Tag: Planxty

Johnnie Cope

From “Drums of Autumn” of the Outlander saga written by Diana Gabaldon chapter 4.
In the future Roger sings many popular airs at the Celtic Festival in New England (Outlander Season 4, episode 3)
“And here’s one from the ’45,” he said. “This one is from the famous battle of Prestonpans, at which the Highland Army of Charles Stuart routed a much greater English force, under the command of General Jonathan Cope.” 
[In “Tamburi d’Autunno” della saga “La Straniera” di Diana Gabaldon, capitolo 4.
Nel futuro Roger canta molti brani popolari al Festival Celtico nel New England (Outlander stagione 4, terzo episodio)
“E adesso eccovene una del ’45” annunciò. “Viene dalla famosa battaglia di Prestonpans, nella quale l’Esercito delle Highlands di Charlie Stuart sbaragliò le forze inglesi, assai più numerose, sotto il comando del Generale Jonathan Cope”

“Johnnie Cope” is a jacobite song related to the Battle of Prestonpans (a location not far from Edinburgh – Scotland) composed by Adam Skirving . The Scots remember it as the battle of Gladsmuir because of an old prophecy that the pretender to the throne of Scotland would be victorious to Gladsmuir.
“Johnnie Cope” è una canzone giacobita riferita alla battaglia di Prestonpans (una località poco  lontano da Edimburgo – Scozia) composta da Adam Skirving. Gli scozzesi la ricordano come la battaglia di Gladsmuir per via di una vecchia profezia secondo la quale il pretendente al trono di Scozia sarebbe stato vittorioso a Gladsmuir.

charlie-letterA lot of textual versions: almost all begin with the description of a correspondence between John Cope and Charlie Stuart (the Young Pretender), obviously invented, to create a tasty affair between them and they end with Cope terrified at the sight of the Highlanders charge!
The refrain taunts Cope giving him a Sleeping Beauty , the sarcastic verses and the cheerful melody have brought this piece to the present day, still played by many soloists and musical groups.
Le versioni testuali sono molteplici, anche se quasi tutte iniziano con  la descrizione di un carteggio tra John Cope e Charlie Stuart (il  Giovane Pretendente), ovviamente inventato, per creare un gustoso siparietto  tra i due protagonisti e si concludono con Cope terrorizzato alla vista della carica degli Highlander!
Il ritornello schernisce Cope dandogli del  bell’addormentato, i versi sarcastici e la melodia allegra, hanno fatto arrivare fino ai nostri giorni questo brano, ancora interpretato da molti  solisti e gruppi musicali.

TO THE TUNES ( LE MELODIE )

We have three distinct tunes as well as many textual versions, 
[Del brano ci sono almeno tre melodie distinte come pure  molte versioni testuali]
in “Companion” (Oswald, 1759, ix. 11)
in “Scots Tunes” (McLean, c. 1772, 23)
in “Airs” (Aird, 1783, ii. No. J2)
in “SMM”(Johnson, 1790)

The melody is the traditional march of the Scots Guards Regiment
La melodia è diventa la sveglia tradizionale delle Scots Guards Regiment 

Joseph Ritson version

A vigorous interpretation of a very young Andy Stewart ( I, II, IV, V, VI)
Una gagliarda interpretazione di un Andy Stewart giovanissimo 

Sparkling interpretation of Alaistair McDonald and an amazing arrangement with the banjo.
Spumeggiante  interpretazione di Alaistair McDonald e uno  strepitoso arrangiamento con il banjo.

The Tannahill  Weavers in Tannahill Weavers IV – 1981
the legendary “weavers of Tannahill” combined the melody with “The Atholl Highlanders” (here in jig version). The text has small variations in the choice of words [i mitici “tessitori di Tannahill” hanno accoppiato la melodia con “The Atholl Highlanders”  (qui in versione giga). Il testo ha delle piccole variazioni nella scelta delle parole]

Planxty in Cold Blow And The Rainy Night

And the Corries version with bodhran

Joseph Ritson, 1794
I
Cope sent a challenge frae Dunbar (1)
Sayin “Charlie (2) meet me an’ ye daur (3)
An’ I’ll learn ye the airt o’ war
If ye’ll meet me in the morning.”
Chorus
O Hey! Johnnie Cope are ye waukin’ (4) yet?
Or are your drums a-beating yet?
If ye were waukin’ I wad wait
Tae gang tae the coals (5) in the morning.
II
When Charlie looked the letter upon
He drew his sword and scabbard (6) from
“Come, follow me, my merry men
And we’ll meet Johnnie Cope in the morning.”
III
“Now Johnnie, be as good as your word
Come, let us try baith fire and sword
And dinna flee like a frichted bird
That’s chased frae its nest i’ the morning.”
IV
When Johnnie Cope he heard o’ this
He thocht it wouldna be a miss
Tae hae a horse in readiness
Tae flee awa in the morning.
V
Fye now, Johnnie, get up an’ rin
The Highland bagpipes mak’ a din (7)
It’s better tae sleep in a hale skin
For it will be a bluidie morning (8).
VI
When Johnnie Cope tae Dunbar cam
They speired (9) at him, “Where’s a’ your men?”
“The de’il confound me gin I ken
For I left them a’ in the morning.”
VII
Now Johnnie, troth ye werena blate (10)
Tae come wi’ news o’ your ain defeat
And leave your men in sic (11) a strait
Sae early in the morning.
VIII
In faith, quo Johnnie, I got sic flegs (12)
Wi’ their claymores an’ philabegs (13
Gin (14) I face them again, de’il brak my legs
So I wish you a’ good morning.		 Traduzione italiana Cattia Salto
I
Cope lanciò una sfida da Dunbar 
dicendo “Charlie incontratemi se osate,
e io vi insegnerò l’arte della guerra
se m’affronterete all’alba”
Ritornello
Ehi Johnny Cope sei già sveglio ?
e i tuoi tamburi rullano di già?
Se sei sveglio aspetterò prima
di andare nella miniera di carbone stamattina!
II
Quando Charlie lesse la lettera
estrasse la spada dal fodero
“Venite, seguitemi, miei valorosi
e affronteremo Johnny Cope all’alba”
III [Charlie]
“Ora Johnny, siate di parola,
venite, sfidiamoci con il moschetto e la spada
e non fuggite come un uccellino timoroso
che è cacciato dal nido all’alba”
IV
Quando Johnny Cope lo sentì
pensò che non sarebbe stato sbagliato
avere un cavallo pronto
per fuggire via all’alba.
V
Bene, allora Johnny alzati e scappa
le cornamuse scozzesi si avvicinano
è meglio dormire in una pelle sana
che essere bucherellato all’alba
VI
Quando Johnny Cope a Dunbar ritornò,
gli venne chiesto “Dove sono i vostri uomini?”
“Lo sa il Diavolo se lo so,
perchè li ho lasciati tutti all’alba”
VII
Non ti vergogni Johnny
di dover annunciare la tua sconfitta
e di aver lasciato i tuoi uomini nei guai
così di mattina presto?
VIII
“In fede” disse Johnny “mi è venuto un tale spavento per i loro spadoni e gonnellini,
che sia dannato se li affronterò di nuovo,
così auguro a tutti un buon giorno”

French translation
NOTE
1) Dunbar is a town on the south-east coast of Scotland about forty kilometers from Edinburgh, where Cope’s troops landed while the jacobites entered Edinburgh
Dunbar  è la cittadina della costa sud-est della Scozia a una quarantina di km da  Edimburgo, dove sbarcarono gli inglesi  mentre le truppe ribelli entravano in Edimburgo
2) Charles Stuart, the Young Pretender
3) daur =dare [sfidare]
4) wauking=waking 
5)  The witness is a miner of the nearby coal mines who stopped for a few minutes to watch the British escape! [Il testimone è un minatore delle vicine miniere di carbone che si è fermato qualche minuto per assistere alla fuga degli inglesi e dice ironicamente a Cope: sbrigati ad alzarti che ho fretta di andare al lavoro!]
6) The phrase pronounced by the Bonnie Prince before the battle  “My friends I have flung away the scabbard!” [frase pronunciata dal Bonnie Prince prima della battaglia “Amici miei, ho gettato il fodero!“]
7)  “make their noise” [letteralmente fanno rumore]
8) bluidie morning= bloody morning [letteralmente  “perchè sarà una mattina sanguinosa (dannata)”]
9) speired=asked. The losses suffered by the British were heavy in the face of only thirty deaths in the Scottish camp. [Le perdite subite dagli inglesi furono pesanti a fronte di solo trenta morti nello schieramento scozzese.]
10) blate=shy, [timido]
11) sic=such
12) flegs=frights, [paure]
13) philabegs=kilts. The famous  highlanders charge!  [La famosa carica degli highlanders]
14) gin= if [Cope risponde “e se li incontrassi di nuovo, che il diavolo mi prenda”]

ATHOLL HIGHLANDERS

La melodia è stra-conosciuta, suonata come marcia o come jig. Atholl si trova nel cuore delle Highlands scozzesi e deriva il nome dal gaelico “ath Fodla” ovvero Nuova Irlanda conseguente alle invasioni nell’isola delle tribù irlandesi nel VII sec. Gli Atholl Highlanders sono un reggimento di fanteria scozzese alle dipendenze private del Duca di Atholl (tutt’ora effettivo a livello cerimoniale)
da The Fiddler’s  Companion
The name Athole (or Atholl) derives from  the Gaelic ath Fodla,  generally translated as New Ireland, and stems from the first invasion of the  northern land by the Irish tribe the Scots in the 7th century (Matthews,  1972). The tune, described sometimes as a Scottish warpipes  melody, is dedicated to the private army of the Duke of Atholl,  the last private army still legally existing (albeit on a token level) in the  British Isles (Boys of the Lough). The original Athole Highlanders (and the ones associated with the  tune) were the old 77th Highland Regiment, raised in 1778 and commanded by  Colonel James Murray. Musically, the tune contains a characteristic melodic  cliché in Scottish music in which a figure is followed by the same or a  related figure on the triad one tone below or above (Emmerson,  1971).
Il generale George Murray (1694-1760) che seguì la rivolta giacobita del 1745 era il sesto figlio di John Murray duca di Atholl.
The Argyll & Sutherland Highlanders

ROBERT BURNS: Sir John Cope Trode The North Right Far

“Sir John Cope Trode The North Right Far”, the Robert Burns version is collected in the Scots Musical Museum.
Burns recorded a short note on this piece in his commentary on the ‘Museum’ ‘The air was the tune of an old song, of which I have heard some verses, but now only remember the title, which was ‘Will ye go to the coals in the morning”. (from here)
“Sir John Cope Trode The North Right Far” è la versione di Robert Burns riportata nello Scots Musical Museum, nelle note Burns così commenta: “l’aria è la melodia di una vecchia canzone, di cui ho sentito alcuni versi, ma ora ricordo solo il titolo, che era ‘Will ye go to the coals in the morning”

Jamie McMenemy

Paul Kenna

Scots Musical Museum, 1790
I
Sir John Cope trode the north right far, 
Yet ne’er a rebel he cam naur,
Until he landed at Dunbar
Right early in a morning.
II
He wrote a challenge for Dunbar,
Come fight me Charlie an ye daur;
If it be not by the chance of war
I’ll give you a merry morning.
III
When Charlie look’d the letter upon
He drew his sword and scabbard from-
“So Heaven restore to me my own,
I’ll meet you, Cope, in the morning.”
Chorus
Hey Johnie Cope are ye wauking yet,
Or are ye sleeping I would wit:
O haste ye get up for the drums do beat,
Of fye Cope rise in the morning.
IV
Cope swore with many a bloody word
That he would fight them gun and sword,
But he fled frae his nest like an ill scar’d bird, And Johnie he took wing in the morning.
V
It was upon an afternoon,
Sir Johnie march’d to Preston town;
He says, “My lads come lean you down, 
And we’ll fight the boys in the morning.”
VI
But when he saw the Highland lads
Wi’tartan trews (1) and white cokauds,
Wi’ swords and guns and rungs and gauds,
O Johnie he took wing in the morning.
[chorus]
VII
On the morrow when he did rise,
He look’d between him and the skies;
He saw them wi’ their naked thighs,
Which fear’d him in the morning.
VIII
O then he flew into Dunbar,
Crying for a man of war;
He thought to have pass’d for a rustic tar,
And gotten awa in the morning.
IX
Sir Johnie into Berwick rade,
Just as the devil had been his guide;
Gien him the warld he would na stay’d
To foughten the boys in the morning.
[chorus]
X
Says the Berwickers unto Sir John,
O what’s become of all your men,
In faith, says he, I dinna ken,
I left them a’ this morning.
XI
ays Lord Mark Kerr (2), ye are na blate,
To bring us the news o’ your ain defeat;
I think you deserve the back o’ the gate (3),
Get out o’ my sight this morning.
[chorus]
 traduzione italiano Cattia Salto
I
Sir John Cope prese la rotta per il Nord,
tuttavia mai nessun ribelle gli si avvicinò
finchè sbarcò a Dunbar
proprio all’alba
II
Egli scrisse una sfida da Dunbar 
“Charlie venite a combattere in duello se osate;
e se non fosse per il rischio della guerra
vi darei un Buon Giorno”
III
Quando Charlie lesse la lettera
estrasse la spada dal fodero
“Così il Cielo restituirà i miei diritti,
ti affronterò, Cope all’alba!”
Ritornello
Ehi Johnny Cope vorrei sapere
se sei già sveglio o se stai dormendo,
affrettati ad alzarti che i tamburi rimbombano, vergogna, Cope, alzati è mattino!
IV
Cope giurò con parole di sangue,
che li avrebbe combattuti con il moschetto e la spada, ma fuggì dal suo nido come un uccellino timoroso e Johnny prese il volo all’alba
V
Era nel pomeriggio
che Sir John marciò su Preston
dicendo “Riposatevi miei compagni
e combatteremo i ribelli al mattino”
VI
Ma quando vide gli Highlander
con i pantaloni tartan e le bianche coccarde,
con le spade e moschetti e bastoni e pugnali
O Johnny prese il volo all’alba.
Ritornello
VII
Il giorno seguente quando si alzò
guardò tra lui e il cielo;
e li vide con le cosce nude
che lo spaventarono all’alba.
VIII
Oh allora si precipitò a Dunbar
gridando per i rinforzi,
credeva di essere preso per uno zoticone
a scappare all’aba
IX
Sir John corse a Berwick
come se avesse il diavolo alle calcagna;
non sarebbe rimasto per niente al mondo
a combattere i ribelli all’alba
Ritornello
X
Dicono quelli di Berwick a Sir John 
“Dove sono i vostri uomini?”
“Lo sa il Diavolo se lo so,
perchè li ho lasciati tutti stamattina”
XI
Dice Lord Mark Kerr ” Voi non vi vergognate
di portarci la notizia della propria sconfitta?
Credo vi meritiate un punizione,
fuori dalla mia vista stamattina”
Ritornello

English translation
NOTE
1) tartan trousers
2) Cope had to report his defeat to the Berwick garrison commander, Lord Mark Kerr. He was court-martialed but exonerated from the accusation of having himself fled the battlefield.
Cope ha dovuto riferire la sua sconfitta al comandante della guarnigione di Berwick, Lord Mark Kerr. Fu sottoposto a corte marziale ma assolto dall’accusa di essere scappato dal campo di battaglia.
3) letteralmente “meritarsi il retro della porta” 

http://chrsouchon.free.fr/johnnie.htm
https://mudcat.org/thread.cfm?threadid=111922

https://museu.ms/collection/object/55921/volume-iii-song-234-pages-242-and-243-johnie-cope-scanned-from-the-1853-edition-of-the-scots-musical?pUnitId=1134

http://singout.org/2013/01/29/robert-burns-and-the-art-of-rebellion-part-one-hey-johnie/
https://thesession.org/tunes/107
https://burnsc21.glasgow.ac.uk/johnie-cope/

Hey! Johnnie Cope are ye wakin’ yet? Prestonpans battle

Bonnie Kellswater

“Bonnie Kellswater” è un brano tradizionale irlandese (Irlanda del Nord) reso popolare dai Planxty (già in repertorio degli Irish Rovers nel loro album The Unicorn del 1967) . Raccolto sul campo da Sam Henry dalla voce di Jim Carmichael di Ballymena (contea di Antrim)  che lo riporta nel suo monumentale “The Song of the People” (con note di John Moulden 1979 già pubblicate sul  “Northern Constitution” tra il 1923 e il 1939) al numero H695.

[“Bonnie Kellswater” is a traditional Irish song (Northern Ireland) popularized by Planxty (formerly in Irish Rovers’ repertoire in their 1967 album The Unicorn) dedicated to the Kells Water River that runs through Antrim County. Collected on the field by Sam Henry (from Jim Carmichael of Ballymena) in his monumental “The Song of the People” (with notes by John Moulden 1979 already published in the “Northern Constitution” between 1923 and 1939) to the number H695 .]

Del brano si conoscono vari testi sempre legati alla stessa melodia con versioni sia al maschile che al femminile, nelle versioni maschili si tratta di un sereno canto d’amore dedicato a Marta (Molly) con immagini dolci e bucoliche dell’amato Kellswater; in quelle al femminile invece l’amore è contrastato dal padre della ragazza che riesce a separare i due innamorati: il canto assume così l’andamento di un farewell, triste e malinconico (emigration song), è la donna ad attendere il caro Willy nella vecchia Irlanda con la certezza nel cuore che lui ritornerà a prenderla.

“We know several texts always related to the same melody with both male and female versions, in the male versions it is a serene love song dedicated to Martha (Molly), with sweet and bucolic images; in women version instead the love is contrasted by the girl’s father who manages to separate the two lovers: the song is like a Farewell, sad and melancholy (emigration song), it is the woman to wait for her dear Willy in old Ireland with the certainty in her heart that he will return and take her.”

LA MELODIA (TUNE)
Ascoltiamola in un arrangiamento per chitarre del gruppo Cord’Accord

Planxty in The Woman I Loved So Well 1980
Loreena McKennitt in “Elemental” canta la versione dei Planxty (Planxty version)


I
Here’s a health to you, bonny Kellswater (1)
Where you’ll get all the pleasures of life,
Where you’ll get all the fishing and fowling,
And a bonny wee lass for your wife.
II
Oh, it’s down where yon waters run muddy,
I’m afraid they will never run clear.
And it’s when I dig in for to study,
My mind is on them that’s not here.
III
It’s this one and that one they court him,
but if anyone gets him but me,
It’s early and late I will curse them
That parted lovely Willie from me.
IV
Oh, a father he calls on his daughter,
“Two choices I’ll give unto thee.
Would you rather see Willie’s ship a-sailing,
Or see him hung like a dog from yon tree?”
V
“Oh, Father, dear Father, I love him.
I can no longer hide it from thee.
Through an acre of fire I would travel
Alone with lovely Willie to be.”
VI
Oh, hard was the heart that confined her,
She took from her her heart’s delight.
May the chains of old Ireland bind around them,
And soft be their pillows at night.
VII
“Oh, yonder’s a ship on the ocean
And she does not know which way to steer.
From the east to the west she’s a-going.
She reminds me of the charms of my dear.
VIII
Oh, it’s yonder my Willie will be coming,
He said he’d be here in the spring,
And it’s down by yon green shades I’ll meet him,
And among yon wild roses we’ll sing.
IX
For a gold ring he placed on my finger,
Saying “Love, bear this in your mind,
If ever I sail from Old Ireland,
You’ll mind I’ll not leave you behind.”		 Traduzione italiana Cattia Salto
I
Salute a te, bel Kellswater
dove si trovano tutti i piaceri della vita
dove si trova da pescare e cacciare in abbondanza/ e una bella ragazza per moglie.
II
Oh è laggiù dove corre quel fiume dalla acque fangose,/ temo che non scorreranno mai limpide,/e quando mi metto sotto a studiare
la mia mente è con loro tranne che qui.
III
Questa e quella lo corteggiano
ma nessun’altra lo avrà tranne me,
presto o tardi  maledirò
coloro che hanno separato il bel Willy da me
IV
Un padre chiama la figlia
“Ti darò due scelte./ Preferiresti vedere salpare il tuo Willy su una nave/o vederlo impiccato ad un albero come un cane ?”
V
“Padre, caro padre io lo amo.
Non posso nascondertelo più a lungo.
In mezzo a un acro di fuoco andrei pur di stare da sola con il mio bel Willy”
VI
Oh duro era il cuore che la confinava in casa
che le toglieva la gioia del cuore.
Possano le catene della vecchia Irlanda legarsi attorno a loro
e i cuscini di notte essere soffici.
VII
“C’è una nave sull’oceano
e non sa che rotta prendere
da oriente a occidente è in partenza,
mi ricorda il fascino del mio amore.
VIII
Da laggiù il mio Willy ritornerà
diceva che sarebbe stato qui per la primavera
e tra quei verdi boschetti lo incontrerò
e tra quelle roselline selvatiche canteremo
IX
Perchè lui mi mise l’anello al dito
dicendo “Amore, tieni questo in mente
anche se parto dalla vecchia Irlanda
ricordati che non ti lascio indietro”

NOTE
1) nome di un fiume ma anche di un piccolo villaggio nella contea di Antrim vicino a Kells.John Moulden scrive “Il Kellswater, un affluente del fiume Main, diventa il fiume Glenwhinny sul versante ovest della collina di Agnews che domina Larne, e poi scorre verso ovest attraverso Kells, prendendo il suo nome mentre avanza, e si unisce al Main a circa cinque miglia a nord di Randalstown . ”
[a river and a hamlet nearby Kells in Co. Antrim. John Moulden writes “The Kellswater, a tributary of the River Main, rises as the Glenwhinny river on the west slope of Agnews hill which overlooks Larne, and then flows westward through Kells, collecting its name as it goes, and joins the Main about five miles north of Randalstown. ”]

Irish Rovers in The Unicorn 1967


I
Here’s a health to you, bonnie Kellswater
For its there you’ll find the pleasures of life
And its there you’ll find a fishing and farming
And a bonnie wee girl for your wife
II (1)
On the hills and the glens and the valleys
Grows the softest of women so fine
And the flowers are all dripping with honey
There lives Martha, a true love of mine
III
Bonnie Martha, you’re the first girl I courted
You’re the one put my heart in a snare
And if ever I should lose you to another
I will leave my Kellswater so fair
IV
For this one and that one may court her
But no other can take her from me
For I love her as I love my Kellswater
Like the primrose is loved by the bee		 Traduzione italiana Cattia Salto
I
Salute a te,
bel Kellswater
perchè è qui che i trovano tutti i piaceri della vita
dove si trova da pescare e
da coltivare
e una bella ragazza per moglie.
II
Sui colli, le forre e le valli
cresce la più dolce delle donne, così bella
e i fiori stillano miele
dove vive Marta,
il mio vero amore
III
Bella Marta sei la prima ragazza per cui spasimo
colei che mi ha preso al laccio,
e se mai dovessi perderti per un altro
lascerò il mio Kellswater così bello.
IV
Perchè questo e quello possono farle la corte
ma nessuno me la può togliere
perchè io l’amo come amo il mio Kellswater, come la primula è amata dall’ape

NOTE
1) verso alternativo [or]
The hills and the dales and low valleys,
are all covered with linen so fine,
and the trees are a drooping sweet honey,
and the rocks are all grown over with thyme.

LINK
https://www.revolvy.com/page/Kells-Water
https://www.itma.ie/digital-library/sound/bonny_kells_waters_dan_mcgonigle

A blacksmith courted me

Leggi in italianoblacksmiths-forge-1859-grangerIn folk songs the blacksmith is always considered a synonym of virility, a very gifted lover with a portentose force.
“A blacksmith courted me” also simply titled “The Blacksmith”, comes from the English folk tradition and is reported in many collections of the early twentieth century; a piece that is not properly found in Irish tradition but has been interpreted by various Celtic artists. It was Ralph Vaughan Williams who picked it up in the field in 1909 from Mrs. Ellen Powell of Westhope near Weobley, Herefordshire.

The Anvil Priest is a figure particularly widespread in Scotland, he declare the couple husband and wife with a hammer blow on the anvil !
http://ontanomagico.altervista.org/matrimonio-celtico-storia.html

THE BLACKSMITH

The blacksmith leaves his love in the village (to seek his fortune abroad), writes a love letter (but false) and returns married to another.

Planxty live 1979:  version and arrangement become “standard”, the instrumental part written by Andy Irvine has then further evolved into a jig that has taken on life in dance sessions.

Eddi Reader  from”Mirmama” 1991 (world music)

Loreena McKennitt from Elemental 1985

Lisa Knapp from “Wild and Undaunted” 2007

David Gibb & Elly Lucas from “Old Chairs to Mend” 2012

Sheila Chandra ( I, III, IV, V, I)

FromThe Penguin Book Of English Folk Songs, “Sung by Mrs. Powell, nr. Weobley, Herefordshire. [Collected by] Ralph Vaughan Williams 1909.”

I
A blacksmith courted me,
nine months and better
he fairly won my heart,
wrote me a letter
with his hammer in his hand (1),
he looked quite clever
and if I was with my love,
I’d live forever
II
But where is my love gone
with his cheeks like roses?
and his good black billycock on
decked round with primroses?
I’m afraid the shining sun
will shine and burn his beauty
and if I was with my love,
I’d do my duty
III
Strange news is come to town,
strange news is carried
strange news flies up and down
that my love is married
I wish them both much joy
though they can’t hear me
and may God reward him well
for the slighting of me(2) 		 IV(3)
“Don’t you remember when
you lay beside me,
and you said you’d marry me
and not deny me”
“If I said I’d marry you,
it was only for to try you
so bring your witness love
and I’ll not deny you”
V
“No, witness have I none
save God almighty
and may he reward you well
for the slighting of me”
Her lips grew pale and wan,
it made her poor heart tremble
to think she loved a one
and he proved deceitful.

NOTES
1) in the letter was to be included a photograph of him at work
2) obviously these are curses
3) the blacksmith continues to deny the evidence!

INSTRUMENTAL VERSION

The song is also played in instrumental version as a jig probably developing the version of Planxty.
“Merry Blacksmith”  is instead  a reel

LINK
http://mainlynorfolk.info/shirley.collins/songs/theblacksmith.htm
lhttp://www.joe-offer.com/folkinfo/songs/2.html
http://www.joe-offer.com/folkinfo/forum/39.html
http://www.8notes.com/scores/3547.asp
http://www.pteratunes.org.uk/Music/Music/Lyrics/Blacksmith.htm
lhttp://www.pteratunes.org.uk/Music/Music/Lyrics/Blacksmith2.html http://thesession.org/tunes/1526
http://mudcat.org/thread.cfm?threadid=10786 http://www.china2galway.com/song%20words%20Blacksmith.htm

Follow me up to Carlow

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The text of “Follow me up to Carlow” was written in the nineteenth century by the Irish poet Patrick Joseph McCall (1861 – 1919) and published in 1899 in the “Erinn Songs” with the title “Marching Song of Feagh MacHugh”.
Referring to the Fiach McHugh O’Byrne clan chief, the song is full of characters and events that span a period of 20 years from 1572 to 1592.

McCall’s intent is to light the minds of the nationalists of his time with even too detailed historical references on a distant epoch, full of fierce opposition to English domination. 16th century Ireland was only partly under English control (the Pale around Dublin) and the power of the clans was still very strong. They were however clans of local importance who changed their covenants according to convenience by fighting each other, against or together with the British. In the Tudor era Ireland was considered a frontier land, still inhabited by exotic barbarians.
front1

FIACH MCHUGH O’BYRNE

The land of the O’Byrne clan was in a strategic position in the county of Wicklow and in particular between the mountains barricaded in strongholds and control posts from which rapid and lethal raids started in the Pale. The clan managed to survive through raids of cattle, rivalries and alliances with the other clans and acts of submission to the British crown, until Fiach assumed the command and took a close opposition to the British government with the open rebellion of 1580 that broke out throughout the Leinster . In the same period the rebellion was reignited also in the South of Munster (known as the second rebellion of Desmond)

The new Lieutenant Arthur Gray baron of Wilton that was sent to quell the rebellion with a large contingent, certainly gave no proof of intelligence: totally unprepared to face the guerrilla tactics, he decided to draw out the O’Byrne clan, marching in the heart of the county of Wicklow, the mountains! Fiach had retired to Ballinacor, in the Glenmalure valley, (the land of the Ranelaghs), and managed to ambush Gray, forcing him to a disastrous retreat to the Pale.

glenmalure

Follow me up to Carlow

The melody was taken from McCall himself by “The Firebrand of the Mountains,” a march from the O’Byrne clan heard in 1887 during a musical evening in Wexford County. It is not clear, however, if this historical memory was a reconstruction in retrospect to give a touch of color! It is very similar to the jig “Sweets of May” (first two parts) and also it is a dance codified by the Gaelic League.

“Follow me up to Carlow” (also sung as “Follow me down to Carlow”) was taken over by Christy Moore in the 1960s and re-proposed and popularized with the Irish group Planxty; recently he is played by many celtic-rock bands or “barbarian” formations with bagpipes and drums.

Planxty

Fine Crowd

The High Kings live

FOLLOW ME UP TO CARLOW
I
Lift Mac Cahir Óg(1) your face,
broodin’ o’er the old disgrace
That Black Fitzwilliam(2) stormed your place,
and drove you to the Fern(3)
Gray(4) said victory was sure,
soon the firebrand(5) he’d secure
Until he met at Glenmalure(6)
with Fiach McHugh O’Byrne
CHORUS
Curse and swear, Lord Kildare(7),
Fiach(8) will do what Fiach will dare
Now Fitzwilliam have a care,
fallen is your star low(9)
Up with halberd, out with sword,
on we go for, by the Lord
Fiach McHugh has given the word
“Follow me up to Carlow!”(10)
II
See the swords at Glen Imaal (11),
flashin’ o’er the English Pale(12)
See all the children of the Gael,
beneath O’Byrne’s banner
Rooster of a fighting stock,
would you let a Saxon cock
Crow out upon an Irish Rock,
fly up and teach him manners.
III
From Tassagart (11) to Clonmore (11),
flows a stream of Saxon gore
How great is Rory Óg O’More(13)
at sending loons to Hades
White(14) is sick, Gray(15) is fled,
now for Black Fitzwilliam’s head
We’ll send it over, dripping red,
to Liza(16) and her ladies		 II
See the swords at Glen Imaal (11),
flashin’ o’er the English Pale(12)
See all the children of the Gael,
beneath O’Byrne’s banner
Rooster of a fighting stock,
would you let a Saxon cock
Crow out upon an Irish Rock,
fly up and teach him manners.
III
From Tassagart (11) to Clonmore (11),
flows a stream of Saxon gore
How great is Rory Óg O’More(13)
at sending loons to Hades
White(14) is sick, Gray(15) is fled,
now for Black Fitzwilliam’s head
We’ll send it over, dripping red,
to Liza(16) and her ladies

NOTES
1) Brian MacCahir Cavanagh married Elinor sister of Feagh MacHugh. In 1572 Fiach and Brian were implicated in the murder of a landowner related to Sir Nicholas White Seneschal (military governor) of the Queen at Wexford.
2) William Fitzwilliam “Lord Deputy” of Ireland, the representative of the English Crown who left office in 1575
3) In 1572 Brian MacCahir and his family were deprived of their properties donated to supporters of the British crown
4) Arthur Gray de Wilton became in 1580 new Lieutenant of Ireland
5) appellation with which he was called Feach MacHugh O’Byrne
6) Glenmalure Valley: valley in the Wicklow mountains about twenty kilometers east of the town of Wicklow, where the battle of 1580 occurred that saw the defeat of the English: the Irish clans ambushed the English army commanded by Arthur Wilton Gray made up of 3000 men
7) In 1594 the sons of Feach attacked and burned the house of Pierce Fitzgerald sheriff of Kildare, as a result Feach was proclaimed a traitor and he become a wanted crimunal
8) Feach in Irish means Raven
9) William Fitzwilliam returned to Ireland in 1588 once again with the title of Lieutenant, but in 1592 he was accused of corruption
10) Carlow is both a city and a county: the town was chosen more to rhyme than to recall a battle that actually took place: it is more generally an exhortation to take up arms against the British. Undoubtedly, the song made her famous.
11) Glen Imael, Tassagart and Clonmore are strongholds in Wicklow County
12) English Pale are the counties around Dublin controlled by the British. The phrase “Beyond the Pale” meant a dangerous place
13) Rory the young son of Rory O’More, brother of Feagh MacHugh, killed in 1578
14) Sir Nicholas White Seneschal of Wexford fell seriously ill in the early 1590s, shortly thereafter fell into disgrace with the Queen and was executed.
15) in the original version the character referred to is Sir Ralph Lane but is more commonly replaced by Arthur Gray who had left the country in 1582
16) Elizabeth I. Actually it was Feach’s head to be sent to the queen!
The new viceroy Sir William Russell managed to capture Fiach McHugh O’Byrne in May 1597, Feach’s head remained impaled on the gates of Dublin Castle.

LINKS
http://mudcat.org/thread.cfm?threadid=52454&page=2
http://thesession.org/tunes/1583
http://thesession.org/tunes/10645
http://www.irishmusicdaily.com/follow-me-up-to-carlow
http://www.clannobyrne.com/glenmalure.html
http://neverfeltbetter.wordpress.com/2012/09/25/irelands-wars-the-battle-of-glenmalure/
http://www.blogofmanly.com/2012/09/17/heroes-feach-mchugh-obyrne/
http://www.doyle.com.au/chiefs.html

Sally Brown I rolled all night, capstan shanty

Leggi in italiano

In the sea shanties Sally Brown is the stereotype of the cheerful woman of the Caribbean seas, mulatta or creole, with which our sailor  tries to have a good time. Probably of Jamaican origin according to Stan Hugill, it was a popular song in the ports of the West Indies in the 1830s.
The textual and melodic variations are many.

ARCHIVE

WAY, HEY, ROLL AND GO (halyard shanty)
I ROLLED ALL NIGHT(capstan shanty)
ROLL BOYS ROLL
ROLL AND GO (John Short)

SECOND VERSION: I ROLLED ALL NIGHT

In this version the chorus is developed on several lines and the song is classified, also with the title of “Roll and Go”, in the capstan shanty that is the songs performed during the lifting of the anchor.

Planxty live (which not surprisingly chuckle, given the name of the song)

Irish Descendants from Encore: Best of the Irish Descendants


Shipped on board a Liverpool liner,
CHORUS
Way hey roll(1) on board;
Well, I rolled all night
and I rolled all day,
I’m gonna spend my money with (on)
Sally Brown.

 Miss Sally Brown is a fine young lady,
She’s tall and she’s dark(2) and she’s not too shady
Her mother doesn’t like the tarry(3) sailor,
She wants her to marry the one-legged captain
Sally wouldn’t marry me so I shipped across the water
And now I am courting Sally’s daughter
I shipped off board a Liverpool liner

NOTE
1) the term is generically used by sailors to say many things, in this context for example could mean “sail”.
2) it could refer to the color of the hair rather than the skin, even if in other versions Sally is identified as creole or mulatto. The term “Creole” can be understood in two exceptions: from the Spanish “crillo”, which originally referred to the first generation born in the “New World”, sons of settlers from Europe (Spain or France) and black slaves. The most common meaning is that which refers to all the black half-bloods of Jamaica from the color of the skin that goes from cream to brown and up to black-blue. In the nineteenth century with this term was also indicated a small elite urban society of light skin in Louisiana (resident mostly in New Orleans) result of crossings between some beautiful black slaves and white landowners who took them as lovers.
3) tarry is a derogatory term to distinguish the typical sailor. More generally Jack Tar is the term commonly used to refer to a sailor of merchant ships or the Royal Navy. Probably the term was coined in 1600, alluding to the tar with which the sailors waterproofed their work clothes.

Teddy Thompson from Rogue’s Gallery: Pirate   Ballads, Sea Songs, and Chanteys,  ANTI 2006 in a more meditative and melancholic version

Sally Brown she’s a nice young lady,
CHORUS
Way, hay, we roll an’ go.
We roll all night
And we roll all day
Spend my money on Sally Brown.

 Shipped on board off a Liverpool liner
Mother doesn’t like a tarry sailor
She wants her to marry a one legged captain
Sally Brown she’s a bright lady
She drinks stock rum
And she chews tobacco

LINK
http://www.jsward.com/shanty/sally_brown/
http://mudcat.org/thread.cfm?threadid=148935
http://pancocojams.blogspot.it/2012/04/sally-brown-sally-sue-brown-sea-shanty.html
http://www.contemplator.com/sea/sallyb.html
http://www.brethrencoast.com/shanty/Roll_Boys.html

The Good Ship Kangaroo

Leggi in italiano
A sea shanty from the music hall composed by Harry Clifton (1824-1872) and published in 1856 as On Board Of The Kangaroo; Stan Hugill in his “Shanties of the Seven Seas” gives two versions and ranks as capstan shanty, one from Stanley Slade of Bristol, and one from Elizabeth Cronin of Macroom, County Cork.

THE GOOD SHIP KANGAROO

Apparently the song was not so popular in the sea shanty and its diffusion in the folk circuit is part of the revival of the 70s.
Planxty from After the Break 1979 (Elizabeth Cronin version)

THE GOOD SHIP KANGAROO
I
Once I was a waitin’ man that lived at home at ease
Now I am a mariner that ploughs the angry seas
I always loved sea-faring life I bid my love adieu
I shipped as steward and cook, my boys, on board the ‘Kangaroo’ (1)
Chorus
I never thought she would prove false or either prove untrue
As we sailed away through the Milford bay on board the kangaroo
II
“Think of me oh think of me”,
she mournfully did say
“When you are in a foreign land
and I am far away
And take this lucky threepenny bit
it’ll make you bear in mind
That lovin’ trustin’ faithful heart you left in tears behind”
“Cheer up cheer up my own true love don’t weep so bitterly”
She sobbed she sighed she choked
she cried and could not say goodbye
“I won’t be gone for very long ‘tis
but a month or two.
When I will return again
of course I’ll visit you”		 III
Our ship was homeward bound
from many’s the foreign shore
And many’s the foreign presents
unto my love I bore
I brought tortoises from Tenerife
and toys from Timbuktoo
A china rat and a Bengal cat and a Bombay cockatoo
Paid off I sought her dwelling on a street above the town
Where an ancient dame upon the line was hanging out her gown
“Where is my love? “”She’s vanished sir about six months ago
With a smart young man that drives the van for Chaplin Son & Co (2)”
IV
Here’s a health to dreams of married life to soap suds and blue (3)
Heart’s true love and patent starch (4) and washing soda too,
I’ll go unto some foreign shore
no longer can I stay
On some China Hottentot(5) I’ll throw myself away
My love she is no foolish girl
her age it is two score
My love she is no spinster
she’s been married twice before
I cannot say it was her wealth that stole my heart away
She’s a washer in a laundry for one and nine a day

NOTES
1) there have been several ships to take the name of Kangaroo, probably it is from the SS Kangaroo a British passenger and merchant transport ship, whose navigation period coincides with the era of the song
2) Chaplin, Horne and Co was the largest transport company in the United Kingdom
3) Reckitt’s Blue:  before the modern optical brighteners, there was a mysterious blue sachet that was dissolved in the last rinse water and raised the yellowish color from the cotton
4)  Harry Clifton writes: Farewell to dreams of married life! to soap, to suds, and blue, To “Glenfield starch” and “Harper Twelvetrees’ washing powder” too.
A claim to two products for the laundry of the perfect housewife! The music hall writers received financial compensation from producers for advertising their goods; Glenfield starch was so popular that another company put a production in Glenfield to give the same name to their starch, but lost the legal battle.
5) ‘hottentot’ is the derogatory term with which a tribe of the southern African Khoikhoi was called, in the nineteenth century Africans were taken as exotic curiosities and the missing link of Darwinian eviction, the koi were the most popular because of their short stature, women had the peculiarity of accumulating large amounts of fat in the thighs and buttocks: it’s going to fat-ass

Stanley Slade: Where we sail away from Bristol Quay

Among the last shantyman to sail on sailing vessels, with a powerful voice, the sailor Stanley Slade was hired on the first steam ships as a singer to entertain passengers with the most obscene versions of his repertoire.

ABOARD THE KANGAROO
Chorus
I never thought she would prove false or either prove untrue
As we sailed away from Bristol quay
on board the Kangaroo
I
I thought I’d like seafarin’ life, so I bid my love adieu,
And shipped aboard as bosun’s mate, aboard the Kangaroo…
II
My love, she was no foolish girl,
her age is was two score;
My love she was no spinister,
she’d been married twice before…
III
You would not think it was her wealth that stole me heart away;
She was starcher at a launderer’s for eighteen pence a day…
IV
Paid off, I sought her dwelling place, ‘twas high on Munjoy Hill;
Where an ancient dame upon the stoop was tossing out the swill…		 V
“Where is my love?” “She’s married, sir, about six months ago,
To a smart young man who’s skipper of a bark that trades the coast in coal…”
VI
Farewell to dreams of married bliss, of soapsuds and the blue;
Farewell to all you Bristol gals, you’re fickled minded too…
VII
I’ll seek some distant foreign shore,
no longer will I stay;
An’ on some Chinese Hottentot I’ll waste my life away…

LINK
http://folktrax-archive.org/menus/cassprogs/207slade.htm
http://www.contemplator.com/sea/kangaroo.html
https://www.christymoore.com/lyrics/good-ship-kangaroo/
https://mainlynorfolk.info/nic.jones/songs/onboardthekangaroo.html
https://mudcat.org//thread.cfm?threadid=8460
http://www.shanty.org.uk/archive_songs/aboard-the-kangaroo-.html
http://www.shanty.org.uk/archive_songs/on-board-of-the-kangaroo-.html

A bordo del Kangaroo

Read the post in English
Una sea shanty nata  per il music hall composta da Harry Clifton (1824-1872) e pubblicata nel 1856 con il titolo “On board of the Kangaroo”; Stan Hugill nella sua raccolta , “Shanties of the Seven Seas” ne riporta due versioni e le classifica come capstan shanty,  una da Stanley Slade di Bristol, e l’altra da Elizabeth Cronin di Macroom, Contea di Cork.

LA VERSIONE IRLANDESE

A quanto pare il brano non era poi così popolare nelle canzoni marinaresche e la sua diffusione nel circuito folk si colloca nel revival degli anni 70.
Planxty in After the Break 1979 dalla testimonianza di Elizabeth Cronin


I
Once I was a waitin’ man that lived at home at ease
Now I am a mariner that ploughs the angry seas
I always loved sea-faring life I bid my love adieu
I shipped as steward and cook, my boys, on board the ‘Kangaroo’ (1)
Chorus
I never thought she would prove false or either prove untrue
As we sailed away through the Milford bay on board the kangaroo
II
“Think of me oh think of me”,
she mournfully did say
“When you are in a foreign land
and I am far away
And take this lucky threepenny bit
it’ll make you bear in mind
That lovin’ trustin’ faithful heart you left in tears behind”
“Cheer up cheer up my own true love don’t weep so bitterly”
She sobbed she sighed she choked
she cried and could not say goodbye
“I won’t be gone for very long ‘tis
but a month or two.
When I will return again
of course I’ll visit you”
III
Our ship was homeward bound
from many’s the foreign shore
And many’s the foreign presents
unto my love I bore
I brought tortoises from Tenerife
and toys from Timbuktoo
A china rat and a Bengal cat and a Bombay cockatoo
Paid off I sought her dwelling on a street above the town
Where an ancient dame upon the line was hanging out her gown
“Where is my love? “”She’s vanished sir about six months ago
With a smart young man that drives the van for Chaplin Son & Co (2)”
IV
Here’s a health to dreams of married life to soap suds and blue (3)
Heart’s true love and patent starch (4) and washing soda too,
I’ll go unto some foreign shore
no longer can I stay
On some China Hottentot(5) I’ll throw myself away
My love she is no foolish girl
her age it is two score
My love she is no spinster
she’s been married twice before
I cannot say it was her wealth that stole my heart away
She’s a washer in a laundry for one and nine a day
 Traduzione italiana Cattia Salto
I
Un tempo ero un uomo che viveva comodo a casa,
oggi sono un marinaio che solca i mari furiosi
ho sempre amato la vita del mare e ho detto addio al mio amore
per imbarcarmi come maggiordomo e cuoco, ragazzi, a bordo del Kangaroo
Coro
Non avrei mai immaginato che lei si rivelasse traditrice e bugiarda,
mentre si salpava da Milford bay
a bordo del Kangaroo
II
“Pensami, o pensami”
mi diceva lamentandosi
“quando sei in una terra straniera
e io sono lontana
e prendi questi tre penny portafortuna perchè ti faranno ricordare
che un cuore fedele e d’amore sincero hai lasciato in lacrime dietro di te”
“Rallegrati, rallegrati, mio vero amore non piangere così amaramente”
Singhiozzava e sospirava , soffocava e piangeva e non poteva dire addio!
“Non starò via per molto,
solo un mese o due.
Quanndo ritornerò di sicuro verrò a trovarti”
III
La nostra nave era in partenza
per più di una terra straniera
e molti regali  esotici
al mio amore ho preso
ho comprato tartarughe da Tenerife
e giocattoli da Timbuktoo
un topo dalla Cina e un gatto del Bengala e un pappagallo di Bombay
Appena pagato ho cercato la sua abitazione  in una strada  sopra la città
dove una vecchia dama stava appendendo al filo il suo vestito
“Dov’è il mio amore?”
“E’ scomparsa signore, circa sei mesi fa
con un simpatico giovanotto che guida il camioncino della Chaplin Son & Co”
IV
Addio sogni di una vita matrimoniale all’acqua saponata e sbiancante e al vero amore del cuore e anche  all’amido e alla soda da bucato,
andrò in qualche terra straniera
non posso più restare,
a qualche culona cinese
mi offrirò!
Il mio amore non è una stupida
ha una quarantina d’anni,
il mio amore non è una zitella,
è stata sposata due volte prima,
non posso dire che sia stata la sua ricchezza ad avermi rubato il cuore
è una apprettatrice in una lavanderia per uno e nove al giorno

NOTE
1) ci sono state varie navi a prendere il nome di Kangaroo, probabilmente si tratta dalla SS Kangaroo una nave di trasporto passeggeri e mercantile britannica, il cui periodo di navigazione coincide con l’epoca della canzone
2) Chaplin, Horne and Co fu descritta all’epoca come la più grande impresa di trasporti in Gran Bretagna
3) Reckitt’s Blue: la polvere blu è stata utilizzata negli ultimi trecento anni per rendere i bianchi più bianchi; prima dei moderni sbiancanti ottici, c’era una misteriosa bustina blu che veniva sciolta nell’ultima acqua di risciacquo e levava il colore giallastro dal cotone
4) nella varsione di Harry Clifton dice:
Farewell to dreams of married life! to soap, to suds, and blue, To “Glenfield starch” and “Harper Twelvetrees’ washing powder” too.
una reclame a due prodotti per il bucato della perfetta massaia, gli scrittori del music hall ricevevano un compenso economico da parte di produttori per la pubblicità alla loro merce; l’amido Glenfield starch era talmente popolare da avere imitatori “furbetti”, un’altra azienda mise una produzione a Glenfield per poter dare lo stesso nome al loro amido, ma perse la battaglia legale.
5) ‘hottentot’ è il termine dispregiativo con cui era chiamata una tribù dell’africa meridionale i Khoikhoi, nell’Ottocento gli africani erano presi come curiosità esotiche e l’anello mancante dell’evuluzione darwinaiana, i koi erano quelli più popolari a causa della loro bassa statura, le donne avevano la particolarità di accumulare grosse quantità di grasso nelle cosce e nei glutei, più di una donna è stata esibita come fenomeno da baraccone in Europa. Letteralmente “ottentotta cinese”

La versione di Stanley Slade: Where we sail away from Bristol Quay

Tra gli ultimi shantyman ad aver navigato su vascelli a vela, dalla voce potente, il marinaio Stanley Slade fu ingaggiato sulle prima navi a vapore come cantante  per intrattenere i passeggeri  con le versioni più oscene del suo repertorio.

ABOARD THE KANGAROO
Chorus
I never thought she would prove false or either prove untrue
As we sailed away from Bristol quay
on board the Kangaroo
I
I thought I’d like seafarin’ life, so I bid my love adieu,
And shipped aboard as bosun’s mate, aboard the Kangaroo…
II
My love, she was no foolish girl,
her age is was two score;
My love she was no spinister,
she’d been married twice before…
III
You would not think it was her wealth that stole me heart away;
She was starcher at a launderer’s for eighteen pence a day…
IV
Paid off, I sought her dwelling place, ‘twas high on Munjoy Hill;
Where an ancient dame upon the stoop was tossing out the swill…
V
“Where is my love?” “She’s married, sir, about six months ago,
To a smart young man who’s skipper of a bark that trades the coast in coal…”
VI
Farewell to dreams of married bliss, of soapsuds and the blue;
Farewell to all you Bristol gals, you’re fickled minded too…
VII
I’ll seek some distant foreign shore,
no longer will I stay;
An’ on some Chinese Hottentot I’ll waste my life away…
 Traduzione italiana Cattia Salto
Coro
Non avrei mai immaginato che lei si rivelasse traditrice e bugiarda
mentre si salpava dal molo di Bristol
a bordo del Kangaroo
I
Credevo mi sarebbe piaciuta la vita del mare così ho detto addio al mio amore
per imbarcarmi come nostromo a bordo del Kangaroo
II
Il mio amore non era una stupida
aveva una quarantina d’anni,
il mio amore non era una zitella,
è stata sposata due volte prima
III
Non si potrebbe dire che sia stata la sua ricchezza ad avermi rubato il cuore
era una apprettatrice in una lavanderia per 18 penny al giorno
IV
Appena pagato ho cercato la sua abitazione, era in cima a Munjoy Hill
dove una vecchia dama sulla veranda stava gettando la spazzatura
V
“Dov’è il mio amore?” “Si è sposata signore, circa sei mesi fa, con un simpatico giovanotto , capitano di una chiatta nel commercio del carbone”
VI
Addio ai sogni di felicità coniugale all’acqua saponata e sbiancante;
addio a tutte le ragazze di Bristol e anche addio ai dispiaceri
VII
Cercherò qualche terra straniera
non posso più restare,
a qualche culona cinese
mi offrirò!

FONTI
http://folktrax-archive.org/menus/cassprogs/207slade.htm
http://www.contemplator.com/sea/kangaroo.html
https://www.christymoore.com/lyrics/good-ship-kangaroo/
https://mainlynorfolk.info/nic.jones/songs/onboardthekangaroo.html
https://mudcat.org//thread.cfm?threadid=8460
http://www.shanty.org.uk/archive_songs/aboard-the-kangaroo-.html
http://www.shanty.org.uk/archive_songs/on-board-of-the-kangaroo-.html

THREE DRUNKEN MAIDENS

Un classico delle rievocazioni storiche in tema Bucanieri questa allegra drinking song, risalente alla metà del 1700: il titolo è anche semplicemente “Drunken Maidens” e le fanciulle sono talvolta “Three drunken maidens” ma anche “Four drunken maidens”.
A.L. Lloyd associò una melodia di sua composizione al testo che aveva trovato in “A Pedlar Pack of Ballads and Songs” di W H. Logan’s  (1869) e registrò la canzone, accompagnato da Al Jeffery al banjo,  nel suo album “English Drinking Songs” (1956) , che ebbe un discreto seguito nei circuiti dei folk clubs.
In seguito Lloyd trovò nel “Tune Book” (1770) di John Vickers la melodia originaria che accompagnava la canzone,  ma orami la versione standard era diventata la sua.
La canzone viene associata a Christy Moore e considerata una irish driinking song, ma è stata eseguita anche dai Fairport Convention e gli Steeleye Span.

ASCOLTA A.L. Lloyd in All For Me Grog, 1961

ASCOLTA The Planxty live

ASCOLTA Denis Murray & Napper Tandy live 1997


I
There were three drunken maidens
Come from the Isle of Wight (1)
They drunk from Monday morning
Nor stopped till Saturday night
When Saturday night would come, me boys
They wouldn’t then go out
Not them three drunken maidens,
they pushed the jug about (2).
II
Then in comes bouncing Sally
Her cheeks as red as blooms
“Move up me jolly sisters
And give young Sally some room
Then I will be your equal
Before the night is out”
And these four drunken maidens
They pushed the jug about
III
There’s woodcock and pheasant
There’s partridge and hare
There’s all sorts of dainties
No scarcity was there
There’s forty quarts of beer, me boys
They fairly drunk them out
And these four drunken maidens
They pushed the jug about
IV
And up comes the landlord
He’s asking for his pay
“It is a forty pound bill, me boys
These gobs have got to pay
That’s ten pounds apiece, me boys”
But still they wouldn’t go out
These four drunken maidens
They pushed the jug about
V
Oh where are your feather hats
Your mantles rich and fine?
They all got swallowed up, me lads
In tankards of good wine
And where are your maidenheads
You maidens frisk and gay?
We left them in the alehouse
We drank them clean away(3)
 Traduzione italiano di Cattia Salto
I
C’erano tre signorine ubriache
che veniva dall’Isola di Wright
bevevano dal lunedì mattino
e non smettevano fino alla notte del sabato.
Quando arrivava sabato notte, ragazzi,
non avrebbero poi voluto uscire
non queste tre fanciulle ubriache
che facevano girare la bottiglia!
II
Allora entrò la rotondetta Sally
dalle guance come rose fiorite
“Spostatevi, mie allegre sorelle
e fate un po’ di posto alla piccola Sally
allora sarò vostra pari
prima che la notte sia finita”
Così queste quattro fanciulle ubriache
facevano girare la bottiglia
III
C’erano la beccaccia e il fagiano
c’erano la pernice e la lepre
e di tutte le prelibatezze
non c’era penuria.
C’erano quaranta litri di birra, ragazzi
e li bevvero tutti equamente
e queste quattro fanciulle ubriache
facevano girare la bottiglia
IV
Ed ecco che arriva l’oste
e chiede di essere pagato
“E’ un conto di 40 sterline, ragazzi
dovete pagare questo gruzzolo,
sono dieci sterline a testa, ragazzi”
Eppure non volevano andarsene
queste quattro fanciulle ubriache
facevano girare la bottiglia
V
Dove sono i vostri cappelli piumati
i mantelli preziosi e belli?
“Sono stati tutti inghiottiti, ragazzi
in boccali di buon vino.”
E dove sono le vostre verginità
voi fanciulle sveglie e allegre?
“Le lasciammo in birreria,
ce le siamo bevute”

NOTE
1) l’isola di Wight era un deposito per i contrabbandieri di liquori provenienti dalla Francia
2) Non è automatico tradurre in italiano il temine jug: in fiorentino si direbbe boccia, che richiama l’immagine delle bottiglie di vino da 5 litri (una bottiglia piuttosto grande con il collo stretto). Ma può essere anche una caraffa con tanto di manico e collo più svasato che assomiglia a una brocca. Potrebbe anche essere un vaso di vetro per conservare marmellate o ortaggi o il barattolo del miele. Un termine quanto mai generico che a me richiama l’orcio toscano, il recipiente di terracotta, panciuto e di forma allungata con il collo ristretto, spesso a due manici in cui si conservavano o trasportavano i liquidi. In antico era una unità di misura equivalente a circa 38 litri, ma rimpicciolito ecco che l’orcio era usato come una brocca.
jug= boccia, brocca, caraffa, bottiglia.
3) non avendo soldi per pagare l’oste, hanno pagato in natura

FONTI
http://mainlynorfolk.info/lloyd/songs/thedrunkenmaidens.html
https://mudcat.org/thread.cfm?threadid=274

LITTLE DRUMMER BY FRANK HARTE

Ho sentito questa ballata nella versione dei Planxty che la registrarono nel loro album “Cold Blow and the Rainy Night” (1974) Nelle note di copertina leggiamo “Frank Harte of Dublin taught us The Little Drummer, it tells of a novel style of courtship where the scorned lover threatens to shoot himself on finding that his chosen bride is reluctant to have him.”
“Little Drummer” (da non confondersi con la christmas carol The Little Drummer Boy ) è una courting song un po’ melodrammatica tipica del sentimentalismo irlandese: un giovane tamburino resta colpito da una bellezza a passeggio per il porto e detto fatto il giorno dopo si mette tutto in tiro per conquistarla; lei fa la preziosa e si atteggia a gran dama, lui minaccia di spararsi un colpo in testa, lei casca ai suoi piedi e i due corrono a sposarsi.
Non è una ballata tra le più note ma è finita nella soundtrack della sea shanty edition di Assassin’s Creed Rogue, il video gioco ambientato al tempo della guerra dei sette anni tra Francia e Inghilterra, in particolare sul fronte nord americano, per il controllo del Nuovo Mondo (1752-1761).

ASCOLTA Planxty 1974

La ballata deve essere stata portata in America dagli emigranti irlandesi e la ritroviamo tra i boscaioli  della Pennsylvania settentrionale e del sud di New York; Ellen Stekert la registrò nel suo album “Song of a New York Lumberjack” (1958) avendola ascoltata da Ezra “Fuzzy” Barhight un boscaiolo in pensione che viveva a  Cohocton, New York che così inizia
“Early one morning, one bright summers’ day
Twenty-four ladies were making their way
A regiment of soldiers were marching nearby
The drummer on one of them cast a rude eye
And it’s so hard fortune.” continua
ma la versione della ballata in Assassin’s Creed Rogue non è quella americana bensì quella dublinese di Frank Harte


I
One fine summer’s morning both gallant and gay
Twenty-four ladies (1) went out on the quay
A regiment of soldiers it did pass them by
A drummer and one of them soon caught his eye
II
He went to his comrade and to him did say
“Twenty-four ladies I saw yesterday
And one of those ladies she has me heart won,
And if she denies me then surely I’m done”
III
“Go to this lady and tell her your mind
Tell her she has wounded your poor heart inside
Go and tell her she’s wounded your poor heart, full sore,
And if she denies you what can she do more?”
IV  (2)
So early next morning the young man arose,
Dressed himself up in a fine suit of clothes,
A watch in his pocket and a cane in his hand
Saluting the ladies he walked down the strand
V
He went up to her and he said “Pardon me,
Pardon me lady for making so free,
Oh me fine honored lady, you have me heart won,
And if you deny me then surely I’m done.”
VI
“Be off little drummer, now what do you mean (3)?
For I’m the lord’s daughter of Ballycasteen.
Oh, I’m the lord’s daughter that’s honored, you see,
Be off little drummer, you’re making too free.”
VII
He put on his hat and he bade her farewell
Saying “I’ll send my soul down to heaven or hell
For with this long pistol that hangs by my side,
Oh, I’ll put an end to my own dreary life.”
VIII
“Come back little drummer, and don’t take it ill,
For I do not want to be guilty of sin,
To be guilty of innocent blood for to spill.
Come back little drummer, I’m here at your will.
IX
We’ll hire a car and to Bansheer we’ll go (4).
There we’ll be married in spite of our foes.
Oh, but what can they say when it’s over and done,
But I fell in love with the roll of your drum?”
 Tradotto da Cattia Salto
I
In un bel mattino d’estate tutte intrepide e allegre
24 dame passeggiavano per la banchina del porto
un reggimento di soldati tosto passò loro accanto
e una di loro catturò lo sguardo del tamburino
II
Andò dal suo commilitone
e gli disse
“Ho visto 24 dame ieri
e una di loro mi ha conquistato
il cuore
e se lei mi respinge sarò di certo finito!”
III
“Va da questa dama e dille i tuoi propositi, dille che ti ha ferito nel profondo del cuore
va e dille che ha lacerato il tuo povero cuore dolente
e se lei ti respinge che cosa altro potrà fare?”
IV
Così  il mattino seguente il tamburino si alzò,
si vestì con un bel
completo
l’orologio nel taschino e un bastone in mano,
salutando le dame
passeggiava per la via maestra
V
Andò da lei e disse
“Chiedo scusa,
perdonatemi per la mia franchezza
Oh mia bella dama degna di rispetto,
voi avete conquistato il mio cuore
e se mi respingerete sarò di certo finito”
VI
“Smamma piccolo tamburino, adesso che mi significa?
Sono figlia di un Signore
di Ballycasteen.
sono una rispettabile figlia di Lord
come vedi
smamma piccolo tamburino e non prenderti tante libertà”
VII
Lui si mise il cappello e la salutò dicendo
“Spedirò la mia anima in cielo
o all’inferno
con questa pistola appesa al mio fianco
metterò fine alla mia desolata, giovane vita”
VIII
“Torna indietro giovane tamburino non prenderla così male,
non voglio essere responsabile del peccato, essere responsabile per il sangue innocente versato, torna indietro giovane tamburino, sono alla tua mercè.
XI
Noleggeremo un calesse e andremo a Bansheer
là ci sposeremo in barba ai nostri nemici
perchè che cosa avranno da dire quando sarà tutto finito se non che mi sono innamorata del rullare del tuo tamburo?”

NOTE
1) nelle ballate le brigate sono sempre 24 di numero per lo più giovanette o giovanetti intenti nel gioco della palla (vedi)
2) strofa saltata in Assassin’s Creed
3) nonostante le sue pretese di nobiltà a me questa “dama” mi sembra più una popolana!
4) oggi viene da tradurre car come automobile, ma siccome la ballata risale quantomeno all’Ottocento è più probabile che si tratti di un calesse;  nella versione di Ellen Stekert dice
‘Oh, we’ll go to the stable and saddle a horse
To London we’ll ride, and married we’ll be!
And what will we say when the deed it is done?
I’ll tell them that you won me with a roll of your drum .’
FONTI
http://www.folkways.si.edu/ellen-stekert/songs-of-a-new-york-lumberjack/american-folk/music/album/smithsonian
http://mudcat.org/@displaysong.cfm?SongID=6190
https://www.christymoore.com/lyrics/little-drummer/
https://www.itma.ie/goilin/singer/harte_frank

P STANDS FOR PADDY

“P stands for Paddy” (come pure “The verdant braes of Screen“) affronta il tema dell’amore falsamente corrisposto.
Però la melodia è più gioiosa di quanto ci si aspetterebbe da questo genere di warning songs e il dialogo tra i due sembra più un bisticcio tra innamorati che una separazione.
Così il commento di A.L. Lloyd alla versione dei Waterson “T stands for Thomas” “These B for Barney, P for Paddy, J for Jack songs are usually Irish in origin though common enough in the English countryside. Often the verses are just a string of floaters drifting in from other lyrical songs. So it is with this piece, which derives partly from a version collected by Cecil Sharp from a Gloucestershire gipsy, Kathleen Williams. Some of the verses are familiar from an As I walked out song sung to Vaughan Williams by an Essex woodcutter, Mr Broomfield (Folk Song Journal No. 8). The verses about robbing the bird’s nest recall The Verdant Braes of Skreen.”

ASCOLTA Planxty in Cold Blow and the Rainy Night , 1974, i quali hanno divulgato la canzone al grande pubblico (per il testo vedi)

Old Blind Dogs in Tall Tails 1994 ovvero la formazione degli esordi con Ian F. Benzie (voce e chitarra) Jonny Hardie (violino), Buzzby McMillian (cittern) Davy Cattanach (percussioni)

ASCOLTA Cara Dillon per la serie live Transatlantic Sessions, un godibile live con artisti di tutto rispetto


I
As I went out one May morning to take a pleasant walk
Well, I sat m’self down by an old faill wall just to hear two lovers talk
To hear two lovers talk, my dear,
to hear what they might say
That I might know a little more about love before I went away
Chorus 
P stands for Paddy, I suppose,
J for my love, John
W stands for false Willie(1),
oh but Johnny is the fairest man
Johnny is the fairest man, my dear, aye, Johnny’s the fairest man
I don’t care what anybody says,
Johnny is the fairest man
II
Won’t you come and sit beside me, beside me on the green
It’s a long three quarters of a year or more since together we have been Together we have been, my dear, together we have been
It’s a long three quarters of a year or more since together we have been
III
No, I’ll not sit beside you, not now nor at any other time
For I hear you have another little girl, and your heart’s no longer mine
Your heart’s no longer mine, my dear, your heart’s no longer mine
For I hear you have another little girl, and your heart’s no longer mine
IV
So I’ll go climb the tall, tall tree,
I’ll rob the wild bird’s nest
When I come down, I’ll go straight home to the girl that I love best
To the girl that I love best, my dear, the girl that I love best
When I come down, I’ll go straight home to the girl that I love best		 TRADUZIONE  DI CATTIA  SALTO
I
Mentre andavo un mattin di maggio
a fare una bella passeggiata
beh, sostai presso un vecchio muro diroccato solo per ascoltare la conversazione di due innamorati,
per ascoltare quello che si dicevano
e per poter conoscere un po’ di più sull’amore prima di andare via.
CORO
P sta per Paddy, credo,
J per il mio amore John
W sta per il bugiardo Willie,
ma Johnny è l’uomo più bello
Johnny è l’uomo più bello, si, il mio amore,
Johnny è l’uomo più bello,
non mi interessa quello che gli altri dicono, Johnny è l’uomo più bello
II
“Non vorresti venire a sederti accanto a me sull’erba?
Sono nove mesi fa o più,
da quando siamo stati insieme
insieme siamo stati, mia cara
insieme siamo stati,
sono nove mesi fa o più
da quando siamo stati insieme”
III
“No non mi stenderò sull’erba accanto a te, nè adesso nè mai
perchè ho saputo che tu hai un’altra ragazza e il tuo cuore non appartiene più al mio, e il tuo cuore non appartiene più al mio, mio caro, perchè ho saputo che tu hai un’altra ragazza e
il tuo cuore non appartiene più al mio.”
IV
“Mi arrampicherò su di un albero alto alto e ruberò il nido di un uccello selvatico e quando ritornerò giù, andrò dritto alla casa della ragazza che amo di più tra le braccia della ragazza che amo di più, mia cara,
quando ritornerò giù, andrò dritto alla casa della ragazza che amo di più”

NOTE
1) Willie è il tipico nome del falso innamorato vedi in Willy Taylor
2) In questa canzone  è l’uomo  ad arrampicarsi sull’albero più alto per prendere il nido e portarlo alla donna che ama dandole così prova d’amore. In genere è lei a donare il suo “nido” ad un altro uomo, più degno di essere amato. Il finale è aperto: a chi Johnny porterà il nido?

FONTI
http://www.mudcat.org/thread.cfm?threadid=5037 http://www.wtv-zone.com/phyrst/audio/nfld/05/paddy.htm http://thesession.org/tunes/10172