Old Chisholm Trail

From Wikipedia:
The Chisholm Trail was a trail used in the later 19th century to drive cattle overland from ranches in Texas to Kansas railheads. The trail stretched from southern Texas across the Red River, and on to the railhead of the Kansas Pacific Railway in Abilene, Kansas, where the cattle would be sold and shipped eastward.

The trail is named for Jesse Chisholm who had built several trading posts in what is now western Oklahoma before the American Civil War. He died in 1868, too soon to ever drive cattle on the trail.

Today, most historians consider the Chisholm Trail to have started at the Rio Grande in Texas or at San Antonio, Texas. From 1867 to 1871, the trail ended in Abilene, Kansas. Later, Newton, Kansas, and Wichita, Kansas, each served as the end of the trail. From 1883 to 1887, the end of the trail was Caldwell, Kansas. Ellsworth, Kansas is also considered a major influence of the trail.

In Texas, there were hundreds of feeder trails heading north to one of the main cattle trails. In the early 1840s, most cattle were driven up the Shawnee Trail. The Chisholm Trail was previously used by Indian hunting and raiding parties; it went north from Austin through Waco and Fort Worth. The trail crossed into Indian Territory (present-day west-central Oklahoma) near Red River Station (in present-day Montague County, Texas) and entered Kansas near Caldwell. Through Oklahoma, the Chisholm Trail generally followed the route of US Highway 81 through present-day towns of El Reno and Enid.

On the long trips – up to two months – the cattlemen would face many difficulties. They had to cross major rivers like the Arkansas and the Red, and innumerable smaller creeks, plus the topographic challenges of canyons, badlands, and low mountain ranges. The weather was less than ideal. In addition to these natural dangers, there were rustlers and occasional conflicts with Native Americans if a trail boss failed to pay a toll of 10 cents a head to local tribes for the right to cross Indian lands (Oklahoma at that time was Indian Territory, governed from Fort Smith, Arkansas). Finally, there was the natural contrariness of the half-wild Texas longhorn cattle themselves, which were prone to stampede with little provocation.

Lyrics:

The Old Chisholm Trail

[G] Well come along boys and listen to my tale
Tell you ’bout my troubles on the Old Chisholm Trail
[D] Come a ti-yi-yippie yippie yay [G] yippie yay
[D] Ti-yi-yippie yippie [G] yay

I started up the trail October 23rd
Started up the trail with the 2U herd
Come a ti-yi-yippie yippie yay yippie yay
Ti-yi-yippie yippie yay

Got a ten dollar horse a forty dollar saddle
Goin’ down to punch them Texas cattle
Come a ti-yi-yippie yippie yay yippie yay
Ti-yi-yippie yippie yay

Woke up one morning on the old Chisholm Trail
Rope in my hand and a cow by the tail
Come a ti-yi-yippie yippie yay yippie yay
Ti-yi-yippie yippie yay

I’m up in the morning before daylight
Afore I sleep the moon is shining bright
Come a ti-yi-yippie yippie yay yippie yay
Ti-yi-yippie yippie yay

Old Ben Bolt he was a fine old man
You knowed there be whiskey wherever he’d land
Come a ti-yi-yippie yippie yay yippie yay
Ti-yi-yippie yippie yay

It’s cloudy in the west a looking like rain
My long coat slicker’s in the wagon again
Come a ti-yi-yippie yippie yay yippie yay
Ti-yi-yippie yippie yay

Feet in the stirrups and my seat on the saddle
Hung and rattled with them long horned cattle
Come a ti-yi-yippie yippie yay yippie yay
Ti-yi-yippie yippie yay

The wind commenced to blow and the rain began to fall
Looked like we was gonna lose ’em all
Come a ti-yi-yippie yippie yay yippie yay
Ti-yi-yippie yippie yay

Well I jumped in the saddle grab ahold of the horn
The best balmed cowboy ever was born
Come a ti-yi-yippie yippie yay yippie yay
Ti-yi-yippie yippie yay
Come a ti-yi-yippie yippie yay yippie yay
Ti-yi-yippie yippie yay

A Roving

Also known as “The Amsterdam Maid” is a capstan song. It might have been sung at a slower tempo as pushing the bars around a capstan to pull up the anchor could be a slow arduous task, especially if the night before on shore was a rollicking one.

The chantey man, leading the song, usually sat on the capstan head, singing out the main lines of the song, while the two or three sailors on each of the capstan bars sang the chorus.

The song’s origin in the 1600s suggests that it was probably not an original chantey but a shore song, since it was performed on the London stage in the “Rape of Lucrece.”

Lyrics:

[G] In Amsterdam there lived a maid
[C] Mark well what I do [G] say.
In [C] Amsterdam there [G] lived a maid,
And [Am] she was mistress of her [D] trade.
[G] I’ll go no more a roving with thee [D] fair [D] maid.
CHORUS:-

[C] A roving, [G] a roving, since [Am] roving’s been my [D] ruin
[G] I’ll go no more a roving with thee [D] fair [G] maid.

Her lips were red, her eyes were brown,
Mark well what I do say.
Her lips were red, her eyes were brown,
And her hair was black and it hung right down,
I’ll go no more a-roving with thee, fair maid.

I put my arm around her waist ,
Mark well what I do say.
I put my arm around her waist,
Cried she,”Young man you’re in great haste.”
I’ll go no more a-roving with thee, fair maid.

I took that maid upon my knee,
Mark well what I do say.
I took that maid upon my knee,
Cried she, “Young man, you’re much too free”;
I’ll go no more a-roving with thee fair maid.

I kissed that maid and stole away,
Mark well what I do say.
I kissed that maid and stole away,
She wept- “Young man, why won’t you stay “;
I’ll go no more a-roving with thee, fair maid.

Dry Bones

Originally recorded by Bascom Lamar Lunsford – February 1928 in Ashland, Kentucky. I learned this song from the Harry Smith Anthology. What I love most about it is its melodic chorus. Although Lunsford simply accompanied himself on banjo, I’ve added guitar and mandolin to my recording.

Lyrics:

Roughly in the key of G#

Oh Enoch he lived to be, three hundred and sixty-five
When the Lord came and took him, back to heaven alive

I saw
I saw the light from heaven, a-shining all around
I saw the light come shining, I saw that light come down

When Paul sleeping in prison them prison walls fell down
The prison keeper shouted “Praise King and love I’ve found!”

I saw
I saw the light from heaven, a-shining all around
I saw the light come shining, I saw the light come down

When Moses saw that-a burning bush, he walk-ed round and round
Then the Lord said to Moses “You’s treadin’ holy ground.”

I saw
I saw the light from heaven, a-shining all around
I saw the light come shining, I saw the light come down

Dry bones in that valley, got up and took a little walk
The deaf could hear and the dumb could talk

I saw
I saw the light from heaven, a-shining all around
I saw the light come shining, I saw the light come down
Adam and Eve in the garden, under that sycamore tree
Eve said “Adam, a Satan is a-temptin’ me.

I saw
I saw the light from heaven, a-shining all around
I saw the light come shining, I saw the light come down

Old Plank Road

Uncle Dave Macon “The Dixie Dew Drop,” recorded this song on 5-string banjo, with guitar by Sam McGee in New York City on April 14, 1926. Macon was born in 1870, the son of proprietors of the Macon Hotel, a theatrical boarding house, where he learned many songs from hotel guests. By 1888 he had become a professional entertainer and would record over a hundred songs between 1932 – 1938. This is one of the chain gang songs he performed. It’s a wild interpretation with lots of shouting. The chorus “Won’t get drunk no more” echoes his regret for being busted and having a ball and chain, but doesn’t smack of true remorse.
Lyrics:

Roughly in the key of D playing the melody

Rather be in Richmond with all the hail and rain
Than to be in Georgia boys wearin’ that ball and chain

Won’t get drunk no more
Won’t get drunk no more
Won’t get drunk no more
Way down the Old Plank Road

I went down to Mobile, but I got on the gravel train
Very next thing they heard of me, had on that ball and chain

Won’t get drunk no more
Won’t get drunk no more
Won’t get drunk no more
Way down the Old Plank Road

Doney, oh dear Doney, what makes you treat me so
Caused me to wear that ball and chain, now my ankle’s sore

Won’t get drunk no more
Won’t get drunk no more
Won’t get drunk no more
Way down the Old Plank Road

Knoxville is a pretty place, Memphis is a beauty
Wanta see them pretty girls, hop to Chattanoogie

Won’t get drunk no more
Won’t get drunk no more
Won’t get drunk no more
Way down the Old Plank Road

I’m going to build me a scaffold on some mountain high
So I can see my Doney girl as she goes riding by

Won’t get drunk no more
Won’t get drunk no more
Won’t get drunk no more
Way down the Old Plank Road

My wife died on Friday night, Saturday she was buried
Sunday was my courtin’ day, Monday I got married

Won’t get drunk no more
Won’t get drunk no more
Won’t get drunk no more
Way down the Old Plank Road

Eighteen pounds of meat a week, whiskey here to sell
How can a young man stay at home, pretty girls look so well

Won’t get drunk no more
Won’t get drunk no more
Won’t get drunk no more
Way down the Old Plank Road

My Home’s Across The Smokey Mountains

This is a joyful sounding song that belies its lyrics. It really doesn’t sound like he’s never going to see his lover anymore, or if that’s the case he’s pretty darn happy about it. I played it on 5-string banjo, 12-string and 6-string guitars. I remember when I was going to the Old Town School of Folk Music in Chicago, that my guitar and banjo teacher Frank Hamilton traveled to New York to record this and other songs on an album with Pete Seeger called: Nonsuch We were all so proud of Frank!
Lyrics:

[G] My home’s across the Smokey Mountains
My home’s across the Smokey [D7] Mountains
[G] My home’s across the Smokey Mountains
And I’l [D7] never get to see you any [G] more more more
I’l [D7] never get to see you any [G] more

Goodbye honey sugar darlin’ X3
And I’l never get to see you any more more more
I’l never get to see you any more

Rock by baby feed her candy X3
And I’l never get to see you any more more more
I’l never get to see you any more

Oh Where’s that finger ring I gave you X3
And I’l never get to see you any more more more
I’l never get to see you any more

My home’s across the Smokey Mountains X3
And I’l never get to see you any more more more
I’l never get to see you any more

My home’s across the Smokey Mountains X3
And I’l never get to see you any more more more
I’l never get to see you any more

Nobody Knows You When You’re Down And Out

Written in the 1920s before the Great Depression by Jim Cox and made popular by Bessie Smith’s hit record, this song was prophetic of events to transpire in the United States and the world.

Now almost 100 years later – here we are again! I played this in the key of B on my Martin D-12-42RM, 5-string banjo and mandolin. The chord notation is in C.

Lyrics:

(by Jimmie Cox)

[C] Once I lived the [E7] life of a [A7] millionaire,
[d min.] Spending all my [A7] money, I didn’t [d min.] care.
[F] Takeing my [B7] friends [C] for a mighty fine [A7] time,
[D7] Buying bootleg liquor, [G7] champagne and wine.

Then I began to fall so low,
Lost all my good friends, had no place to go.
If I ever get my hands on a dollar again,
I’m gonna hold on to it till that eagle grins.

‘Cause no, no, nobody knows you
When you’re down and out.
In your pocket, not one penny,
And all your good friends, you haven’t any.

If you ever get back on your own two feet again,
Everybody’s going to want to be your old long-lost friend.
It’s mighty strange, without a doubt,
Nobody knows you when you’re down and out.

If you ever get back on your own two feet again,
Everybody’s going to want to be your old long-lost friend.
It’s mighty strange, without a doubt,
Nobody knows you when you’re down and out.

No Payday In Detroit

The Packard factory (pictured above) closed in 1956. My grandfather bought one of their last models, being a life long Packard enthusiast. They had been overrun by the big three. Now we are at the point where the big three’s future is in question. This is a traditional song about a mine disaster but it’s fitting for the US auto industry at this time. I changed the lyrics a bit to bring it up to speed and played it on banjo and mandolin.

Lyrics:

1. [A] Payday, it’s payday, oh, payday,
[D] Payday in Detroit no [A] more,
[D] Payday in Detroit no [A] more.

2. Bye bye, bye bye, oh, bye bye,
Bye bye, my woman, I’m gone,
Bye bye, my woman, I’m gone.

3. You’ll miss me, you’ll miss me, you’ll miss me,
Baby gonna miss me when I’m gone,
Baby gonna miss me when I’m gone.

4. Easy rider, easy rider, oh easy rider,
Won’t be ridin’ easy any more,
Won’t be ridin’ easy any more.

1. Payday, it’s payday, oh, payday,
Payday at Detroit no more,
Payday at Detroit no more.

Go Tell It On The Mountain

I bought a mandolin in Ft. Worth Texas on this tour and decided to use it here. I remember hearing this song on a vinyl two record set with a pop-up Christmas scene called “Home For Christmas,” sung by Mahalia Jackson. It has always been a favorite.

More From Wikipedia:

“Go Tell It on the Mountain” is an African-American spiritual dating back to at least 1865 that has been sung and recorded by many gospel and secular performers. It is considered a Christmas carol because its original lyric celebrates the Nativity: “Go tell it on the mountain, over the hills and everywhere; go tell it on the mountain, that Jesus Christ is born.”

In 1963, Peter Yarrow, Noel “Paul” Stookey, and Mary Travers, along with their musical director, Milt Okun, adapted and rewrote “Go Tell It on the Mountain” as “Tell It on the Mountain”, their lyrics referring specifically to Exodus and employing the line “Let my people go,” but implicitly referring to the Civil Rights struggle of the early ’60s. The song was recorded by Yarrow, Stookey and Travers on their Peter, Paul and Mary album In the Wind and was also a moderate hit single for them. (US #33 pop, 1964). Civil rights activist Fannie Lou Hamer used this rewritten version of the song as an anthem during the mid-1960s.

Other artists, besides Peter, Paul and Mary, who have recorded the song (chiefly on either Christmas-themed music albums or collections of spirituals or folk songs) include:

* The New Christy Minstrels
* Simon & Garfunkel
* Bob Marley
* Mahalia Jackson
* Fred Hammond
* Kirk Franklin
* Candi Staton
* Frank Sinatra & Bing Crosby
* James Taylor
* Cece Winans
* Anne Murray
* Vanessa L. Williams
* Jewel
* Dustin Kensrue
* Bruce Cockburn
* Little Big Town
* Sherill Milnes
* John Rutter and the Cambridge Singers
* Sara Evans
* Jim Nabors
* Toby Keith
* Peter Tosh
* The Blind Boys of Alabama
* Oh Susanna – for the holiday compilation album, Maybe This Christmas Too? (2003)
* Dolly Parton
* Carola Häggkvist
* Bobby Darin
* Art Paul Schlosser (who rewrote the lyrics for kids with the title, “Go Tell it On the Swingset”)
* The Gas House Gang

Lyrics:

Refrain
[F] Go, tell it on the mountain,
[C] Over the hills and [F] everywhere
Go, tell it on the mountain,
That [F] Jesus [C] Christ is [F] born.

[C] The shepherds feared and [F] trembled,
[C] When low above the [F] earth,
[C] Rang out the angels chorus
That [G7] hailed our Savior’s [C] bi–rth.
Refrain

While shepherds kept their watching
o’er silent flocks by night,
Behold, throughout the heavens
There shone a holy li–ght
Refrain

And lo! When they had heard it,
They all bowed down to pray,
Then travelled on together,
To where the Baby la–y.
Refrain

Down in a lowly manger
The humble Christ was born
And God sent us salvation
That blessed Christmas mo–rn.
Refrain

500 Miles

Hedy West (April 6, 1938 – July 3, 2005) was an American folksinger and songwriter. Her song “500 miles,” has been covered by Bobby Bare (a Billboard Top 10 hit in 1963), The Highwaymen, The Kingston Trio, Peter, Paul and Mary, Peter & Gordon, The Brothers Four and many others. A great number of Hedy’s songs, including the raw materials for “500 Miles” came from her paternal grandmother Lily West who passed on the songs she had learned as a child.

This has a sweet melody and a sad story of poverty and desolation.

Lyrics:

[A] If you miss this train I’m on [F#m] then you’ll know [Bm] that I have [D] gone
You can [Bm] hear the whistle [E] blow a hundred miles
[A] A hundred miles [F#m] A hundred miles [Bm] A hundred miles [D] A hundred miles
You can [Bm] hear the whistle [E] blow a hundred [A] miles

Lord I’m one Lord I’m two Lord I’m three Lord I’m four
Lord I’m five hundred miles from my home
Five hundred miles five hundred miles five hundred miles five hundred miles
Lord I’m five hundred miles from my home

Not a shirt on my back not a penny to my name
Lord I can’t go on home this a-way
This a-way this a-way this a-way this a-way
Lord I can’t go on home this a-way

[A] If you miss this train I’m on [F#m] then you’ll know [Bm] that I have [D] gone
You can [Bm] hear the whistle [E] blow a hundred miles
[A] A hundred miles [F#m] A hundred miles [Bm] A hundred miles [D] A hundred miles
You can [Bm] hear the whistle [E] blow a hundred [A] miles

Joshua Fit The Battle of Jericho

Joshua Fit de Battle is one of the best known examples of “Negro Spiritual” music.
These were songs created by an enslaved people – African Americans who lived in this land for over 300 years – just about the same length of time that the Hebrew people were enslaved in Egypt. American slaves were forbidden to read or write or to gather in groups.

Jericho is one of the oldest cities in the world. Located on the Jordan river, one of the few sources of water in a hot dry land, and on major trade routes, it has been battled over many, many times. If you go to Jericho today you find a barren, high hill overlooking the modern city. This hill, or “tell” is a human, not a natural, landmark. It was created by successive destruction and rebuilding of the city.

Lyrics:

[Em] Joshua fit de battle of Jericho, [D] Jericho, [Em] Jericho,
[Em] Joshua fit de battle of Jericho, and the [Am] walls came a [G] tumbalin’ down.

[Em] You may talk about your men of Gideon,
you may talk about your men of Saul,
but there’s none like good old [Am] Josh-a-ua,
at the [G] battle of [Em] Jericho, that morning;

VERSE 2
Joshua rose early in the morning,
that is when the trumpets blew,
they marched around the city,
at the battle of Jericho.

VERSE 3
Right up to the walls of Jericho,
he marched with spear in hand,
Joshua commanded the children to SHOUT,
and the walls came a tumbalin’ down, down, down, down;

LAST REFRAIN
Joshua fit de battle of Jericho, Jericho, Jericho,
Joshua fit de battle of Jericho, the trumpets they did blow, so,
Joshua fit de battle of Jericho, and the walls came a tumbalin’ down.

ENDING
Joshua fit de battle of Jericho, now you know, Jericho,
Joshua fit de battle of Jericho, and the walls came a tumbalin’ down.
Now you know who tore the wall down,
now you know who tore the wall down, down, down,
Joshua!(in a whisper)