Banks of Ohio

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Camilla and I were just in Ohio doing a concert for the Columbus Cancer Clinic. When We got home it was time to record another song for the Folk Den, and this one came to mind. This is a sad traditional song about a young man, so enraged by his lover’s rejection of his marriage proposal that he resorts to murder.
Lyrics:
[G] I asked my love to take a [D] walk,
Just to walk a [G] little way.
And we did walk,
And we did [C] talk
All [G] about our [D] wedding [G] day.

CHORUS:
‘Then only, [G] say that you’ll be [D] mine;
And in no other’s arms [G] entwine,
Down [G7] beside where the waters [C] flow,
Down by the [G] banks of the [D] Ohio [G].’

I took her by her lily white hand,
I led her down the banks of sand,
I plunged her in
Where she would drown,
And watched her as she floated down.

CHORUS:

Returnin’ home between twelve and one,
Thinkin’, Lord, what have I done;
I’d killed the girl
I love, you see,
Because she would not marry me.

CHORUS:

Shenandoah

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This was a sea chantey, used with the windlass, and the capstan.The lead man would sing the first and third lines of each verse and the crew would sing on the second and fourth lines, as they did their work, with winches for loading cargo, raising sails, pulling up anchors, and other jobs on deck.

Some believe the song originated among the early American river men, or Canadian voyageurs. Others believe it was a land song before it went to sea. Most agree that it incorporates both Irish and African-American elements.

Shenandoah was tremendously popular both on land and sea and was known by countless names, including: Shennydore, The Wide Missouri, The Wild Mizzourye, The World Of Misery-Solid Fas (a West Indian rowing shanty that may be older than other versions), The Oceanida, and Rolling River.

Two verses of the song were published in an article by W. J. Alden in Harper's Magazine (1882). A version of Solid Fa's was collected by R. Abrams in England in 1909. The shanty is said to date at least to the 1820s.

Shenandoah was an Indian chief living on the Missouri River.

Thanks to Lesley Nelson for this information. http://www.contemplator.com/folk.html

Lyrics:
[E] Oh Shenandoah, I love your daughter
[A] Way-aye, you rolling [E] river
I'll [C#m] take her 'cross yon rolling [E] water
[E] A way – we're bound away
'cross the [B7] wide [E] Missouri!

The Chief disdained the trader's dollars,
Way-aye, you rolling river
My daughter you shall never follow
A way – we're bound away
'cross the wide Missouri!

For seven years I courted Sally,
Way-aye, you rolling river
For seven more I longed to have her
A way – we're bound away
'cross the wide Missouri!

She said she would not be my lover
Way-aye, you rolling river
Because I was a tarry sailor
A way – we're bound away
'cross the wide Missouri!

At last there came a Yankee skipper
Way-aye, you rolling river
He winked his eye, and he tipped his flipper
A way – we're bound away
'cross the wide Missouri!

He sold the Chief that fire-water
Way-aye, you rolling river
And 'cross the river he stole his daughter
A way – we're bound away
'cross the wide Missouri!

Oh Shenandoah, I love your daughter
Way-aye, you rolling river
I'll take her 'cross yon rolling water
A way – we're bound away
'cross the wide Missour

Go Tell Aunt Rhodie

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This is a very popular children's song in spite of its rather dark lyrics.
Lyrics:
[G] Go tell, Aunt Rhodie
[D] Go tell, Aunt [G] Rhodie
Go tell, Aunt Rhodie
Her [D] ole gray goose is [G] dead

Th one she's been savin'
Th one she's been savin'
Th one she's been savin'
T' make a feather bed

Th goslins are dyin'
Th goslin is cryin'
Th goslin is dyin'
Because his Mama's dead

Th gander is weepin'
Th gander is weepin'
Th gander is weepin'
Because his wife is dead

Go tell, Aunt Rhodie
Go tell, Aunt Rhodie
Go tell, Aunt Rhodie
Her ole gray goose is dead

He's Got The Whole World In His Hands

In these troubled times it’s reassuring to know that, He’s Got The Whole World In His Hands.
Lyrics:
He’s got the [G] whole world in His hands

He’s got the [D7} whole world in His hands

He’s got the [G] whole world in His hands

He’s got the whole world [D7] in His [G] hands

He’s got the wind and the rain in His hands

He’s got the wind and the rain in His hands

He’s got the wind and the rain in His hands

He’s got the whole world in His hands

He’s got the Little Bitty Baby in His hands

He’s got the Little Bitty Baby in His hands

He’s got the Little Bitty Baby in His hands

He’s got the whole world in His hands

He’s got you and me brother in His hands

He’s got you and me sister in His hands

He’s got you and me brother in His hands

He’s got the whole world in His hands

He’s got the earth and the sky in His hands

He’s got the earth and the sky in His hands

He’s got the earth and the sky in His hands

He’s got the whole world in His hands

He’s got the young and the old in His hands

He’s got the young and the old in His hands

He’s got the young and the old in His hands

He’s got the whole world in His hands

He’s got the rich and poor in His hands

He’s got the rich and poor in His hands

He’s got the rich and poor in His hands

He’s got the whole world in His hands

He’s got everybody in His hands

He’s got everybody in His hands

He’s got everybody in His hands

He’s got the whole world in His hands

He’s got the whole world in His hands

He’s got the whole world in His hands

He’s got the whole world in His hands

He’s got the whole world in His hands

He’s got the whole world in His hands

He’s got the whole world in His hands

He’s got the whole world in His hands

He’s got the whole world in His hands

Squid-Jigging Ground

This squid catching song originated in Newfoundland, though the names of the places have changed due to the folk process.My wife Camilla and I love to taste and compare crispy calamari at restaurants around the world. She always asks “where do they get all this squid”? A fair question, considering the enormous amount of calamari consumed worldwide each day. I did some research to find out more about where squid come from and how to jig for squid. A preferred method of catching squid is trawling with a jig or lure. This method mimics a live lone prawn traveling through the water with an erratic movement, which creates a realistic impression of a terrified and panic ridden prey. It’s an easy effect to accomplish. Attach the lure to the end of the line using the usual method, and also attach a small weight near the swivel to keep the lure low in the water. Cast out as far as possible, and, depending on the water depth, begin reeling at a constant speed. Keep in mind you are trying to keep the prawn at a constant height of about two feet above the sea bed or sea grass, so time your reeling accordingly. Straight forward reeling won’t create a realistic effect of a panicky prawn, so occasionally sharply draw the rod upward, so the prawn shoots forward toward the surface of the water by about three feet. Then slack off reeling until the prawn reaches the depth at which it was previously traveling. Repeat randomly during reeling, but not too frequently or the squid will lose interest. Note that the squid will usually strike when the jig is falling back to its previous depth. This is due to the reduced speed and less threatening composure of the prawn. If you see squid following the lure when drawing in line close, on the next cast, trawl more slowly than before, as a not so hungry squid will not take a chance on a fast moving piece of prey, easier prey is more appealing. Don’t reel in too fast or you’ll just get a squid leg and not the whole squid. Pink lures work the best. Be careful when taking the squid out of the water, they bite, and have lots of black ink that they squirt to conceal themselves while under water. Using a net to take them off the lure is the safest way to insure that you won’t lose the squid.
Lyrics:
[D] Oh, this is the place where the fishermen gather,With [G] oilskins and [D] boots and Cape Anns [Em] battened down;

[G] All sizes and figures with [D] squid lines and jiggers,

They congregate here on the [A] squid-jigging [D] ground.

Some are workin’ their jiggers while others are yarnin’,

There’s some standin’ up and there’s more lyin’ down;

While all kinds of fun, jokes and tricks are begun

As they wait for the squid on the squid-jiggin’ ground.

There’s men from Bar Harbour and men from the Tickle,

In all kinds of motorboats, green, grey and brown;

There’s a red headed Tory out here in a dory

Running down Squires on the squid-jiggin’ ground.

The man with the whiskers is old Jacob Steele;

He’s gettin well up but he’s still pretty sound.

While Uncle Bob Hawkins wears three pair o’ stockin’s

Whenever he’s out on the squid-jiggin’ ground.

God bless my sou’wester, there’s Skipper John Cheeby,

He’s the best hand at squid-jiggin’ here, I’ll be bound.

Hello! What’s the row? He’s jiggin’ one now,

The very first squid on the squid-jiggin’ ground.

Holy smoke! What a bustle! All hands are excited.

It’s a wonder to me that nobody is drowned.

There’s a bustle, confusion, a wonderful hustle,

They’re all jiggin’ squid on the squid-jiggin’ ground.

There’s poor Uncle Billy, his whiskers are spattered

With spots of the squid juice that’s flying around;

One poor little boy got it right in the eye,

But they don’t give a hang on the squid-jiggin’ ground.

Says Bobby, “The squid are on top of the water,

I just got me jigger ’bout one fathom down” —

When a squid in the boat squirted right down his throat,

And he’s swearin’ like mad on the squid-jiggin’ ground.

If you ever feel inclined to go squiddin’,

Leave your white shirts and collars behind in the town.

And if you get cranky without your silk hanky

You’d better steer clear of the squid-jiggin’ ground.

Oh, this is the place where the fishermen gather,

With oilskins and boots and Cape Anns battened down;

All sizes and figures with squid lines and jiggers,

They congregate here on the squid-jigging ground.

12 Gates To The City

This is an old southern spiritual, inspired by the Bible’s Revelation chapter 21.

Revelation 21 – King James Version ( Public Domain)

Lyrics:
[Em] Oh, what a beautiful city.
[B7] Oh, what a beautiful city
[Em] Oh, what a beautiful city
[Em] Twelve gates to the city, [B7] – [[Em] Hallelujah

Three gates in the east,
Three gates in the west,
Three gates in the north
Three gates in the south
[Em] Twelve gates to the city, [B7] – [[Em] Hallelujah

Who are those children dressed in red?
There’s twelve gates to the city, Hallelujah
Must be the children that Moses led
There’s twelve gates to the city, Hallelujah

My Jesus done just what He said
There’s twelve gates to the city, Hallelujah
He healed the sick and He raised the dead.
There’s twelve gates to the city, Hallelujah

Wild Mountain Thyme

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Back in Greenwich Village, in 1963, I experimented by putting this song to a rock beat. The result was the folk rock sound of the Byrds. Now, I thought it would be fun to try this traditional Scottish love song. with a reggae beat.
Lyrics:
[G] O the summer time is coming
And the [C] trees are sweetly [G] turning
And [C] wild mountain [Am] thyme
Blooms [C] around the purple heather
Will ye [G] go, [C] lassie, [G] go?

If you will not go with me
I will surely find another
To pull wild mountain thyme
All around the purple heather
Will you go lassie go?

Chorus:
And we’ll all go together
To pull wild mountain thyme
All around the purple heather
Will ye go, lassie, go?

I will build my love a bower
By yon clear and crystal fountain
And on it I will place
All the flowers of the mountain
Will ye go, lassie, go?

Chorus:
And we’ll all go together
To pull wild mountain thyme
All around the purple heather
Will ye go, lassie, go?

Pretty Saro

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This song was collected in the Asheville area of North Carolina and the Blue Ridge Mountains of Virginia around 1930 by Dorothy Scarborough. She included it in her book ‘A Song Catcher in Southern Mountains, American Folk Songs of British Ancestry.’ This is an excerpt from her text:

‘Mrs. Stikeleather also sang it (Pretty Saro) into my dictaphone and contributed it to this collection. She told me that while the date ‘eighteen forty-nine’ is used in some of the versions of the song, ‘seventeen forty-nine’ is more probably correct, as that year witnessed considerable immigration to North Carolina from Ireland, and Scotland, and this old English song was no doubt adapted to its new setting at that time.’ Scarborough later says that the use of the phrase ‘free-holder’ indicates the song is of British origin.

Lyrics:
[A] When I first come to this [E] country in [A] seventeen-forty-nine,

I saw many fair [E] lovers, but never saw [E] mine.

I looked all [A] around me, and found I was [E] alone.

Me a poor [D] stranger, and a long way from [E] home.

Down in some lonesome valley, down in some lonesome place,

Where the wild birds do whistle their notes to increase,

I think of pretty Saro whose waist is so neat

And I know of no better pastime than to be with my sweet.

My love she won’t have me, so I understand

She wants a free-holder, who owns house and land.

I cannot maintain her with silver and gold,

Nor buy all the fine things that a big house can hold.

I wish I was a poet and could write a fine hand.

I would send my love a letter that she could understand.

And I’d send it by a messenger where the waters do flow.

And think of pretty Saro wherever I go.

When I first come to this country in seventeen-forty-nine,

I saw many fair lovers, but never saw mine.

I looked all around me, and found I was alone.

Me a poor stranger, and a long way from home.

St. James Infirmary

One of the great blues from New Orleans, originally ‘Gambler’s Blues.’
Lyrics:
[Em] I went down to [Am] St. James [Em] Infirmary.
[Em] I saw my [C] baby [B7] there.
[Em] Lying on a [Am] long white table,
[C] So sweet, [B7] so cold, [Em] so fair.

I went up to see the doctor.
‘She’s very low,’ he said.
I went back to see my baby
And great god she was lying there dead.

I went down to Old Joe’s Bar-room.
Down on the corner by the square.
They were serving drinks as usual.
And the usual crowd was there.

On my left stood Joe MacKennedy.
His eyes were blood-shot red.
He turned to the crowd around him
And these are the words that he said.

Let her go, let her go, God bless her.
Wherever she may be.
She may search this wide world over
But she’ll never find another man like me.

When I die please bury me
In a high top stetson hat.
Put a gold piece on my watch chain.
So the boys will know I died standing pat.

Get six gamblers to carry my coffin.
Six chorus girls to sing my song.
Put a jazz band on my tailgate
To raise hell as we roll along.

This is the end of my story.
So let’s have another round of booze.
And if any one should ask you just tell them
I’ve got the St. James Infirmary Blues.

When the Saints Go Marching In

Lyrics:
[G] I am just a lonesome [C] traveller,
[G] Through this big wide world of [D] sin;
[G] Want to join that grand [C] procession,
When the [G] saints go [D] marchin'[G] in.

Oh when the [G] saints go marchin’in,Oh when the [G] saints go marchin'[D] in,
[G] Lord I want to be in that [C] number
When the [G] saints go [D] marchin’ [G] in.

All my folks have gone before me,
All my friends and all my kin;
But I’ll meet with them up yonder,
When the saints go marchin’in.

|: Oh when the saints go marchin’in, 😐
Lord I want to be in that number,
When the saints go marchin’in.

Come and join me in my journey,
’cause it’s time that we begin;
And we’ll be there for that judgement,
When the saints go marchin’in.

|: Oh when the saints go marchin’in, 😐
We will be in line for that judgement,
When the saints go marchin’in.

|: And when the stars begin to shine 😐
Then Lord let me be in that number
And when the stars begin to shine

|: When Gabriel blows in his horn 😐
Then Lord let me be in that number
When Gabriel blows in his horn

|: And when the sun refuse to shine 😐
Then Lord let me be in that number
When the sun refuse to shine

|: And when the moon has turned to blood 😐
Then Lord let me be in that number
When the moon has turned to blood

|: And when they crown Him King of Kings 😐
Then Lord let me be in that number
When they crown Him King of Kings