attempt to compete with the luminaries who have recorded this song down the decades, but merely offer my interpretation of this classic. No chorusing, just a straight ballad.

Categories
Script for audio journal

Deportees

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Deportee (Plane Wreck at Los Gatos)” is a protest song with lyrics by Woody Guthrie and music by Martin Hoffman detailing the January 28, 1948 crash of a plane near Los Gatos Canyon…Guthrie was inspired to write the song by what he considered the racist mistreatment of the passengers before and after the accident. The crash resulted in the deaths of 32 people, 4 Americans and 28 migrant farm workers who were being deported from California back to Mexico…

A decade later, Guthrie’s poem was set to music and given a haunting melody by a schoolteacher named Martin Hoffman. Shortly after, folk singer Pete Seeger, a friend of Woody Guthrie, began performing the song at concerts, and it was Seeger’s rendition that popularized the song…

“Deportee (Plane Wreck at Los Gatos)” has been described by journalist Joe Klein as “the last great song he [Guthrie] would write, a memorial to the nameless migrants ‘all scattered like dry leaves’ in Los Gatos Canyon.” The song has been recorded many times, often under a variety of other titles, including “Deportees”, “Ballad of the Deportees”, “Deportee Song”, “Plane Crash at Los Gatos” and “Plane Wreck at Los Gatos (Deportee)”.  (from Wikipedia- a great online resource-donate!)

I remember when I first sang this song: it was 1969 and a group of long-haired students from the college I was attending (after a fashion) carted their guitars from Belfast to the beach at Bangor, County Down. We had been asked to provide the “entertainment” for the occasion. This was my contribution. I knew the chords and remembered almost all of the lyrics- which I made up for by repeating the chorus more times than strictly necessary. Hey ho.

In our wee group, Sam the Man sings the verses and I chime in on the choruses. With Jim on mandolin and Mark weaving harmony magic on fiddle, this is one of our better arrangements.

But Lockdown Rules specify ( yes, I wrote the rules) that since Sam ain’t here, I get to do the vocal. This is nothing like the way we do it. Courtesy of Band-in-a-Box, this version features two session guitarist big guns, Brent Mason and Jason Roller, who take pride of place in the arrangement. I don’t double up in the chorus as I want to give full access to the great playing of these guys. I hope my rendition here is a bit better than the effort on Bangor beach fifty years ago…

Categories
Script for audio journal

Mursheen Durkin

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Irish folk song “Mursheen Durkin” tells the story of an emigrant from Ireland who goes to mine for gold in California during the California Gold Rush, 1849. The song is about emigration, although atypically optimistic for the genre. The name “Muirsheen” is a good phonetic approximation to the pronunciation of “Máirtín” (Martin) in Connacht Irish; it could alternatively be construed as a diminutive of “Muiris” (Maurice). A pratie is a potato, the historical staple crop of Ireland. “America” is pronounced “Americay”, as was common among Gaelic peoples around Ireland

The air to which it is sung is “Cailíní deasa Mhuigheo” (pretty girls of Mayo), which is a popular reel dating from the 19th century. The song reached prominence when Johnny McEvoy’s recording reached no. 1 in Ireland in 1966. (notes above from Wikipedia, my favourite online resource, to which I donate periodically.) Johnny McEvoy’s version, which was on our turntables soon after its release, also spurred the showbands to make the song a staple of the music venues throughout Ireland.

It has been recorded by lots of artists since this time, including, Christy Moore, The Pogues, The Dubliners and The Wolfe Tones. Into that august company, the group Banter intends to venture (if I have anything to do with it!) A couple of years ago when Jim was off to Belfast to visit relatives, Sam, Mark and I had a couple of practices where we canvassed a few songs that were blasts from the past. We never got round to including the song in any of our sets after Jim’s return; however, it might well make an appearance, if and when the venues for music re-open here in western Sydney.

Categories
Script for audio journal

I Was Only Nineteen

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Only 19“, “I Was Only 19” or “A Walk in the Light Green” is the most widely recognised song by Australian folk group Redgum. The song was released in March 1983. Royalties for the song go to the Vietnam Veterans Association of Australia

The song is a first-person account of a typical Australian soldier’s experience in the Vietnam War, from training at a military academy in Australia to first hand exposure to military operations and combat and ultimately his return home disillusioned and suffering from both PTSD and, it is implied, the harmful effects of Agent Orange.

Contrary to popular belief, the subject of this song volunteered for service in the Australian Army and was not conscripted. During the Vietnam War, Australian men did not become eligible for conscription until the age of 20.

Redgum’s lead vocalist-guitarist, John Schumann, wrote the song based on experiences he heard from veterans, particularly Mick Storen (his brother in-law) and Frankie Hunt. Schumann has said that “the power derives from the detail, provided by my mate and brother-in-law, Mick Storen, who was brave and trusting enough to share his story with me.”

For the live version, Schumann explained the title, “A Walk in the Light Green”, as referring to operational patrols in areas marked light green on topographical maps, where dark green indicated thick jungle, plenty of cover and few land mines and light green indicated thinly wooded areas, little cover and a high likelihood of land mines.

The lyrics include words, terms and place names particular to Australia and Vietnam:

  • ANZAC: Australian and New Zealand soldiers who fought in the world wars.
  • Canungra jungle warfare training centre in Queensland
  • Channel Seven: Australian television network.
  • Chinook: Military helicopter.
  • Contact!: Military term indicating an encounter with the enemy.
  • Dustoff: Casualty evacuation by helicopter.
  • Greens: Jungle Green Working Dress, the field uniform worn by the Australian Army between the early 1960s and 1989.
  • The Grand Hotel: A hotel in Vung Tau that had been converted for Army use.
  • Light green: parts on a map which indicated supposedly more dangerous areas for soldiers to patrol as there was little dense foliage and cover and an area which was more likely to be mined.
  • Nui Dat: Village in Southern Vietnam, and the main base of the 1st Australian Task Force from 1965 to 1972.
  • Puckapunyal: Former Army enlisted soldier recruit training centre in Victoria.
  • Shoalwater: Military exercise area in Queensland.
  • Sixth Battalion:: (aka 6RAR) Australian army battalion, whose D Company had been involved in the Battle of Long Tan during a tour three years earlier.
  • Slouch hat:: Parade head-dress for the Australian army.
  • SLR:: Standard 7.62 mm semi-automatic rifle issued to Australian infantrymen during the Vietnam War.
  • Tinnies: Cans of beer.
  • Townsville: City in Queensland, home of the Australian Army’s 3rd Brigade & RAAF Base Townsville. Also at the time the embarkation point for troops shipping to Vietnam from all around Australia, because it was the biggest port in Northern Australia.
  • VB: Victoria Bitter (beer). Was also used as a reference to one’s comrades in arms aka “Venerable Brethren.” e.g: “We made our tents a home VB with pin-ups on the lockers, and an Asian orange sunset through the scrub.” (A reference to the defoliant, “Agent Orange” used prolifically in Vietnam).
  • Vung Tau:: Coastal city in Southern Vietnam which was the 1st Australian Logistics Support Group base and a rest area for troops based at Nui Dat.

( Thanks to Wikipedia for the notes above- I’ve included the glossary of terms to help non-Aussie listeners understand the lyrics)

Five years ago, in post on this site (SQ 6- A Touch of Ireland) I recorded the following about the small township of St Marys, as it then was, on the banks of South Creek, on the Cumberland Plain at the foot of the Blue Mountains in New South Wales: Lines of a local poet, George Sullivan, recall those idyllic days:

DC-1914-27-d-Sarajevo-cropped

If only Victoria Park could speak/ What wondrous tales from it you’d share, /About those careless, happy days/ When it was called ‘The Square’./ It could tell of all the bullocks/That were roasted on its green;/Of the glorious games of football/By sportsmen strong and clean./ It could tell of games of cricket,/ Of how the wickets soon did fall/When demon bowlers, Royal and Tolhurst,/Did send down the ball.

The names of all too many of those sportsmen strong and clean would be inscribed in bronze on tablets marking the fallen in the Great War, and subsequent wars, on the octagonal Rotunda. The phrase, strong and clean emerges 60 years later when  Redgum sang, This clipping from the paper shows us young and strong and clean/ And there’s me in me slouch hat and me SLR and greens/ God help me, I was only 19.

VietnamVung-Tauhelicopter_w

So, the tropes that helped describe the ANZACs of the Great War in 1914-1918, strong and clean, were also used fifty years later in Vietnam. And I’m sure they filtered down the decades into Iraq and Afghanistan

I first heard the song when I was teaching at a High School south of Townsville in 1989. The VP put the song on cassette as part of the ANZAC Day commemoration. The students just shuffled around a bit in the tropical heat- not their sort of music, I guess. But I was captivated by the detail in the lyrics as well as the melody.

When I got back to Sydney in the mid-1990s the group I helped form, Banter, made the song part of the repertoire. Big Geordie sang the song with real bite. Our interpretation speeded up the song, and with acoustic folk instrumentation supported by thumping bodhran, was quite distinct from Redgum’s more sombre, funereal original.

In 1997, during a performance of the song, at The Henry Lawson Club in western Sydney, I noticed a guy of fifty-something, bearded and with greying long hair, watching the group intently. In passing (on the way to the bar for a beer after the song) I casually asked him how he was enjoying the set. He looked at me for a while and said, “I thought at first you were taking the piss- but decided there was no disrespect intended.” He was a Vietnam Vet. I assured him that, far from dissing anyone, we were honouring the soldiers who served.

Big Geordie is no longer with the group and we have discussed, from time to time, restoring the song to our sets, but no one yet has volunteered to step up and take it on. Maybe…..

Categories
Script for audio journal

The Green Glens of Antrim

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Who wrote the damned thing? I thought I would just do a bit of an internet search, or, refer to my good mate Wikipedia, and be able to get out of here in a para or two!

Guess what? I discovered next to bugger-all. Now, I really don’t care if the tune and/or lyrics come from Timbuktu or Ulan Bator. My test is simple: if I like it, I sing it. If this makes me less than a purist- so be it, and, as and one of my Aussie mates might say, if you don’t like it: Go bury your head in a dead bear’s bum.

 I did get some somewhere by going to Mudcat.org, which is a great site that I have zoned into over the decades, in pursuit of various snippets: I discovered this: ‘The Green Glens of Antrim’ is a song I grew up with hearing regularly, in the heart of the Glens – Cushendall… The Green Glens of Antrim was written by Archie Montgomery (under the pseudonym of Kenneth North) and published in 1950. 

Now, Archie Montgomery sounds Scottish. From living in the Glens from 1964 to 1972 (off and on), I can attest that the Glens were a magnet for Scottish visitors in the 20th Century, right up until the time that the latest iteration of the  “Troubles” put paid to casual tourism.

For me, there is no problem about the provenance of a song: if there is a connection made, then it must be right! There is no doubt that this song resonates with many people down the years. It matters not a whit to me whether on not the composer was a native of the Glens of Antrim, or indeed, Ireland.

Maybe I can illustrate the point by reference to my own history and involvement in the Glens: I can remember that my father took his treasured AKAI reel-to-reel tape recorder down to a hotel where there would be a recital featuring the song. This would have been in the mid-1960s. He was proud as punch to be able to memorialise the event, as no one else in the village (Cushendall) has such equipment back then. I can remember him playing the tape for me in the front room of our home.

Now to me: in the early 1980s, after I had returned from Australia, I had the honour to direct a play by the local drama society which had been going for over 60 years- and for which my mother had been an early thespian in the 1920s. Obviously, I was good to go as director! It’s in the blood!

She tread the boards“, as one member said! “OK!” I said, “I’ll do it.” This, in spite of my having little to no experience of directing a bunch of headstrong actors. I learned later, that no one else was foolhardy enough to take on the challenge, and, a few had been approached! So, guess who was the bunny?

The play was Crime on Goat Island by Ugo Betti. Such outré choices are not unusual in Irish amateur dramatic circles, and I loved the play. I love literature and I recognised the quality of this play. I got a talented artist, Jimmy Crabbe, to design a fabulous poster. After heaps of rehearsals and competition, we got through to the All-Ireland Finals (confined section).

In other words, we didn’t have to compete against the big companies from Belfast, Dublin or Cork. But we were up against a lot of quality opposition from the rest of non-metropolitan Ireland: just ask around to see what the quality of Irish provincial amateur drama is (or was at that time). 

Anyway, we loaded up our sets and props and travelled south-west into the west of Ireland. We put on our dark, Italian drama. We got placed! Hey, did we want to celebrate? Of course. We chafed through the speeches and presentations and then…

We adjourned to the hotel in which a few of the travelling acts were billeted, and we started to drink to our successes (and near-successes). As the evening wore on, the Cushendall contingent grew more and more raucous. (We were, after all, from the Glens of Antrim…)

Someone, (it was not me, alas) started to sing: Far across yonder blue… within seconds, the actors, stage-hands, make-up artists, lighting and sound people, supporters,  and everyone else (including myself) associated with the Cushendall performance, began to sing, a capella, the quintessential song of the Glens, which is given below.

I have never heard a better rendition! What you hear here (do you like the homophone?) is a mild version, only. In my memory, the real thing would shatter your speakers and take the roof off your abode. Not Lying! Not Kidding! So, please, imagine the scene, and sing along.

Categories
Script for audio journal

The Augathella Drovers (Brisbane Ladies)

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

“The Long Paddock” is the colloquial name given to the historical travelling stock routes of Australia. “The Augathella Drovers”, also known as “Augathella Station”, “Farewell Brisbane Ladies”, or simply “The Drover’s Song” is an Australian folk song based on a well-known English original called “Ladies of Spain. The song bids farewell to the Ladies of Brisbane on the drovers’ departure and follows their journey along the stock route to the Augathella Station (nearly 800 kilometres inland) in much the same way that the English sailors bid farewell to the ladies of Spain. (notes above by Brett Thompson/fourandtwentymusic.com)

The lyric dates back to at least the 1880s and is credited to a jackaroo turned shopkeeper, named Saul Mendelsohn, who lived near Nanango. The place names used in the song were part of the route that cattle drovers used when returning from Brisbane to the cattle station at Augathella, which is located in west-central Queensland. 

Banter has gone over the song a few times in practice; however, we haven’t yet got the vocal and instrumental parts sufficiently together for public performance. I reckon it would go well with another great droving song, The Overlander, which is a staple of the group (have a listen to A Bit of Banter 41). If and when we emerge from lockdown to something approximating  the previously normal pub/club milieu, we may well rant and roar the song out…after a few soothing ales.  

Categories
Script for audio journal

The Sea Around Us

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Sea Around Us– Although he died over 30 year ago, the songs of Dominic Behan continue to be played around the world, especially by Irish bands and performers. Notable songs include, The Patriot Game (which he claimed, with much justification, was plaigarised by Bob Dylan for God On Our Side.), McAlpine’s Fusiliers, of which you’ll find a version elsewhere on the site, and Come Out Ye Black and Tans. He was a committed socialist and republican and he had a wide network of friends and collaborators in the media politics and arts. The verse below, from this song, demonstrates his acerbity and humour: Two foreign old monarchs in battle did join/Each wanting his head on the back of a coin;/If the Irish had sense they’d drowned both in the Boyne/And partition thrown into the ocean. One summer in the mid-sixties, my brother and I hitch-hiked to Bundoran, a holiday town on the Atlantic coast of Donegal. We stopped into a church hall to hear Dominic Behan perform: still a happy memory.

The notes above are taken from another version of the song on this site. A Bit of Banter- 63 features Sam the Man singing for a session we had almost a decade ago. Here, still in lockdown, I felt the urge to set it down again, and I think it can bear the repetition.

Categories
Script for audio journal

Waltzing Matilda (Qld version)


There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Waltzing Matilda” is Australia’s best-known bush ballad, and has been described as the country’s “unofficial national anthem”.

The title was Australian slang for travelling on foot (waltzing) with one’s belongings in a “matilda” (swag) slung over one’s back. The song narrates the story of an itinerant worker, or “swagman”, making a drink of billy tea at a bush camp and capturing a stray jumbuck (sheep) to eat. When the jumbuck’s owner, a squatter (landowner), and three troopers (mounted policemen) pursue the swagman for theft, he declares “You’ll never catch me alive!” and commits suicide by drowning himself in a nearby billabong (watering hole), after which his ghost haunts the site.

The original lyrics were written in 1895 by Australian poet Banjo Paterson, and were first published as sheet music in 1903

The Australian poet Banjo Paterson wrote the words to “Waltzing Matilda” in August 1895 while staying at Dagworth Station, near Winton owned by the Macpherson family.

It has been widely accepted that “Waltzing Matilda” is probably based on the following story:

In Queensland in 1891 the Great Shearers’ Strike brought the colony close to civil war and was broken only after the military were called in. In September 1894, some shearers at Dagworth Station were again on strike. The situation turned violent with the striking shearers firing their rifles and pistols in the air and setting fire to the woolshed at Dagworth, killing dozens of sheep. The owner of Dagworth Station and three policemen gave chase to a man named Samuel Hoffmeister, an immigrant said to have been born in Batavia also known as “Frenchy” Rather than be captured, Hoffmeister shot and killed himself at the 4 Mile Creek south of Kynuna at 12.30pm on 2 September, 1894.

In February 2010, ABC News reported an investigation by barrister Trevor Monti that the death of Hoffmeister was more akin to a gangland assassination than to suicide. The same report asserts, “Writer Matthew Richardson says the song was most likely written as a carefully worded political allegory to record and comment on the events of the shearers’ strike.” (Thanks to that great resource, Wikipedia for the notes above- donate if you can.)

On arriving in Australia, in 1972, this was one of the first Aussie songs I learned. In the mid-70s I played in a group called Currency and here’s where I learned the alternative music to the well-known lyrics. From lockdown, I present a version that has more than a trace of Country music in its iteration.

Categories
Script for audio journal

The Wild Rover


There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Historically, the song has been referred to in Irish folklore and, since the late sixteenth century, it has been noted in written records—although it is likely that some northern Atlantic fishing crews knew the song before these historical accounts were made. The song is a staple for artists performing live music in Irish pubs. It is often considered to be a drinking song rather than a temperance song. For many people, the Wild Rover is the stereotypical Irish drinking song

“The Wild Rover” is the most widely performed Irish song, although its exact origins are unknown. The song tells the story of a young man who has been away from his hometown for many years. Returning to his former alehouse the landlady refuses him credit, until he presents the gold which he has gained while he has been away. He sings of how his days of roving are over and he intends to return to his home and settle down.

According to Professor T. M. Devine in his book The Scottish Nation 1700 – 2000 (Penguin, 2001) the song was written as a temperance song. The song is found printed in a book, The American Songster, printed in the USA by W.A. Leary in 1845, and spread from Scotland to America from the Temperance movement. There is another USA printed version in the “Forget-Me-Not Songster” (c 1850), published by Locke. An alternative history of the song is suggested by the fact that a collection of ballads, dated between 1813 and 1838, is held in the Bodleian Library

Raymond Daly and Derek Warfield of The Wolfe Tones describe how the fans of Celtic Football Club in Scotland  sing The Wild Rover at away matches. The chorus is well known throughout most English-speaking cultures, even among people who have no knowledge of the rest of the song. (Thanks to Wikipedia for the notes above. Do donate to a great site, if you can afford to.)

I first came across this song off the Dubliners 1964 LP and the song was a staple of the dance-halls in rural and metro Northern Ireland. The showbands of the time were nothing if not versatile: able to keep the punters entertained with songs from the Top of the Pops as well as Country staples from the USA. Add to the mix,  Irish folk songs and Ceili dance-tunes and you get the idea of what a night out was like in the mid-1960s in Ireland. It was a great time that has, alas, faded into the past.

Sam the Man helms the song in our wee group, Banter, but because the virus has us in lockdown, and, anyway, there are no venues open for live music yet, I get to sing it and share it!

Categories
Script for audio journal

Will You Come to the Bower

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

This patriotic song dates to the early 19th Century and thus is one of the earliest of the genre in English. On the surface it appears to be a love song. A bower is a seat found in leafy surrounds often used for romantic trysts or meetings- although this arrangement was usually found among the wealthy!

However, in the song, the bower is a symbol for Ireland herself, and the call in the song is for the Irish who have scattered to Europe and America as a result of British retribution during the rebellions in 1798 of the United Irishmen and the Emmet rebellion of 1803 to return to aid Ireland in her need- will you come to the bower.

This aid, according to some, would encompass armed insurrection as well as political agitation, which obviously had to be couched in code to escape the attention of the authorities. (Although, really, were the authorities so thick that they could not spot sedition in the lyrics!)

The song reached America by the 1830s because the tune was played as the Texan army, under General Sam Houston, marched against the Mexican forces led by Santa Anna, at the battle of San Jacinto on April 21st, 1836 which established the independence of Texas.  Remember the Alamo! the charging Texans yelled.

Over the years the song may have gained some overlays of reference as successive waves of Nationalists had to escape over the next fifty years. Nevertheless, it remains an early example in both its diction and melody of the patriotic impulse of the Irish and their love of Erin the Green.

The song references great Celtic heroes such as Brian Boru, who successfully repelled the Vikings; powerful clans, such as the O’Neills and O’Donnells as well as political figures such as Daniel O’Connell. It name- checks settlements throughout Ireland such as Dublin, Wexford and New Ross as well as bodies of water such as the lakes of Killarney and Lough Neagh; the rivers also get a mention, the Bann, the Boyne, the Liffey and the broad, majestic Shannon. And what broad-brush Irish song would fail to mention Ireland’s patron, St Patrick. (I am indebted to the website irishmusicdaily.com for some of the info above.)

The group Banter has yet to perform the song in public although it has had an outing in a couple of practices. When the virus thing is a pestilence past, we may well perform it, as it has great words and a rousing melody. I first heard this song from an early Dubliners LP in the late 1960s featuring the incomparable Luke Kelly on vocals. So, again, I here present a lockdown version featuring Band-in-a-Box etc.- which is great to have, but I would prefer having living, breathing musos behind me rather than the digital devices.

Categories
Script for audio journal

Whiskey on a Sunday

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Seth Davy with his dancing dolls,1900 A.D.

The song, written by Glyn Hughes around 1960, is also known as The Lament for Seth Davy, who died in 1902. Seth Davy was a Jamaican who performed in the square near the Bevington Bush Hotel. In the photograph above he can be seen with his dancing dolls entertaining a bunch of kids. The dolls were attached to a plank which he controlled by striking the plank with his hands.

I first heard the song in 1968, by Danny Doyle, who had a hit with it in Ireland. At that time, I was living between Belfast and the Glens of Antrim. I thought it was about Ireland, what with the mention of buttermilk and whiskey. But, when I started to sing the song a few years back I did a bit of research and discovered the true origin and context of the song. You are never to old to learn the truth about something!

The last three posts all cover songs about Liverpool but this is the only one that is native to Liverpool itself. The Leaving of Liverpool probably originates in America and Liverpool Lou was written by noted Irish songwriter, Dominic Behan.

Again, this is a lockdown version of the song. While I really rate the Band-in-a-Box and Real Band software as well as the n-Track recording app, I still prefer standing with my guitar onstage with Jim, my brother-in-law playing the mandolin, Mark, my nephew playing the fiddle and good friend Sam the Man, playing the bodhran. Our appearing in front of a pub or club crowd is still months in the future, I fear. In the meantime…

Categories
Script for audio journal

Liverpool Lou

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Liverpool folk/poetry band The Scaffold produced a version of Behan’s song “Liverpool Lou” in 1974 which became a top 10 hit in the UK and spawned covers in various languages across Europe. On the original Scaffold pressing, the writing credits were incorrectly attributed to Paul McCartney who had produced the record on behalf of his brother Mike McGear.

Behan advised the relevant authorities and had his rights to the song reinstated quickly receiving an apology from McCartney; Behan accepted McCartney’s explanation that his mother had sung the song and he thought it was a traditional work. Later pressings of the song were then correctly credited to Behan; the early McCartney-labelled pressings are particularly rare and collectible.

In a well-publicised interview, John Lennon dismissed the 1960s folk scene in his own country, describing it as “College students with pints of beer going hay-nonny nonny” but in the same breath, he praised Behan, from neighbouring Ireland, whom he said he liked. On Desert Island Discs in 2007, Yoko Ono selected Behan’s “Liverpool Lou” as her husband had sung it to their son as a lullaby. (notes above taken from that wonderful site, Wikipedia- donate, if you can.)

One of Banter’s main singers, Jim, usually fields this one, but, because of lockdown in force still here in Sydney, guess who ends up singing it on this release? By the way, I’ve recorded, more than one of the songs that are rightfully Jim’s or Sam the Man’s but I don’t know if I want to give them back now…

Categories
Script for audio journal

The Leaving of Liverpool

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

“(The) Leaving of Liverpool” (Roud 9435), also known as “Fare Thee Well, My Own True Love”, is a folk song. Folklorists classify it as a lyrical lament and it was also used as a sea shanty, especially at the capstan.

It is very well known in Britain, Ireland, and America, despite the fact that it was collected only twice, from the Americans Richard Maitland and Captain Patrick Tayluer. It was collected from both singers by William Main Doerflinger, an American folk song collector particularly associated with sea songs in New York.

Maitland said he learned “The Leaving of Liverpool” from a Liverpudlian on board the General Knox around 1885. His version has the narrator leave Liverpool to be a professional sailor aboard a historical clipper ship, the David Crockett, under a real-life captain, Captain Burgess. This would date his version to between 1863, when John A. Burgess first sailed the David Crockett out of Liverpool, and 1874, when Burgess died at sea. 

Tayluer did not say exactly when he learned the song, but he was at sea by 1870, and Doerflinger generally thought his songs were older than Maitland’s. Tayluer did say that he believed the song originated during the Gold Rush, in 1849, and that it concerned a person leaving Liverpool to strike it rich in California and then return. 

“The Leaving of Liverpool” has been recorded by many popular folk singers and groups since the 1950s. The Clancy Brothers and Tommy Makem had a top 10 hit with the song in Ireland in 1964. The song has also been adapted by several artists, most notably The Dubliners and The Pogues. (The above info from the wonderful trove of stuff in Wikipedia. Donate to it, as I do, because it is worth preserving as one of the saner sources of knowledge among what you get on other free sites.)

I first heard the song in the mid-1960s from a Clancy Brothers record belonging to my parents. I have had a handwritten version of the lyrics in my song folder for over a quarter of a century and in all that time I have not sung it in public, nor has any of the group, Banter. Don’t ask me why, as it’s a great song. Maybe it is because it got over-sung and over-played in the folk revival in the British Isles in the 60s and 70s?

In any event, I was sitting in lockdown and happened across it as I was going through my folder. I think it deserves another airing- even though dozens of examples of the song are extant out there. I treat it as a lament, rather than the lustier versions that have been favoured by some artists.

Categories
Script for audio journal

The Lachlan Tigers

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Lachlan river runs through some of the best sheep raising areas of western NSW. To this region came the tigers of the shearing trade, the big gun shearers. This song pays tribute to their skill. Calling “tar” was not something you shouted out too loudly, according to Duke Tritton [the writer of The Sandy Hollow Line which I have recorded elsewhere on this site.] The tar was to stop the bleeding when a sheep was cut while being shorn. The same tune is used for ‘The Station Cook’ and ‘The Great Northern Line’ one of Sally Sloane’s songs. The tune is from the Scottish song ‘Musselburgh Fair’. From the singing of A.L. Lloyd. (notes taken from website folkstream.com)

Sheep shearing is probably the most iconic activity in rural Australia. At the start of the wool industry in the early 19th century, sheep were shorn with blade shears, similar to garden clippers. The first authenticated daily tally (amount of sheep shorn in a single day) was 30 sheep by Tome Merely in 1835. By 1892, Jack Howe managed a tally of 321 sheep at Alice Downs in Queensland.

In the intervening period, however, the rise of the wool industry meant that new inventions and processes were introduced to make shearing more time and cost efficient. Patents for shearing machines started to be granted from the 1860s and in 1882, a shearer called Jack Gray became the first man to completely shear a sheep using mechanical shears.

The method that most woolgrowers adopt was the Wolseley stand. Frederick Wolseley was an Irish-born pastoralist who had a sheep station near Sydney. His invention was a handpiece connected to a power source – originally driven by horse power, but later connected to an external engine. The handpiece relieved strain on the shearer’s hand and allowed the wool to be clipped up to three times closer to the skin than blade shearing. The new invention horrified thousands of shearers, who feared that the new efficient method would put many of them out of work. Powerful shearers’ unions were formed and a resolution forbidding union members to work in sheds with non-union workers led to a six-month shearers’ strike which crippled the wool industry in the eastern states of Australia. The woolgrowers held firm and eventually the shearers were forced to return to work, but the action laid the groundwork for the labour movement in Australia.

By 1900, machine shearing was the norm, although it was as late as 1949 when Jack Howe’s blade shearing tally was broken by a machine shearer when Dan Cooper achieved a total of 325 sheep by machine. (from the archives of The State Library of New South Wales)

My first encounter with Australian folk music was back in the mid-1970s when I was a part of a folk trio  named Currency Folk, with John Broomhall and Kevin Baker. We played a selection of Aussie folk songs here and there in the Wollongong area. On one notable occasion we played for an audience of wharfies at Port Kembla. They were a tolerant and somewhat amused audience as they watched three twenty-something middle-class teachers sing and emote about the struggles of the Australian worker!

From that time, I have grown to love Australian folk song and have sung a number from this vast repertoire in the decades since. At first, in my more ignorant phase as a twenty-something teacher, I thought that Australian folk music was derivative and inferior to the burgeoning Irish Folk revival that was headlined in the late 1950s with The Clancy Brothers and Tommy Makem, continued with The Dubliners in the 1960s, then Planxty and The Fureys in the 1970s.

But, as I like to say, life is a learning process, or you are merely a dead man walking about and taking up valuable space. I have, over the decades, learned something of the subtleties and ingenious adaptations as words and music from other lands have made their way to Australia and been transformed into an authentic homegrown genre.

And talking about authenticity, this song was best performed, IMHO, by an Aussie called Big Geordie Muir, who sang with us in the mid-1990s at The Henry Lawson Club, in Werrington in western Sydney, of which he was the general manager. He hailed from out by Warragamba Dam, and his roots were proudly Scottish.  Here is my lockdown version which I present to you, without too much blushing, and only because of the exigencies caused by that bloody virus…

Categories
Script for audio journal

The Jolly Beggarman

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Jolly Beggarman is believed to be King James V of Scotland, father of Mary, Queen of Scots. He was in the habit of wandering the countryside dressed as a beggar. There are lots of stories about various royals and members of the nobility roaming the roads, streets and lanes of their domain for a bit of excitement.

King James V actually wrote a poem in the 16th Century called The Jolly Beggar on which the verse of the song here is based. The chorus is inspired by the 19th Century Romantic poet, Lord Byron who was mad, bad and dangerous to know! He was one of my favourite poets when I was a teenager- and I still rate him highly today. Here is his exquisite and regretful lyric, We’ll Go No More a-Roving.

SO, we’ll go no more a-roving/So late into the night,/Though the heart be still as loving, And the moon be still as bright/.For the sword outwears its sheath,/And the soul wears out the breast,/And the heart must pause to breathe,/And love itself have rest./Though the night was made for loving,/And the day returns too soon,/Yet we’ll go no more a-roving/By the light of the moon. 

Jim, along with Sam the Man, are the main singers in Banter. I am content to be the Bronze Medallist, insofar as singing is concerned, within our group. But, here in lockdown, there is no competition! So, I have taken one of the songs that Jim habitually sings and unashamedly present it here.

There is an interesting contrast between the lusty verses inspired by King James V and the regretful chorus inspired by Lord Byron. I have sought to underpin this by having the vigorous instrumentation of the verse being undercut by the romantic strings in the chorus- see what you think.

Categories
Script for audio journal

Her Father Didn’t Like Me, Anyway

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

I first heard this song from the singing of Eddie Furey and piping by Finbar, from, their Transatlantic LP The Dawning of the Day, released in 1972. Written by Gerry Rafferty (he wrote 1978s smash hit Baker Street from his LP City to City and Stuck in the Middle with You, later used in the film Reservoir Dogs.)

Rafferty was born on 16 April 1947 into a working-class family of Irish Catholic origin in Paisley, Scotland. He was a member of a folk-pop group, The Humblebums, along with comedian Billy Connolly who has often recalled this period, telling how Rafferty made him laugh and describing the crazy things they did while on tour. Once Rafferty decided to look in the Berlin telephone directory to see if any Hitlers were listed.

Rafferty went on to have a career that encompassed Britain, Europe, and America. He was widely admired  with many friends in the music industry. He died in 2011 after a varied and jam-packed career and, as happens to so many talented musos, after a long struggle with alcohol.

Speaking after the funeral, Charlie Reid of The Proclaimers said: “I think Gerry Rafferty was one of the few people who really successfully straddled the worlds of both folk and popular music. He did it really well and he was respected in both camps.” Barbara Dickson also paid tribute to her friend, whom she described as a “luminous, glorious Scottish musician”. 

Finbar Furey, who knew Rafferty for over 40 years, said he “was in a different league completely. He didn’t know how good he was. He was one of the most talented musicians and singers I ever knew but he completely underestimated his own talent. He was a very humble man.” I include the above, gleaned from Wikipedia as a tribute to a truly great talent. I have long sung this song as part of my repertoire.

Categories
Script for audio journal

The Massacre at Glencoe

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

At the heart of Celtic beliefs is the sacred notion of hospitality. In Shakespeare’s Scottish Play,(I am not really superstitious but why take chances!) the protagonist ponders the breach of hospitality he is considering: He’s here in double trust:/First, as I am his kinsman and his subject,/Strong both against the deed; then, as his host,/Who should against his murderer shut the door,/Not bear the knife myself.

“The reigns of mythic kings were judged on their hospitality (or lack thereof). Once, when Bres, a warrior of the Fomorian people — the “bad guys” of Celtic myth — became king of the Tuatha Dé Danann, he quickly became renowned for his parsimony. Bards complained that visitors to his house could count on leaving with no smell of beer on their breath! Finally, a bard named Cairbre was fed up enough to write a satire about the ungenerous king—the first satire ever composed in Ireland. Its effect was blistering—literally—as it caused sores to burst forth on Bres’ face, blemishing him and making him unfit to rule.

Celtic hospitality is not just a matter of folklore and legend. One time I was in Banbridge, Co. Down, and couldn’t find lodging; I mentioned this to the owner of a pub and he spent the next half hour driving me around until I found a room for the night. An even better tale comes from a former student of mine, who had a flat tire once while traveling in rural Ireland. Stopping in front of a farmhouse and hoping to use the phone, he met the farmer who insisted on fixing the tire himself—and then the farmer’s wife invited my student and his family in for dinner. And of course, talk of payment was quickly squelched. “No need for that,” the farmer said simply.” (from a post by Carl McColman)

But we now travel back in time to the circumstances of the massacre. On the 13th of February, 1692, following the Jacobite uprising an estimated thirty-eight members and associates of Clan MacDonald of Glencoe were killed by government forces billeted with them on the grounds that they had not been prompt enough in pledging allegiance to the new monarchs, William of Orange and his queen, Mary.

Others are alleged to have died of exposure- estimates ranging from forty to one hundred. Many people think that this is a traditional song, including John McDermott, whose version I first heard, in the mid-1990s, on his double-platinum disc Danny Boy. Like so many mistaken claims made for songs being from the anonymous folk tradition, this song has, in fact, a known writer, Jim McClean, who wrote this moving ballad in 1963. I have performed this song at clubs in western Sydney over the years. Who knows when the virus will allow such gatherings to go ahead?

Categories
Script for audio journal

Fiddler’s Green

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

I first heard this song from the Dubliner’s album Plain and Simple in the mid-1970s. I do believe that Barney McKenna sang it- a rarity- for he usually just confined himself to being the best tenor banjo player in the known universe.

I learned from the Mainly Norfolk website that the song was, according to Danny Spooner, written by John Conolly in 1966, this song has become so much a part of the folksong culture that it’s often referred to as a traditional song—a great compliment indeed. Fiddler’s Green was a name for areas of docklands and ports frequented by sailors ashore. But over time the sailor’s imagination turned those districts into Utopia or even Heaven. Wouldn’t it be nice?”

Herman Melville describes Fiddler’s Green as a sailors’ term for the place on land “providentially set apart for dance-houses, doxies, and tapsters” in his novella Billy Budd, Sailor, in 1924.

Fiddler’s Green appears in Frederick Marryat’s novel The Dog Fiend,  published in 1856, as lyrics to a sailors’ song: At Fiddler’s Green, where seamen true/When here they’ve done their duty/The bowl of grog shall still renew/And pledge to love and beauty.

Many places associated with the U.S. Military have been named Fiddler’s Green, including:

  • The U.S. Marine Corps operated Firebase Fiddler’s Green  in the heart of the Helmand River Valley, in Helmand Province, Afghanistan.
  • An artillery Fire Support Base in Military Region III in Vietnam  in 1972, occupied principally by elements of 2nd Squadron, 11th Armored Cavalry.
  • The base pub at the Joint Forces Training Base, Los Alamitos, CA
  • Former dining facility used by 2nd Cavalry Regiment at Fort Polk, LA
  • An artillery only pub for the 10th Marine Regiment, Camp Lejeune, NC

The reason for this association is not immediately evident, but may stem from a poem The Cavalrymen’s Poem, also entitled “Fiddlers’ Green” which was published in the U.S. Army’s Cavalry Journal in 1923. Some of the lines are given below:

Halfway down the trail to Hell in a shady meadow green,/are the Souls of all dead troopers camped near a good old-time canteen,/and this eternal resting place is known as Fiddlers’ Green… Marching past, straight through to Hell, the Infantry are seen,/accompanied by the Engineers, Artillery and Marine,/for none but the shades of Cavalrymen dismount at Fiddlers’ Green. ( my thanks to Wikipedia for the information given above)

Now, this song is usually sung by Sam the Man, but, as we are all in lock-down I get to sing songs I like from both our main singers!

Categories
Script for audio journal

Come Up the Stairs

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Come Up the Stairs A couple of years ago I attended a reunion, ninety minutes south of Sydney, in Wollongong of, Seannachie, the band I was part of in the 1970s. It was a memorable weekend starting with folk open-mic at a bowlo in North Wollongong at which I drank lots of Guinness and sang, The Streets of Forbes and Her Father Didn’t Like Me, Anyway. When asked for a few more songs later in the night, I had to demur, for obvious reasons.

I stayed with Joe Brown, the guitarist with the group. The next day we gathered at the house built by Bertie McKnight, the mandolin player. There, also, was Johnny Spillane, the whistle player and Tony Fitzgerald, the main singer of the group who had learned to play the guitar in the decades intervening.

We swapped songs and yarns all day and, after Joe and I  returned to his place, he found an old cassette and played this song from circa 1975 which I had learned from a Johnny McEvoy record a few years before. Anyone remember cassette players, apart from us oldies?

I had completely forgotten about it and determined to resurrect it for performance with the group I helped establish in western Sydney in the mid-1990s, Banter.

I placed a flamenco-flavoured introduction before the song proper and provided an outro of rolling chords, reminiscent of the sea- in my fancy- Am/C/F/E/Am/C/F/E/G…/Am… It has become one of the favourite songs in our repertoire. But this is only, as they say, a pale shadow of the live performance.

The song was written by Shay Healy, Irish broadcaster, songwriter, and journalist. He got the 9/8 tune from his mother who was a noted singer of old Irish traditional songs. This explains why so many people think this is an old song, but the lyrics were written by Healy sometime in the 1960s.

A piece of trivia- appropriate, perhaps, for this strange time of COVID lockdown: Shay Healy also wrote Ireland’s winning entry for the 1980 Eurovision Song Contest, sung by Aussie Johnny Logan. The song’s title: What’s Another Year? Oh Really? This year, 2020, will live in infamy- to quote FDR

Categories
Script for audio journal

Across the Western Plains

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

In the Irish tradition this is known as “All For Me Grog” and is sung with gusto. In Australia, having moved across the sea and moved inland, it slows down and becomes more wry and sombre. Here we find a swaggie, who has just sold his moke (a broken-down horse) for drinking money.

It was a feature of the various gold diggings in Australia for luckless scroungers to supplement their incomes by illegal fossicking on another’s claim. This was known as “plundering”. Our narrator is in an outback shanty bar where he has just spent all his money- or “plunder”. The subject of our song resolves to head back to the diggings and peg out a claim and settle down to some hard yakka (hard work).

The Dubliners’ 1967 version, is faster and jollier and features women. Alas, in 19th Century Australia, women were in short supply out in the bush, hence the difference in the second last line of the chorus where, instead of…I’ve spent all me tin with the ladies drinking gin, we get…I’ve spent all me tin in a shanty drinking gin. This may explain why the Aussie version is a lot more doleful.

You’ll also hear reference to the Darling Pea. This addictive plant is poisonous to livestock. A vet from that time describes the effects of Darling Pea on livestock, They lose the ability to judge where their feet are. They become wonky, fall over, appear to be blind, walking into things. Now what does that remind you of?

Categories
Script for audio journal

Sweet Thames Flow Softly

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

I first heard the song in the early 70s from Planxty’s eponymous first album and determined to learn the song, adding an instrumental verse on Spanish guitar. Only last year, I re-visited the song with its instrumental adornment with the group, Banter. Here, though, is a Band-in-a-Box backing track with vocal. Who knows when we will be able to stand in front of a crowd (remember those times?) and do the band treatment of the ballad.

Robert Herrick’s 17thC poems say life is short, the world is beautiful, love is splendid, and we must use the short time we have to make the most of it. And he wrote that sentiment in lines we still recognise four centuries later: Gather ye rose-buds while ye may, /Old Time is still a-flying; /And this same flower that smiles today/ Tomorrow will be dying.// The glorious lamp of heaven, the sun,/ The higher he’s a-getting,/ The sooner will his race be run,/ And nearer he’s to setting. I like to speculate that Ewan McColl was thinking of these lines when he wrote this song.

The Thames is one of the great rivers of the world, even though it is not very long in comparison the big rivers of this earth. It has history, romance, stories and poems galore, not to mention that it flows through London. Several times I have looked down on the bridges and Parliament as I have flown in to one or other of the big airports and never failed but be moved at the sight. Edmund Spenser the Elizabethan poet, in his poem, Prothalamion, ends each of the verses with the line, Sweet Thames flow softly till I end my song. T. S. Eliot, references this line in his modernist masterpiece, The Waste Land. McColl’s song has been covered by many, many artists and it is with great trepidation that I put my cover out there among such company. Anyway, have a listen to my version of Sweet Thames Flow Softly on SoundCloud and see what you think…

Categories
Script for audio journal

North and South of the River

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

North and South of the River is a metaphor for the sectarian divide in Ireland which is over 400 years deep and still a factor in the life of that small island washed by the Atlantic waves. The divisions splitting our planet are various: religious, ideological, political, ecological, economic. You, too, can assuredly add to the tally.

Christy Moore wrote this with assistance from Bono and the Edge from U2. I first heard this sung at a club in Western Sydney in the mid-1990s. I took it up at about the same time and, a quarter of a century later, in lockdown, I present it here instead of at the same club, The Penrith Gaels, which is shuttered and, who knows when it will be open for business and live music.

Categories
Script for audio journal

Moreton Bay

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Patrick Logan became Commandant of the Moreton Bay penal settlement in 1826. He was hated by the convicts for his harsh methods. He did some exploring and was surveying the Upper Brisbane river when he was killed by Aborigines in 1830. Logan was a relentless flogger as shown in a sample record of his floggings that were noted in the diary of one of the prison clerks. This records that from February to October in 1828 Logan ordered 200 floggings with over 11,000 lashes.

When Logan’s body was brought back to Moreton Bay, the convicts “manifested insane joy at the news of his murder, and sang and hoorayed all night, in defiance of the warders.” Bushranger Ned Kelly used lines from the ballad in his “Jerilderie Letter” in 1879 (“Port McQuarrie Toweringabbie Norfolk island and Emu plains and in those places of tyranny and condemnation many a blooming Irish man rather than subdue to the Saxon yoke were flogged to death and bravely died in servile chains.”)

In 1911, Bushranger Jack Bradshaw printed a version in his True History of the Australian Bushrangers . Bradshaw printed the song again in Twenty Years of Prison Life in the Gaols of NSW attributing it to “poor old Frank McNamara”. Francis MacNamara (Frank the Poet) recited it as he stepped off his convict ship in 1832 at Sydney Cove.

MacNamara was subjected to all the brutality of the convict system in Australia, and was to spend years in various penal settlements. He served time in Port Arthur in Van Diemen’s Land concurrently with John Kelly, Ned Kelly’s father. No doubt it was there that Kelly learnt MacNamara’s ‘The Convict’s Arrival’ or ‘The Convict’s Lament on the Death of Captain Logan’ which we now know as ‘Moreton Bay’. Francis MacNamara wrote many fine poems including ‘The Convict’s Tour of Hell’, ‘The Cyprus Brig’ and one of the many versions of ‘The Wild Colonial Boy’. He used to begin his recitals with the following verse: My name is Frank McNamara\ A native of Cashell Co Tipperary\ Sworn to be a tyrant’s foe\ And while I’ve life I’ll crow! My thanks to folkstream- Australian Folk Songs for the info above.

Moreton Bay borrows the tune of an old Irish air, Eochaill. As Frank the Poet wrote about his convict experience in or shortly after 1830, it precedes by seventy years or so, P. J. McCall’s borrowing of it for his well-known song Boolavogue, which commemorates the campaign of Father John Murphy and his army in County Wexford during the Irish Rebellion of 1798. It was composed in 1898, the centenary of the Rebellion.

The singer in our group, Sam the Man, will probably be irate that I am singing his song, here. However, he’s in lockdown miles away and I’m at a loose end, so…

Categories
Script for audio journal

Gentle Annie

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Stephen Foster wrote this in 1856- based on an Irish melody. The song went to England, then, later, to Australia where it acquired these lyrics by Lame Jack Cousens of Springhurst, Victoria, who was a travelling thresher. I first heard this sung by Johnny McEvoy c. 1971 in Co. Cork at my brother Jim’s place. There is a different song of the same name by Tommy Makem which is also worth a listen.

Stephen Foster wrote over 200 songs. Among his best known are Oh! Susanna, Hard Times, Campdown Races, Old Folks at Home, My Old Kentucky Home, Jeannie with the Light Brown Hair, Old Black Joe, and Beautiful Dreamer.

He died early, of fever, at the age of 37. The wowsers of the time were quick with the label, drunkard, but somehow overlooked the quality and quantity of his song-writing. Thirty years after his death, one reporter described him as paying “the penalty of an irregular life, being “weak-willed”, and writing songs about people of “a pathetic character”.

So, you see, he had a lot of detractors, of a mind like that anonymous reporter. And, like that reporter, they are also now unknown nobodies while Stephen Foster lives on in his songs that we, and so many people of good heart, around this wonderful world, SING!

The ways that music and words travel across continents from culture to culture and change to suit the circumstances of the place and time attest to the strength of folk music as a genre. It took fifty years from the time I first heard the song in Co Cork to when I took it up as a part of our repertoire.

Again, this rendering is just a shadow of what a live performance with guitar, fiddle, bodhran, mandolin and voices in chorus can deliver. I am looking forward to the time when, along with the rest of the world, we can meet in convivial groupings in bars and pubs and clubs to enjoy the fellowship of others’ company

Categories
Script for audio journal

Rosalita and Jack Campbell

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Rosalita and Jack Campbell was written twenty years ago or so by Sean Mone of Keady, Co Armagh about the terror of drive-bys and targeted assassinations in Belfast in the early 1970s. In it he presents us with a couple who live for country music, (then called country-and-western). Anita sings in a bar and Jack just loves to have a pint and listen to her perform. He channels the ethos of the southwest border territory of the US along the Rio Grande. The songs of Anita and the figurings of his imagination evoke dusty, sunlit vistas populated by Cowboys, Indians and heroic one-on-one gunfights.

One night, after Anita’s performance, they set off homewards and call into their local chippy for a takeaway meal where they entertain the queue by dancing around the joint and singing. This mundane scene transmogrifies to nightmare when “street demons come out to dance”; that is, a sectarian assassination squad in a car, looking for a victim, any victim, cruise by and shoot Jack Campbell dead.

Anita never recovers, spending the dwindling years in her room consuming Prozac and Gin. The song posits a more heartening coda where Rosalita (a.k.a. Anita) and Jack Campbell dance off into the sunset along the Rio Grande.

I first heard the song earlier this year from Christy Moore’s singing. It is far from the first song of his that I’ve covered and it won’t be the last, God willing.

It brought me back to my years in Belfast; first, as a teenager, from 1966 to mid-1968 when I spent weekends going to music venues with my girlfriend (later, wife); then, from late 1968- mid 1972 where I attended St Joseph’s College of Education, known colloquially as Trench House, for a teaching degree. I saw Belfast turn from a vibrant, modern city into a bitter, sectarian battleground in those short years. The descent into hell did not take very long at all.

From late 1969 to mid 1970, I lived in a dingy one-room bedsit near Carlisle Circus at the bottom of the Antrim Road. Across the landing lived a boozy journalist from The Belfast Telegraph who would regale me of tales of the dark doings of British special forces and various loyalist and republican groupings. The stuff he knew curdled my blood, even if he did, perhaps, exaggerate for effect.

In July 1971 I got married and, in 1972, moved into a small house in a lane just off the Whiterock Road with my wife and infant daughter. There, we experienced the increasing violence that internment without trial spawned and witnessed (but mostly heard) skirmishes between the IRA and British forces on that road where we could read, from our upstairs bedroom window, the graffito on the cemetery wall, Is There a Life Before Death? In answer to this question, we left the first setting of our married life for Australia in September 1972.

Hearing the song brought it all back, because, not just ourselves, but just about everybody in Belfast and Northern Ireland has been touched by such a shooting or other instance of violence associated with the “Troubles”. Anyway, here’s the song.

Categories
Script for audio journal

The Holy Ground

a-storm-image

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

It is 1816, a sailing ship limps past Roche’s Point, its rigging all torn. Exhausted mariners, returning after months at sea, perform their duties in desultory fashion but begin to perk up as they round Spike Island and spot the rows of terraces rising above the quay in Cove.

a-holy-ground-image

They swarm ashore and make for the places of entertainment for lonely and thirsty sailors in the section of town known as The Holy Ground. Soon they make the rafters roar with their shouts and songs, calling for strong ale and porter as the serving girls move among them, sometimes tumbling into the willing lap of a lusty tar. This is part of a post I published five years ago when the world was a different place.

The Holy Ground exists outside the lusty taverns of 19th Century, Cork. There is sacred ground everywhere, and some, say with the perspective of astronauts looking back at the blue dot from the vastness of space, would characterise all of this earth as holy or sacred ground. That so much of it (to say nothing of the waters around and flowing through it; or the air which passes over it) is despoiled by violence and pollution and injustice makes one wonder if Gaia herself is unleashing pestilence such as SARS-CoV-2 to teach us a salutary lesson.

And so, from lockdown, I present another song that, Deo volente, we, as the group, Banter, will be able to play again in public. These songs are nothing like the real songs which are played in front of crowds enjoying the moment- but, perhaps, it is better than silence.

Categories
Script for audio journal

Champion at Keeping Them Rolling

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

This song was written in the 1950s by Ewan McColl about the truckies who plied their trade throughout Britain before the advent of the motorways when roads were treacherous and rigs were prone to breakdowns. To wrangle the gears on these old beasts you needed finesse and strength. This particular version of the song I dedicate to the memory of John Reddington, married to my wife’s sister, who gave me, from time to time, employment on his lorry, when I was a teen, as he travelled around the place with a variety of loads. One of his son’s, named John also, kept up the family tradition by trucking around Ireland, Britain and Europe (or he used to).

Ewan McColl used the music of the Irish song, The Limerick Rake, for his account of the truck drivers of England in the decade after the end of the second world war.

Categories
Script for audio journal

Down by the Glenside

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

Down by the Glenside (The Bold Fenian Men)” is an Irish rebel song written by Peadar Kearney, an Irish Republican and composer of numerous rebel songs, including “The Soldier’s Song” (“Amhrán na bhFiann“), now the Irish National Anthem and “The Tri-coloured Ribbon”.

Kearney was a member of the Irish Republican Brotherhood, popularly known as the Fenians. He wrote the song about the time of the 1916 Rising. It evokes the memory of the freedom-fighters of the previous generation (strong, manly forms…eyes with hope gleaming), as recalled by an old woman down by the glenside. It is effectively a call to arms for a generation of Irishmen accustomed to political nationalism.

Three verses to this song were sung by Ken Curtis and The Sons of the Pioneers in the 1950 John Ford movie Rio Grande.

The song became popular again in the 1960s, when it was recorded by The Clancy Brothers. It has since been recorded by numerous artists, including The Dubliners, Cherish The Ladies, Omnia, Screaming Orphans, Jim McCann, Harry O’Donoghue, and The Wolfe Tones.

The song is also sung in the first episode of the BBC series Days of Hope, written by Jim Allen and directed by Ken Loach. An Irish barmaid is forced to sing after being sexually harassed by British soldiers and impresses them with her song.

The info here above courtesy of Wikipedia which I often access and donate to.

I have long admired the song, even though I omit the third, original verse which details the old woman’s thrill at seeing a previous generation of bold fenian men drilling when she was young.

Another member of the group usually sings this in our practices, but, as he is not here…

Categories
Banter VI Script for audio journal

Viva La Quinta Brigada

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

(Notes for VLQB taken from Wikipedia, a marvellous resource I urge everyone to support.)

Viva la Quinta Brigada  (listed as Viva la Quince Brigada in later recordings) is a Christy Moore song about the Irishmen who fought in the Spanish Civil War against Franco. The title was inspired by a Spanish song about the war,Viva la Quince Brigada.

Moore wrote this song choosing to focus on the Irish socialist volunteers (who in later years became known as the Connolly Column) who were a small contingent within the 15th International Brigade. The tune which he used was substantially similar to the version of Viva la Quince Brigada recorded by Pete Seeger and the Almanac Singers in the early 1940s.

The song was inspired by Spanish Civil War veteran Michael O’Riordan’s book Connolly Column.

Moore said: Without Michael O’Riordan I’d never have been able to write Viva la Quince Brigada. I must have performed the song over a thousand times and every single time I sing it I think of Mick and wonder how can I ever thank him enough. In Spain in 1983 I was reading his book, Connolly Column – the story of the Irishmen who fought for the Spanish Republic, and I began this song as I read on. The song was lifted entirely from his book.

Moore’s original song title – which translates as “Long live the Fifth Brigade” – was a slip due to the similarity in Spanish between “quinta” (fifth) and “quince” (fifteen). The bulk of Irish volunteers served with the XV (Fifteen) International Brigade; the “Fifth Brigade” was not one of the International Brigades. The song later appeared listed as Viva la Quince Brigada as Moore corrected the mistake in subsequent recordings. Both titles are correct however, originally there were ten brigades in the Spanish army, the five international brigades were then added to the list making the 5th International Brigade the 15th Brigade of the Spanish republic.

Robert Martin Hilliard (7 April 1904 – 22 February 1937) was an Olympic boxer, Irish republican, Church of Ireland minister and, later, communist. He was killed in the Spanish Civil War fighting in the International Brigades.

Name-checked were men from all parts of Ireland, Catholic, Protestant and of no faith, including Bob Hilliard who ended his life as an atheist. In later versions of the song, Christy amended locales of a couple of the people name-checked but I have stuck to the version I learned a quarter of a century ago.

Categories
Script for audio journal

The Patriot Game

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots gather together to make music? The next batch of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. Anything’s better than a yawn, I guess. And everything that is not that bloody virus is a plus. At the moment we can’t meet as a group, as we are in lockdown, so I have set out a version of songs that are in our repertoire but which have not yet been recorded. With any luck (and, as three of us are north of 70, we’ll need it!) we will be able to resume our normal practice of meeting weekly and playing tunes, singing songs and generally enjoying the crack.

The Patriot Game was written by Dominic Behan to the tune of an Irish traditional song, The Merry Month of May . Its narrator is Fergal O’Hanlon, who was a member of an IRA team who attacked the RUC barracks at Brookeborough, Co. Fermanagh on New Year’s Day, 1957. He, along with Sean South from Limerick, was killed; also killed in the attack was a young Catholic constable, John Scalley. I sang the song many years ago at a pub in western Sydney and a couple of blokes there objected to the “IRA song”. Yet, I view the song as an example of the tragic deaths fuelled by love of country, particularly of young men. Interestingly, Christy Moore notes that the song is often requested at his gigs by British soldiers. Dominic Behan once, in a phone conversation, furiously berated Bob Dylan who had used the song as a template for his composition, With God On Our Side”. Dylan suggested that their lawyers should meet to discuss the situation. Behan retorted that he only had two lawyers, and they were at the end of his wrists. The version I sing retains the slighting reference to the first Irish President, Eamon de Valera, but omits the verse that justifies the killing of police officers. Yes, it is a controversial song, but, IMHO, worth singing, nevertheless.

Categories
Script for audio journal The Summa Quotidian The Summa Quotidian Redux

Take This Frame Away


In my first journal entry for the sequence The Summa Quotidian in 2015, I mentioned the fact that it had been fifty years since I had written my first song. For this concluding entry to the sequence, A Bit of Banter, I wish to record the fact that the song included here took me fifty years to complete. I wrote the first part as a 17-year-old, pimply, schoolboy on the inside cover of a Clancy Brothers songbook that I had been working my way through. I added to it over the years, putting a final touch to it

Clancy Bros

three years ago, when I was 67. A couple of other examples from the 120 songs in The Summa Quotidian, also underwent a similarly, leisurely (some might aver, slothfully) compositional process. By comparison, the 56 songs recorded over a period of three months during the pandemic achieved warp-speed!

Two days ago, before dawn on Anzac day, April 25th, I stood in my driveway and listened to the broadcast from the Australian War Memorial. I set a candle on my letterbox and, IMG_0011glancing up and down the street saw men and women, at the end of their driveways, paying silent tribute to the fallen. A 70-something veteran with a chest full of medals walked past and we nodded a greeting. After the ceremony, I returned to my home where we are in lockdown and thought, this was good, nothing like it before or, perhaps, after. The tens of thousands of Australians who shared in this experience will remember it for the rest of their lives- long or short. 

Some Millennial commentators have welcomed the advent of SARS-CoV-2 as an efficient CoViIDBoomer Remover. Unfortunately for them, it does not so finely discriminate. While those of retirement age are more heavily afflicted, the virus does strike down many of those in their demographic as well. Careful what you wish for, eh?

Have you noticed that the crisis engendered by the pandemic has brought people of real worth to the fore? Not the vain-glorious bloviating buffoons who, hitherto, pranced across the (inter)national stage. I’m thinking about media-hungry politicians and the gross (and grossly overpaid) shock jocks. But now, quietly spoken experts in epidemiology, nurses, doctors, check-out operators and shelf-stackers in supermarkets, paramedics, truck drivers and public transport employees-to name but a few- have engaged the respect of the public by their willingness to step forward in these strange time and do their duty, fully mindful of the potential consequences for themselves and their families. Meanwhile, the self-absorbed, pollies and celebs flout the regulations as if they don’t apply.

I’m now north of seventy years old with a handful of co-morbidities. My wife’s sister-in-law has died from coronavirus (on April 6, 2020, in Northern Ireland) and will be buried next to her mother in a small country graveyard in Rasharkin, County Antrim. celtic crossShe is the first person in our family circle to have been taken from us by the pandemic (May she rest in peace). Because her husband had pre-arranged their funeral-and-burial details some years previously, there have been no problems with the internment. Hitherto, some had felt that he was just too…what? Fastidious? Careful? Over-scrupulous?

What about, perspicacious! How many of us will follow her to a grave that will not be marked by the usual obsequies because of the overwhelming wave of deaths that will accompany the savagery of SARS-CoV-2 as it sweeps across the world as we NYC Covid burialsknow it. When I viewed the mass graves in New York City on April 10, it was with horror I asked, Are we living in the 21st Century? And then I reflected, this has been happening in all too many countries, without respite, for every year of this century (and the one before) while most of us were looking away, or at fatuous reality shows on TV… 

I do not know if I will survive this event. I may hope. I certainly will pray. I intend to persevere and endure. 

 

Categories
Banter VI Songs and Tunes

A Bit of Banter 64: This Cold Bed

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and running again…

Song 64: This Cold Bed– This is a demo I recorded a while back. We have played the song in rehearsal but have yet to record it or perform it in our present incarnation of Banter. I wrote the words about 20 years ago but my wife told me the tune I had crafted was not a fit for the genre. Can you do better, riposted the wounded artiste? Yes. And she took the lyrics and hummed the tune that is used here, off the top of her head! Collaboration is a wonderful thing. The inspiration for the song was the hunger strike of 1981 which saw ten republican prisoners starve to death, most notably, Bobby Sands, who had been elected to the British Parliament on 9 April. The strikes were a turning point for Sinn Fein which supplanted the various nationalist groupings to become the major political force in the politics of Northern Ireland. I originally, and somewhat pretentiously, gave the song the title, The Dying Revolutionary, as I did not intend it as, solely, a loosely-based biographical item about Bobby Sands. I wanted to examine what forces could persuade an artistic individual to move from art to violence as I know the events of that summer in 1981 almost prised me from a life-long belief in liberal democracy and non-violence. Still, that awful working title stuck in my craw so I substituted what is now the better option. Sometimes it takes a while to work these things through…

Categories
Banter VI Songs and Tunes

A Bit of Banter: 63 The Sea Around Us-

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and running again…

Song 63: The Sea Around Us– Although he died almost 30 year ago, the songs of Dominic Behan continue to be played around the world, especially by Irish bands and performers. Notable songs include, The Patriot Game (which he claimed, with much justification, was plaigarised by Bob Dylan for God On Our Side.), McAlpine’s Fusiliers, of which you’ll find a version elsewhere on the site, and Come Out Ye Black and Tans. He was a committed socialist and republican and he had a wide network of friends and collaborators in the media politics and arts. The verse below, from this song, demonstrates his acerbity and humour: Two foreign old monarchs in battle did join/Each wanting his head on the back of a coin;/If the Irish had sense they’d drowned both in the Boyne/And partition thrown into the ocean. One summer in the mid-sixties, my brother and I hitch-hiked to Bundoran, a holiday town on the Atlantic coast of Donegal. We stopped into a church hall to hear Dominic Behan perform: still a happy memory.

Categories
Banter VI Songs and Tunes

A Bit of Banter 62: I’m Not a Merry Ploughboy

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and running again…

Song 62: I’m Not a Merry Ploughboy– In some ways, this song is a companion piece to Paddy Went Home Today. It was written around the same time (1995ish) and features a working man in Sydney. This character, however, springs not from an anecdote or acquaintance but rather is a product of pure (or should that be, fevered, imagination). In SoundCloud, where I also have a site, it is quite popular. It was given an outing or two at the Henry Lawson Club where the band used to play regularly in the mid-1990s. Now, it is being re-introduced for a new audience at the Penrith Gaels in outer-western Sydney. And, when we get round to recording  our usual folk ensemble version, featuring guitar, mandolin, fiddle and bodhran, I’ll update it here. Until such time, here is a Band-in-a-Box rendition from when I was reduced to playing with myself (so sad).

 

Categories
Banter VI Songs and Tunes

A Bit of Banter 61: Paddy Went Home Today

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and running again…

Song 61: Paddy Went Home Today– I wrote this in the mid-1990s.  It was inspired by an anecdote by one of the group during a refreshment break (our rehearsals often feature such breaks, which we deem necessary- for our mental and emotional well-being, of course).  We were chatting about “characters” we had encountered in our working lives. One of these characters was a sheet metal worker encountered in the mid-1970s in inner-Sydney. This guy would slope off to the pub at morning smoko for a “cure”.  Often enough he would be missing in action when the foreman looked for him later. We have revived the song for our current repertoire as hosts of the folk club at The Penrith Gaels in outer-western Sydney. This version is a Band-in-a-Box demo I recorded a couple of years back. I’ll update this with the current, acoustic version featuring guitar, mandolin, fiddle and bodhran in the not-too-distant-future.

Categories
Banter V Songs and Tunes

A Bit of Banter 60: Ballyhootry-

a-muso-image

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and running again…

Song 60: Ballyhootry– I wrote this back in the mid-1990s. I must have fallen out on the wrong side of the bed that day because I created a town called Ballyhootry in the County Anywhere. I let fly at the ersatz Irish or Oirishry so beloved by Hollywood B-movies and songs. You know, where leprechauns frolic at the ends of rainbows and the beer is dyed green and quaintness rules the day to the deedle-lee-dee tootling of a tin whistle. Also a target is the rampant commercialism where Mammon trumps Tradition every time. (the use of the previous verb is not coincidental, by the way). FYI,  I still love Ireland, her blemishes notwithstanding, but I live in Australia now and consider it home- for all its imperfections. The song here is not backed by Banter but Band-in-a-Box because we have not yet recorded any version of the song, even though we’ve play it enough in the past. I’ll update, when or if we ever get round to it. In the meantime, enjoy a more rocky rendition than is heard in our acoustic oeuvre.

Categories
Banter V Songs and Tunes

A Bit of Banter: 59- My Last Farewell

a-muso-image

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and running again…

Song 59: My Last Farewell- Based on the last letter written by Padraig Pearse to his mother, this song was written by the O”Meara brothers (who also penned the well-known song, Grace, about another hero of the 1916 Irish uprising- Joseph Mary Plunkett). This song is often requested on our WOW fm radio show, A Touch of Ireland, here in the Penrith valley. Poignantly, the song references his brother William, who was executed the day following the execution of the Irish rebel leader. William seems to have been executed for his name rather than any significant involvement in the rising. “Willie”, a sculptor, was more involved in running St Edna’s School in Rathfarnam. Padraig, in writing his letter, was not to know that his brother, far from providing solace to the Pearse family, would join him in the ranks of the executed participants in the failed rising that provided the impetus for the founding of the Irish state within a matter of years.

 

Categories
Banter V Songs and Tunes

A Bit of Banter: 58- Shelter

a-muso-image

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and running again…

Shelter: Song 58- Part of our repertoire since the mid-1990s, this song gets more and more dislocated from the realities of contemporary Australian official government policy, where refugees (designated as such by the UN) languish in off-shore detention camps. Written by Eric Bogle, one of our songwriting heroes, the sentiments expressed herein are closer to the hearts of many Australians than the callous real-politik practised by our major political parties.

Categories
Banter V Songs and Tunes

A Bit of Banter: 57- McAlpine’s Fusilier’s/Instrumental

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and running again…
Song 57: McAlpine’s Fusilier’s/Instrumental– Over the years this has proved to be one of the most popular items in our repertoire. Obviously we enjoy playing whatever song or instrumental we happen to be performing. We play for enjoyment and not for pay. All we ask is a reasonable sound system. While we won’t make money doing this, we will make craic- and isn’t that all that matters. Dominic Behan wrote this song (among many other fine examples from the genre) and it captures the essence of the Irish navvies who, in their thousands and tens of thousands built the rail, the roads the tunnels and canals and a lot more of the infrastructure in Britain and farther afield.
Categories
Banter V Songs and Tunes

A Bit of Banter: 56- Follow Me Up To Carlow

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (plus one middle-aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and running again…

Song 56: Follow Me Up To CarlowAccording to tradition, the pipers of Fiach McHugh, the protagonist and hero of the song, played this melody as a marching tune for the Irish fighters during the battle of Glenmalure, fought 337 years ago, almost to the day of this posting. That wise oracle Wikipedia tells me, The Battle of Glenmalure (Irish: Cath Ghleann Molúra) took place in Ireland on 25 August 1580 during the Desmond Rebellions. An Irish Catholic force made up of the Gaelic clans from the Wicklow Mountains led by Fiach MacHugh O’Byrne and James Eustace, Viscount Baltinglas of the Pale, defeated an English army under Arthur Grey, 14th Baron Grey de Wilton, at the O’Byrnes’ mountain stronghold of Glenmalure. The lyrics were written by that great Irish scholar and songwriter, P. J. McCall, who also wrote such perennial favourites as Boolavogue and Kelly, the Boy from Killane. This song has long been in my repertoire and the group, Banter, is working up an arrangement (that you can hear below) that is, like so much of our latest ouevre, a work-in-progress. After a few refreshing beverages, we often get to musing about going into a real studio and recording a live, but considerably more rehearsed and  balanced version of our favourite songs…

Categories
Banter V Songs and Tunes

A Bit of Banter: 55- Back Home in Derry

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (plus one middle-aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and ??running?? again…

Song 55: Back Home in Derry– There have been books written on the life and times of Bobby Sands. Among other things, he was a songwriter who, had circumstances been otherwise, might have entered the legions of singer-songwriters of Ireland and fared well (or not-so..) in this avocation. But circumstances saw him elevated to the pantheon of Republican heroes and martyrs. He borrowed the melody for this song from Gordon Lightfoot’s The Wreck of the Edmund Fitzgerald and wrote these well-known lyrics which commemorates the transportation of Irish prisoners to Van Diemen’s land (present-day Tasmania).  We had returned to Ireland in 1979 and were living in Cushendall, Co Antrim, when the Republican prisoners in the H-Blocks of the Maze prison started to agitate for political status. I tell some of this story in another part of this blog- The Summa Quotidian Entry 34- This Cold Bed. I had written the lyrics and music but my wife thought my chords and melody were too-clever-by-half. Of course, she was right, so I “borrowed” a melody she hummed as she read the lyrics.

Categories
Banter V Songs and Tunes

A Bit of Banter: 54- The Lark in the Morning

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and ??running?? again…

Song 54: The Lark in the Morning– A song in progress (we’ll probably end up copying The Dubliners version of this song with the interspersed instrumentals). At any rate, our bodhran player and main singer confided the other day that he used to sing this song way back when so we struck up the band, so to speak, and this is what resulted. We’ll keep working on it ( I was about to say, refining it but that might be a bridge- or should I say,- an inaccuracy too far…) This is one of the most popular songs, covered by many artists.

Categories
Banter V Songs and Tunes

A Bit of Banter: 53- Two Hornpipes

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and ??running?? again…

Song 53:  Chief O’Neill’s Favourite/The Cork Hornpipe or Harvest Home– In 1974 , my wife bought me a small round-backed mandolin I lusted after from the music shop at the top of  Crown Street, Wollongong. I started plinking on it and after a time found that I could string the notes of these hornpipes together fairly accurately.  Of course, I slavishly followed the example of The Dubliners from a record of theirs which I played repeatedly to get the gist of the tunes. When Seannachie formed, I duetted with the gun mando player from that group- one Bertie McKnight- and for the next few years it became a staple of our performances. When the group, Banter, re-formed (again) just a few months ago, I re-introduced the hornpipes to the group. Why we hadn’t played them before remains one of life’s little mysteries because they are great tunes. Anyway, in this formation, I play guitar while the tunes are carried aloft by father and son on mandolin and fiddle respectively as the group’s main singer batters away on bodhran to mark the tempo.

Categories
Banter V Songs and Tunes

A Bit of Banter: 52- Johnny I Hardly Knew Ye

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and ??running?? again…

Song 52 & 4: Johnny I Hardly Knew Ye– I first heard this sung by Tommy Maken way back and I took it up as part of my repertoire when I was still young and green. Written by English songwriter, Joseph Geoghagen and published in 1867, the anti-war sentiment seemingly  embodied in the song may be an aretfact of 20th Century readings of it as some evidence suggests that the song was sung for comic effect in music halls in the 19th Century!   But in Ireland itjihky was sung, like Arthur McBride, as a cautionary tale about joining the British army. In any case, these anti-militaristic views were quite widespread, especially among women. We’re trying out another arrangement of the song, now, and it is still a work in progress (even though some-myself included-might quibble a bit about that word progress!) Nevertheless, it may be of interest to those readers and listeners who like to examine process as much as product.

Categories
Banter V Songs and Tunes

A Bit of Banter: 51- The Ferryman

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and ??running?? again…

Song 51: The Ferryman– Like so many Irish urban songs, this Pete St John number tells of how economic forces affect the ways in which people regard their employment and the ways in which their relationships also may be subject to change. For all the gloomy sub-text, the song remains optimistic in spirit and this comes through in this treatment of it.

Categories
Banter V Songs and Tunes

A Bit of Banter: 50- St Anne’s Reel

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and ??running?? again…

Song 50: St Anne’s Reel– When we emerged from our self-imposed torpor a few months ago and started, in desultory fashion, to play music together again, we found ourselves quite rusty and found that the WD-40 that overcame this problem was the expedient solution of slowing down whenever we commenced a hazy tune. Our innate competitiveness, however, invariably resulted in the tune gradually acquiring momentum (sometimes to the extent that it eventually flew apart under centrifugal forces!) All good fun…

Categories
Banter V Songs and Tunes

A bit of Banter: 49- The Lonely Banna Strand

a-muso-imageThere’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the result of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and ??running?? again…

Song 49: The Lonely Banna Strand– Back in the mid-seventies we sat around a fire in a bleak backyard in Werrington and sang this (and other) songs. I came across a reference to this song in an old diary and, having decided to get up and going again (even though two of us are over seventy and I’m closing on that big “O” at a rate of knots…and the baby of the group is over halfway to three-score and ten) we offer up a series of songs and tunes that we intend (at some time in the not-too-distant-future) to take into a proper studio and record a properly balanced set. I think the singer interprets this portion of the story of Sir Roger Casement with real feeling. When I lived in Cushendall, I would often take the family out to Moorlough Bay, which looks across the North Channel to Scotland, and walk the paths about the headland, thinking about the achievements of this great man. I taught, also, for nine years in the 180s at Ballymena Academy, the alma mater of Sir Roger. While I was there, they did not acknowledge him, in any meaningful way. I wonder if this is still the case?

Categories
Banter IV Songs and Tunes

A Bit of Banter 48- Let Them Not Fade Away

There’s no fool like an old fool, they say, so what happens when a bunch of oul’ coots (+ one middle aged son) gather together to make music? The next series of posts may enlighten you as to the question just posed and may also, perhaps, enrage or entertain. These songs were the resa-muso-imageult of a few sessions around a table laden with alcoholic beverages of various kinds. Plonked in the centre of the table is, now,  an iPad with connected mic that has somehow survived the knocks and spillages that are part and parcel of the sessions.  So here we are, up and ??running?? again…



Song 48- Let Them Not Fade Away After a quite lengthy break from blogging, I resumed keyboarding and promptly fell overboard by deleting this (original) post as I was constructing the  49th effusion (but at least it wasn’t as bad as waterboarding). Had it been one of my longer-form posts, I would have saved it in some fashion and would have been able to resurrect it whole and hearty…can you feel a “but” coming on?… but, I didn’t, and only a hazy outline of the original remains in my consciousness. A rock version of this song can be found in The Summa Quotidian sequence on this site. However, this is the bare-bones version featuring guitar and voice. The first song by The Rolling Stones I recall hearing was their single Not Fade Away from February, 1964. It made me a life-long fan of the group, particularly their 60s oeuvre. This song is part-homage, part-autobiographical snippet, which I think works pretty well.

 

 

Categories
Playscript

…And Leave Him There

…And Leave Him There

SCRIPT CONVENTIONS:

  1. Text of four sizes appears in the script:

12 point plain text indicates narration

11 point plain text indicates verse

10 point plain text indicates song lyrics

9 point italic text indicates staging suggestions

  1. Indentation, also, is used to indicate the type of text: narration is set margin to margin, verse is indented two tabs and song lyrics are centred.
  1. Staging suggestions are enclosed in round brackets at the point where they occur.
  2. At the beginning of the play, two paramedics are seen wheeling a gurney SR to SL. At the end of the play, they wheel the gurney SL to SR. The action of the play takes place between these movements. Therefore, there are no breaks in the script and no interval; although, I have indicated where an appropriate break might be inserted should an interval be needed for reasons such as commercial or contractual considerations.
  3. THE PLAYERS           The Narrator: A man of about fifty years of age

A Young Woman about twenty five years of age

A Young Man also about twenty five years of age

  • Production Note: The play was written with adaptability and scalability in mind: this version is a three-hander for the commercial stage. Although the directions indicate the presence of a live band and elaborate stage sets, it could be mounted without the band and with a more minimal set. Larger forces; for instance, a variety of singers and reciters would lead to a more expansive feel and bring the Narrator into greater prominence. A radio version needs little amendment and a film/TV/animated adaptation would be possible, given the nature of this work. BM

___________________________PLAY BEGINS___________________________

(Music in background, instrumental, from “Coda”. The setting is in Manhattan in the spacious living area of an apartment in midtown; the date is 11 September 2001. It is a few hours before the event that changed the history of the 21st Century. The stage is open at the outset- no real sense of location. There are ramps and flies that can be shifted. The sets are fluid. There may be a playing platform for a live band if the production allows, who are sometimes behind a scrim, sometimes in view. The band, as well as playing and singing, may be incorporated into the action of the play, including the verse sections. Two paramedics push an unoccupied gurney across the stage, in a hurry. There are strobe effects and we see the movement jerkily. Strobe off as the gurney and its pushers exit unseen. Then, there is a spot within a diffuse spot into which the Narrator moves, downstage, off-centre. There is a rocking chair downstage, side stage are a variety of movable surfaces and shelves. Should the stage allow, tabs can fly to open up or narrow the width of the playing area. The Narrator is carrying a glass of water and he is wearing a dressing gown and slippers. During the play the gown and slippers he wears will change. A partition, for quick changes on stage, should be part of the set. DSC is a large, tall and wide picture window from which can be seen a familiar cityscape. Skyscrapers fill the window but we cannot see the tops of the largest skyscrapers in the centre because there is a fashionable blind which comes down covering the top third of the window)

I have lived in harbour cities in that global abstraction that we call the West: on both sides of the Atlantic- Belfast on the Eastern edge; New York on the other- and also that Emerald City of the Antipodes- Sydney. Alas, although I would have loved to complete the trans-oceanic set, San Francisco or L.A. were never to be locales in which I have lived…ah, well! He pauses, takes a chased silver pillbox with three or four compartments from his pocket which he flicks open. He raises it to his mouth and washes a pill down with a drink of water and returns the pillbox to his dressing gown pocket.) As a child I met a courteous merchant marine captain named Schnell who knew and revered Hitler. This was in 1959; he had, no doubt, dined out on this for years. As, indeed, have I … (He breaks and crosses to a table the follow-spot brings into view. He sets the glass on the table beside a partly-open book.) That’s done: the introductory dance, that is. I suppose you wonder why you should stay- even pay- to listen to this. I know of those men and women, artists all, who put their all into whatever genre they are presenting- the laundry lists, the diaristic agonies, the close-up of tears, the unendurably sad sobbing of violins. I will not do this. I am much too cold a fish for that. I have been told this. I have been told this. My wife, in fact, compared me to a fish as she left for JFK ten days ago. “Don’t drink like a fish when I’m gone- and don’t forget-you have the infusion at the clinic”. But she did leave me with this. (He takes from his pocket a small device with a red button.) Ha! The panic button! Not so long ago, I thought it was just a saying. Strange. (He puts it away again) Where was I? The violins…the violins. Yes!  Nor will I emulate those monsters of ego who tell you nothing but can show everything: who surround themselves with great paintings, priceless first editions, antique furniture and all the uncountable, unimaginable accoutrements of culture in their landmark chateaux, schlosses, castles and penthouses. The sort of people you love to know about even though you may hate everything they have achieved and everything they stand for. You know, I’m just like you, so, it may be a kindness of fate that a recent windfall has come late enough to save me from myself. For I think, I think, that if such great good fortune had come my way earlier- I would have been a monster too. But more of that later. . we are only at the beginning of our journey, after all. (He looks down at his dressing gown, which is a plain, light-coloured affair, plucking at it fastidiously.) I think therefore I am. Descartes. Yes? Don’t flinch; I will not bombard you with Wittgensteinian profundities and obfuscatory perambulations around abstruse philosophical topologies only negotiable by a poindexter with the agility of a mountain-goat harbouring a penchant for semiotics. No! I inhabit a much more moderate tract of intellectual real-estate. I am what you may call- a middle-brow sort of person. No threat, no threat at all. That which I have is, for most part, borrowed rather than grown or owned. But to get back to the courteous captain. As a child of about…oh, I was eight or nine, I listened with only the vaguest comprehension to the table-talk. The table talk.  We were on an oil-tanker, in mid-Atlantic, on our way to a vacation that the oil-company insisted the families of its employees took every two years. My father had many contacts among the merchant marine and he had arranged passage from Aruba to Southampton for his family on this occasion during our sojourn in the tropics. As guests of the captain, we were at his table. There was, as well as my sisters and mother, another guest; a young man of mixed race who showed to me on deck one day a miniature camera that was one of his proudest possessions. As I say, I have only the vaguest recollections of the content and import of the captain’s conversation. What registered then, and has never left me, is the icy contempt with which he treated that young man whose name, I regret to say, I do not remember. Captain Schnell would lavish old-world courtesy on my mother; he would smile at me and my sisters indulgently. But as for the young man of mixed race- and what a stupid and vacuous phrase that is- there is only one human race after all. And here, in this place, in this space, I think we can all agree on that. But in that other space, that other time, on that oil tanker in mid-Atlantic- the captain was never rude. He was always punctilious in passing the soup tureen and so on- but everybody knew, everybody knew, the young man included, that captain Schnell despised the young-not-quite-white-man who must have had connections the captain could not refuse. So why did I forget his name? Maybe, it’s been the weight of several decades: the sluice, no, no, the torrent of information that has poured in through my senses- only five, by the traditional way of counting them. All that noise and light; the odour, taste and texture of life itself. Maybe it was that I didn’t care enough then and perhaps don’t really care enough now- or am I being too honest? Can one be too honest? And still, forgetfulness fills us with such terror. I don’t really understand- but, then, I don’t have to- I’m not an explicator, explainer, philosopher. Perhaps something of an observer. (At this point he walks downstage and scans the audience slowly.) And from time to time I scratch that itch that some call the need to create. An observer, then, with a need to relieve the itch.  The conceit is not unusual but probably borrowed even though it fits so easily, so naturally. That’s me done with introspection- for now, anyway. I’ve always preferred stories-(He crosses to the table and picks up the dog-eared paperback.)  a good read over the worthy canonical tomes you can find under the heading: self-improvement. And, indeed, I’m always surprised to find people who think that I’m educated, even erudite. Having encountered and, in a couple of instances, been friends with people who are- I know my place, my pleasure, my role, if you want to be reductive about it. I scavenge…collect enticing bits and pieces, turn them over close to my face in wonder, then notice something glinting just over there, and either drop what I am examining or stuff it in a pocket (He places the book in a pocket.) as I clamber over, it may well be, the secret of the universe as I reach for the next shining artefact, leaving the real prize untouched.  (He takes the pillbox from his pocket and looks at it…) This metaphor, too, is, in all likelihood, borrowed. From now on take it as read that much of what transpires has not been voiced in the universe for the first time. Of course, I have enough vanity left to tell you that I will feel disconsolate, for however short a time, if you conclude, as did a professor after reading his student’s plagiarised essay: this work is both original and good but, unfortunately for you, the good bits aren’t original and the original bits aren’t any good. The icy captain Schnell stirred my interest in history. But have you read a history book recently; so heavy, doesn’t fit in the pocket or the mind very easily. Scavengers only rarely have the time. Much better is to slip a poem or a song snugly into the memory and take it out, when leisure allows, and set it beside some other small treasure that you have found along the way. (He replaces the pillbox and takes out the paperback quickly finding the page.) Let me demonstrate what I mean. . (He takes a rectangular reading magnifier from his pocket. He needs this to make out the words and images of almost every book or picture he looks at.) On the authority of Edwin Brock I have learned that…(Cross-fade, lights down on the Narrator as, advancing across the stage, comes a no-nonsense woman, dressed in clinical whites, perhaps with a clipboard, carrying a slim, silver pen which is used to tick off points on the clipboard. She will appear in later scenes. The click of the pen as the points are enumerated should be audible. Bring in progressively more elaborate set aspects as the play progresses. At the start the set is quite bare; by page 20 it is expressionistic, even surreal.)

from Five Ways to Kill a Man– Edwin Brock

There are many cumbersome ways to kill a man

you can make him carry a plank of wood

to the top of a hill and nail him to it…

Or you can take a length of steel,

shaped and chased in a traditional way,

and attempt to pierce the metal cage he wears,

…you may, if the wind

allows, blow gas at him…

…you may fly

miles above your victim and dispose of him by

pressing one small switch…

…Simpler, direct, and much more neat

is to see that he is living somewhere in the middle

of the twentieth century, and leave him there.

(She clicks the pen decisively: lights fade as she exits. A kaleidoscope of colours swirl on a scrim as the opening notes and chords of the song begin. As the song begins we see behind the scrim the shadow of the singer. This figure is the young man dressed in fascistic black and silver. Fly the scrim as the song gets under way to spot another figure dressed in motley; a clown-king, a harlequin, (in fact the young woman after a quick change) who enters. Sound FX of crowds cheering during song chorus words “ooh, ahh”, modulating to crowds screaming on the last chorus.)     

The Emperor of Ice Cream

Wallace wrote a poem and put it in a glass jar

Placed it on a hillside deep inside Tennessee

Ah don’t you know that Sunday can be wearing

Strolling in a peignoir mulling on the mystery

Where is that sweet man ooh ahh

The Emperor of Ice Cream ooh ahh

Plot against the giant young girls if you’re able

Summon him with bright cloths whisper in his fleshy ear

But first make sure those sweet smells really check him

Or he will detect your schemes and growl lights out shades down

Recall that nice man ooh ahh

The Emperor of Ice Cream ooh ahh

Look at fat Jocundus staring at a tumbler

Watch the politicians playing cards their fat cigars

Become their batons beating lazy jig-time

As macabre mice dance dreaming of democracy

Send back that white man ooh ahh

The Emperor of Ice Cream ooh ahh

Place a loaf of bread beside a scenic window

Cover up with paint the view that lies beyond the crust

But when you hear the sound of marching feet

It’s time to face the beast the mask is off you’ve lost

Here is that feared man ooh ahh

The Emperor of Ice Cream ooh ahh

(During the final chorus the clown crosses to the singer, takes the radio mic (singer exits) and hands it to the Narrator, which he takes without surprise. The clown sits cross-legged and “his” head sinks. The Narrator switches the mic off, after speaking the first sentence, during which time there are echo and phasing effects. His gown is now white with blue piping.)

A much younger man wrote that song in the mid-seventies: sitting in a Sydney park under the antipodean sun, reading the poetry of Wallace Stevens, watching his two young children playing; a refugee from the cauldron that was Belfast- the first of the harbour cities to give a shape to his life, the place he sought out as a teen for its music and the sweet, sweet girl who was to become his partner for what has been now over thirty years. And now circumstances have forced her to be his warder- (You realise I’m talking about myself here- third-person pretension, I think it’s called?) I have an addictive personality, I am told, and I have to be watched for my own good. And because she isn’t here to watch- she has left this device for me to use if I go over the edge (He takes out the panic device again)…wherever and whatever that may be. Apparently it will summon help: the ever dependable Eddie downstairs or some paramedical service. Ha! Help! Help…  Australia, then, was the land of the long weekend, bland but safe. Oh, I know that horrors lurked. But not for us any more – or rather, the beast was safely out of sight for another ten years or so. It was strange to reflect that less than ten years before, I had been part of that sixties’ optimism- all the entrenched bigotries were being swept away by the scornful laughter of rejection as youthful shock-troops kitted out by Carnaby Street and waving the incoherent manifestos of various pop philosophers stormed the tired ramparts of- what else- The Establishment. And 1968 was the annus mirabilis- a time when, throughout most of the western world, change seemed not only possible and desirable but inevitable and imminent. But, in Belfast, other, less fashionably dressed, players were in the game. They, too, had the establishment in their sights. But with them that expression was not figurative. It all went sour very quickly. Anyone who has lived through the experience of a civil society collapsing can attest to this. One day, it seems, all is well, nothing but mundane concerns clouding the horizon. The next day the sun doesn’t rise because, in Yeats’ memorable lines, the best lack all conviction and the worst are full of passionate intensity. And what was I during the cataclysm? Neither best nor worst. Was I lukewarm, perhaps? To be spewed out of destiny’s mouth! (Replacing the device in a pocket, he now takes out a flask, sips from it, rolling the liquid around) Destiny’s mouthwash perhaps? Once upon a time I would have riffed on that conceit- turned it into a song-lyric, short story or, more likely, barroom bluster. Now I find it a chore merely to recount. (During the opening bars of the song the clown comes to life and starts to dance around the Narrator- The clown, dances DSC and begins to sing. The Narrator crosses to a partition which allows him to quickly change gowns and slippers. From, presumably, a small bar-fridge he takes a tomato, and from a tastefully arrayed set of knives he selects a shining blade with which he proceeds to slice the tomato on an adjacent surface. He clicks on a kettle; we see a coffee mug next to it. The choreography should be arranged to highlight the appropriate moments to bring the Narrator and his actions into view. His gown is now blood-red, as are his slippers.)

Harlequin’s Poles

Harlequin dances round the poles in the hall

We dance along singing his song

And now we’re falling

Harlequin glances at the writing on the wall

He speeds the dance we’re in a trance

We hear him calling

He seems such a nice guy

With his painted on smile

Hope he’s going to stay a while

Harlequin chances on some people won’t heed him at all

He takes their lives with his long knives

And now they’re fallen

He seemed such a nice guy

With his painted on smile

As the bodies pile up high

Harlequin dances round the poles in the hall

We dance along trapped in his song

And now we’re fallen

(Exit clown. Light fx of swirling smoke on scrim. The Narrator moves downstage holding his mug of coffee. We note he has finished his tomato and his first words may be somewhat muffled as he swallows the remnants of his collation. He warms his hands on the mug and speaks quietly to the audience.)

I had a friend, once upon a time, who lived in the Blue Mountains just west of Sydney. From a new house with bloodwood timber floors and views across a wilderness of eucalypts, he only had to step outside to walk for hours in any direction through one of the most glorious landscapes the world can offer. But he was bored; dissatisfied with his lot. You see, entering into his fifth decade, he had never experienced history. I reminded him of the ancient Chinese curse that wishes the enemy a life in interesting times. Drink your steaming, gourmet coffee (He looks sardonically at his own sad beverage.) as the sun burns the early morning mist off the mountains, I said, and read about it from the comfort of your hillside retreat. You teach in a multicultural school in the city. Do you wonder why that seventeen-year old Croatian girl’s eyes are full of pain? Remember the expulsion of the Afghani youth whose behaviour was seriously alarming? It’s safer to read about the Taliban’s treatment of dissidents than experience it. Too young to have seen service in Vietnam, he had at least one student in each of his classes as a consequence of Australia’s involvement. A good person, he had helped repair the damage done to some of those who, in fact, had the misfortune to be living in places undergoing interesting times. And he had worked and scrimped and saved with his beautiful wife to build the beautiful house of their dreams to share with their two beautiful children. But he was bored; dissatisfied with his lot. So, he set out to experience history. We threw them a going-away party and our kids played together in the backyard as we drank a wonderful red wine around an open fire, yellow-box wood was burning in the brazier and I can smell it still. He was killed by separatists outside a model school… somewhere in the Himalayas as I recall, burned to death in his car with his wife and two pre-teen daughters as they were arriving to start the new school year. (During this time he has been downstage, pacing, drinking his coffee. He crosses to the side and places his cup down. He returns with a spray-bottle, as he continues speaking he sprays, from time to time, a sizeable bonsai garden set in a trough suspended from chains that may be flown in. From the audience p.o.v. the hanging basket should be shaped as a half-vesica, a miniature island with small bonsai plants and rock formations) As I watched our kids playing in that Sydney backyard I was reminded of playing on the patios of Aruba- the adults would drink and talk and never think our little ears were listening. But they were. For a few years, it was evident that a change was coming. My dad would talk about the new crew he was training up; my mum would ask “But when will they…?” “Shhh, Big ears is just over there…” In 1964 we returned to Northern Ireland, for the last time from the sunny sojourn that was my childhood; from the Lotus Land that was the small Caribbean island of Aruba where my father had worked for twenty five years as a tug-master for the oil company founded by old man Rockefeller, one of the icons of Capitalism. From time to time, to break the monotony, I would rummage about in the attic of a rainy day- and the small coastal village of Cushendall had more than its share of these that year, as I remember it. There was, in an old, green steamer trunk, brass-bound with an ornate hasp and decaying leather handles, piles of newspapers, copies of The Irish News from the years of the Second World War. And I began to read: there in black and white was the frisson of living in exciting times. A newspaper that doesn’t know if it will publish the next day, courtesy of a German bomb, has rather more focus than the indulged rags of peaceful epochs. A bit like a man facing execution- as Doctor Johnston said- it concentrates the mind wonderfully. At any rate, this was history. My father and mother were in its pages, in very, very, small print- he hadn’t been a general at Stalingrad but has watched a U-Boat blow a friend out of the water, literally. Strange how glibly that phrase “blown out of the water” falls from the mouths of those who have never been closer to conflict than raised voices, a shove or a drunken slap. They were on the Maracaibo run bringing crude oil from Venezuela to the oil-refinery in Aruba. He never spoke about it to me- it was part of the family legend and some things you knew better than to broach. My mother, meanwhile, an ocean away, helped console the shattered survivors of the Luftwaffe’s attacks on Belfast. They made monsters in those days, and even the ordinary people seemed larger-than-life. But I was born into the next age, the Age of Anxiety. In the early sixties, Castro was a renegade on the rampage not too far to the north- but somehow comic with his beard and cigar, a Latin Groucho Marx rather than the more imposing German Karl. However, the missile crisis sparked nervous cocktail conversations in the patios of expatriate Americans: You can bet the refinery will be hit! (He aims his spray gun at the audience “shooting” them in a wide arc.) The periodicals were full of details of how to build bomb shelters. The commie bastards would, of course, be utterly destroyed. MAD was more than a magazine title, in those days. That magazine, by the way, provoked in me spasms of hysterical laughter one day in 1961- I don’t remember what, in particular, set me off but I remember my mother regarding me oddly as I pointed gasping and shrieking at the source of my merriment. In memory it seems to be in vivid colour even though I know the magazine didn’t abandon the black and white form for decades after that. The other magazine I remember from the time was US News and World Report which, unlike MAD, featured prominently on the periodicals display in the High School library. And, from that sober source I learned about an invisible, mysterious killer- Radiation delivered in its hellish sacramental form- Fallout. (He points the spray gun vertically overhead and sprays, lighting should show the droplets falling around him.) My learning was from the printed page. In 1945 on a clear August day the people of a Japanese harbour city learned about it much more directly (Lights out, The Narrator exits as the drone of a B-29 fills the theatre and fades. Brilliant strobe flash, bright, tight spot picks up the young woman dressed in white who speaks the poem; other effects or none as your conception of the piece dictates)

from The Shadow– Toge Sankichi  

That morning

a flash tens of thousands of degrees hot

burned it all of a sudden onto the thick slab of granite:

someone’s trunk.

Burned onto the step, cracked and watery red,

the mark of the blood that flowed as intestines melted to mush:

a shadow.

 

Ah! if you are from Hiroshima

and on that morning,

amid indescribable flash and heat and smoke,

were buffeted in the whirlpool of the glare of the flames, the shadow of the cloud,

crawled about dragging skin that was peeling off,

so transformed that even your wife and children

would not have known you,

this shadow

is etched in tragic memory

and will never fade.

(She turns and watches as the singer, the young man dressed in a bomber jacket WWII vintage, begins to sing.)

Airman

When I was a young boy on the farm

I didn’t believe that bad men could win in the end

I thought evil was stealing cars

Or getting drunk and wrecking dimly lit bars

But then the depression rolled along

The bank foreclosed the family took to the road

I joined the Army Air Corps just in time

To go to war and then go out of my mind

Above the clouds lies the land of our dreams

They say everything is beautiful

But it ain’t what it seems

We gathered in early light the wind was chill

A general made a speech we yawned half asleep

Thunder of engines rocked the dawn

A few hours later a city was gone

Above the clouds lies the land of our dreams

They say everything is beautiful

But it ain’t what it seems

Above the clouds lies the land of our dreams

They say everything is beautiful

But it ain’t what it seems

(The singer and reciter see each other, pace slowly until they are face to face. They look into one another’s eyes, then walk slowly side by side upstage and the Narrator walks downstage between them. The singer-pilot pauses, reaches in his pocket and hands a small black oblong object to the Narrator who advances towards the audience as the others exit.)

I first held a switchblade in 1962. We were bored. All those movies of youthful rebellion, the stories of the streets brought back by boys from New York City or Chicago fed our hunger for connection in the tropical nights. Sneaking out was a test of manhood. While our parents snored we would slip away to an assigned meeting place among the cactus and coral. We would throw eggs or almonds at passing police trucks, steal Coca Cola from crates in the backyards of bungalows and crash parties of younger or uncool kids. I remember the shock on the faces of teachers shortly after we showed up at the High School Halloween dance dressed in jeans, black jackets and white, white T-shirts. It was prize-giving time. The scariest costume or theme was supposed to win. We swaggered up, five of us, stood in a semicircle before the judges, who, as the younger and less powerful members of the teaching staff, had been allocated supervision duty for the night. They smiled indulgently… how could we hope to compete with the assortment of ghouls, ghosts and goblins standing about in the hall? On a signal we each produced our knives. The click (He presses the button on his held object and the blade swings out.) as the blades locked in place was executed with the precision of a US Marine honour guard hefting arms. We didn’t win. Our shiny blades were confiscated and we got detention for a month. We were that Junior High’s coolest gang and we were bad- in a middle-class, pampered, sort of way. Innocent, really, now that I look back on it. We were never going to be a match for the real-life counterparts of The Sharks and The Jets: West Side Story was causing a sensation at the time. And, of course, we were not even in the same universe as those teenage gangs who called themselves the Khmer Rouge in Cambodia in the seventies. The lesson I learned as I served my detention time was that the wielders of authority decide who is going to win, regardless of what the rules may say, even when they solemnly intone that everyone has to abide by them… especially then : (He crosses to side-stage. There is a bookshelf with a variety of tomes. He looks silently at the array during the song. Occasionally, he extracts one and looks at the title on the spine before replacing it. The young man sings.)

Outlaws

He never walked in Sherwood Forest

Or twirled a six-gun in the west

But here on the line live his people confined

They love the outlaw

Take Robin Hood or Billy the Kid

Not much in common but they lived

Outside the law hold our children enthralled

They play the outlaw

So raise your glasses to the Sheriff

Cheer Marshal Garrett till you’re hoarse

The people outside you scorn and deride

They toast the outlaw

Who do you turn to when times get rough

When the keepers and the guardians are corrupt

Oh oh oh oh

Oh oh oh oh

Don’t point to facts they have no force

A body count brings no remorse

Just look past the eyes of the zombie inside

We need our outlaws

(Exit the singer. The Narrator now selects a slim yearbook and may look through it from time to time as he approaches the audience talking. In it he sees photographs of himself and his friends and scenes of some of the activities described.)

The following year I took my Dad’s Chevvy for a drive. It was 1963 and I was feeling a bit of an outlaw. I’ve always looked younger than my age and among the well-fed North Americans I was the Irish runt- always the smallest in my class. In yearbook after yearbook I’m that really small kid at the end on the left-hand side. The police sergeant smiled as he handed the keys back to my father saying that at first he thought the car was driving itself. It was time to bail out. A criminal life was not for me. It’s hard to sustain the persona of an underworld czar when your victims only laugh at your exploits. But, hey, it was the sixties, and rebellion didn’t have to take the form of serious law-breaking. There was a new music being born. And I started to listen. An older girl who could actually drive legally- she was sixteen- showed me a Martin guitar. She was raving about the coffee house folk scene back in the States. Her name was Mary Ann and she, with her friends Bonnie and Cheryl, took a shine to me and my friends. They adopted us as mascots and drove us around, gave us beers and smokes and complained about their boyfriends. They were seriously cool chicks; they read widely, knew about art and music and told us that women actually dug men with brains above the pelvic region. Not that this stopped them whistling at the senior basketball team at practice and singing rude songs, the content of which would make a rugby team blush She didn’t need liberating, Mary Ann. Bright academically, really striking in looks, (although, funnily enough it isn’t reflected in her yearbook photographs) she laughed at the teachers at the school and called them greys- even though they were mostly in their thirties and selected for their above average academic record. I almost cried when I told her that I had to leave to return to Ireland. She laughed, gave me a cigarette and handed me a bottle of Amstel beer. She leaned over and whispered in my ear: “Don’t go grey.”  (He touches his receding grey hair) Now, I never thought she was advocating that I dye my hair in later years. It took me years to realise that she and her friends were an extraordinarily deviant group, but deviant, only in the sense that they were just about as far from the conventional 60s norm as you can get. Then, I just took it as read that the other half of the human race, in whom I was just starting to take hormonal notice, were wise and witty and funny beyond anything that we could come up with. (The Narrator stands downstage to one side looking at a page of the yearbook as the young woman- advances. She accompanies her recitation with large gestures, jazz-ballet style. Obvious light effects will suggest themselves but it’s OK to resist them. On the line “people will stare forever” the narrator gazes spellbound at the young woman.)

I Would Like to be a Dot in a Painting by Miro– Moniza Alvi

I would like to be a dot in a painting by Miro.

.

Barely distinguishable from other dots,

it’s true, but quite uniquely placed.

And from my dark centre

I’d survey the beauty of the linescape

and wonder- would it be worthwhile

to roll myself towards the lemon stripe,

Centrally poised, and push my curves

against its edge, to get myself

a little extra attention?

But it’s fine where I am.

I’ll never make out what’s going on

around me, and that’s the joy of it.

The fact that I’m not a perfect circle

makes me more interesting in this world.

People will stare forever-

Even the most unemotional get excited.

So here I am on the edge of animation,

a dream, a dance, a fantastic construction,

A child’s adventure.

And nothing in this tawny sky

Can get too close or move too far away

(The Narrator walks towards her but never gets too close. The young woman exits appropriately and the Narrator returns and replaces the yearbook on the shelf. He mixes himself a drink. It’s a stiff one, he shouldn’t really be having it. Stage business here, as elsewhere should not, unless dramatically necessary, impede the fluidity of the play’s unfolding.)

I have never forgotten Mary Ann. I would like to think that she took her iconoclastic insouciance into her future life. If she still lives, and if she, by some magic of mathematical chance, hears me now, can I say, Mary Ann- I took your advice, I didn’t go grey or tried not to- I read (present tense) read (past tense) widely, listened to music from everywhere I could manage, sought out art and sculpture and tried, even if in a small way, to create. Although, I would be the first to concede- I will never be among the pantheon of your artistic heroes. But, as I said, I read voraciously and still can’t resist a big, really big, Art Folio or an extravagantly outré exhibition- and Manhattan is just the place to be for that! Music still has me enthralled, and I have gorged on jazz and rock and experimental and classical over the past months of my Big Apple residency and I still haven’t been satiated and, alas, I think something else will intervene before that happens. Oh, I never will forget her laughter at a world that was horrible and risible at the same time. Her laughter was the sound, you know, the music that made me first look at life with a clear, cold eye. I have basked in the glow of memories such as those starlit car-rides out through the police gates, guarding the segregated housing of the employees of the oil company, into the more anarchic multiracial streets of San Nicholas- a mini-Manhattan in it’s own way- and I have derived strength from something created in those few short months that has endured to this day. Thomas Hardy wrote a poem, The Self-Unseeing, where he set out that universal truth: that it is only long after the event that we can actually appreciate the significance of our actions and of the people in our lives. Not long after I had the privilege of knowing you, Maryanne, (and, also, Cheryl and Bonnie) I was heading towards a new life in the Old World. Tired old Europe and tired old Ireland was to be the setting of the next phase of my life: the gates of Eden closed as we drove to the airport, my older brother and I, to take a flight that was heading north to Miami and New York, then east, over the Atlantic, towards the emerald isle. As we soared above the clouds, I persuaded my brother to order a vodka and coke for himself, which I drank. He didn’t drink at the time and, reflecting on this small episode, you might well wonder how the diminutive youth could be so persuasive. Years later I asked him about it and he said that I had an appeal, then, that was hard to resist. His use of the past tense hurt somewhat. We lose so much, as we grow older, don’t we? I wasn’t trailing clouds of glory, but the fumes of that spirit, high above the Atlantic, helped to kill the pain. I knew I was leaving the walled garden, that Eden, in Aruba and that the coming years would be…well, I was to find out: (He crosses to a shelf of books and takes one, returning to his rocking chair. He carries his drink which he places on a small table beside the chair. During the song-sung by the young man- he reads the book with intensity- but closes it, with a sigh before the song ends.)

Cannery Row

With Mack and the boys out on Cannery Row

Laid into the wine jug we sat

On a log placed outside the Flophouse and Grill

We watched the sun painting the hill

As the armchair romantic sinks into his dream

He forgets that his life is constrained

How he wrestled and lost with a thing that was dead

How emptiness entered his head

A handful of notes won’t buy you the soul

That you traded for being assured

For the pages must turn then the book’s cast aside

Another you has just died

My cheek on one shoulder I walk past the shelves

Of the library just before dark

I needed to borrow a chart for the mind

I had lost and was searching to find

Then to the Mojo Motel book a table for two

The Moonglow quintet plays requests and old

Standards for you it’s true

Home again we make mechanical love and you

Say it was okay

But Mack and the boys are still living it up

And the Doc has returned from the tide

And those good working girls are preparing to go

To the party on Cannery Row

Yes Mack and the boys are still living it up

And the Doc has returned from the tide

And those good looking girls are already at

The party on Cannery Row

(The singer exits. The Narrator places now empty glass on a surface, side stage, and he replaces the book on a shelf.)

One of my first discoveries in the Old World was the existence of old people. Aruba was an expatriate society with one purpose only: to refine the crude oil from Venezuela and send it off to the gas guzzlers of the American Dream. Hence, it was an artificial social construct using any index you might select. Even the water was, in a sense, artificial. It didn’t fall from the sky or run in rivers but was piped in from a desalinisation plant and was more valuable than the crude oil. I recall where an employee of the company, actually one of the rising young executives, was summarily dismissed for tampering with his water meter. Through youthful eyes all the adults were old- but, in reality, they were mostly in their thirties or forties. Really old people, like my parents, had attained the impossible age of fifty- younger than I am now. The houses, schools, clubs, boats, cars, clothes, toys, tools, furniture, fittings, fixtures- all new. Set down by American Capital on a small desert island only a generation before. Aruba, at that time, was owned by Holland but the Americans built a refinery and constructed a quasi-colonial enclave- we actually called it the Colony- on one end of the island which was walled off from the rest of the island, the gates manned by armed police to ensure its isolation. The food also was, for most part, freighted in and sold from a commissary. Now, Ireland was different. When my father returned upon his retirement from the company- I had preceded him and my mother to start boarding school some months before- he took me up a narrow, rutted, lane in the country to visit his stepmother. It was a small one-storey Irish cottage with whitewashed walls and thatched roof. The wooden half-door was open and inside was an open fire with an iron kettle swung over it. There was an open dresser with gleaming crockery, an old wooden bench and a dog asleep on a rug. Decades later I was to visit a theme park in the south of Ireland with an almost identical cottage, outside and in. My father knocked and we entered. A small, stooped, wizened woman with deep fissures in her face smiled faintly at us as she hobbled out of a darkened room off to one side of the main living area. This was his step-mother. After introductions, he told me to go play by the stream that ran close by, while they talked. There I had one of those almost preternatural encounters that puzzles me to this day: across the stream was a tinker lad- one of the travelling people of Ireland. Commonly called the Gypsies, they are the subject of prejudice wherever they go. He called across the stream to me but I could not understand what he was saying. He repeated his words- still no comprehension. The next thing I remember, we were throwing stones at one another. Then I heard my father call my name; the tinker-lad dropped the stone he was about to throw, laughed, and disappeared into the bushes lining the stream. I walked back feeling, feeling…and the feeling persists to this day…somehow cheat