Boatman

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After the War of 1812, thousands of people moved to Ohio from the eastern states. Many came from New England, New York, and Pennsylvania. Immigrants arrrived from Germany and Great Britain.

The Erie Canal opened in 1825. The Ohio and Erie Canal, joining Cleveland and Portsmouth, was completed in 1845. For 25 years these canals were busy trade routes, piloted by burly, aggressive boatmen on long narrow craft. These keelboats were sharp at both ends, built on a keel and ribs.

Gradually the railroads replaced the keelboat as a form of commercial transportation and the canal traffic was greatly reduced.

I chose this song because we are on the road and traveling through Ohio. We stopped at Bill Lee's house in Dublin Ohio, and recorded this at his studio. We used a Martin D-41, 6-string and a 5-string banjo. The background vocals were provided by the Ohio River Boys.

Lyrics:
D
BOATMAN SING BOATMAN DANCE

A7 D
BOATMAN LOVE MISS MARY ANN

D
DANCE BOATMAN DANCE

D A7 D
DANCE BOATMAN DANCE

D G
DANCE ALL NIGHT 'TIL THE BROAD DAYLIGHT

G A7 D
GO HOME WITH THE GALS IN THE MORNING

G D
HEY HO BOATMAN ROW SAILING DOWN THE RIVER ON THE OHIO

G D A7 D
HEY HO BOATMAN ROW SAILING DOWN THE RIVER ON THE OHIO

G D
HEY HO BOATMAN ROW SAILING DOWN THE RIVER ON THE OHIO

G D A7 D
HEY HO BOATMAN ROW SAILING DOWN THE RIVER ON THE OHIO

D
BOATMAN DANCE BOATMAN SING

D A7 D
BOATMAN DO MOST ANYTHING

D
DANCE BOATMAN DANCE

D A7 D
DANCE BOATMAN DANCE

D G
DANCE ALL NIGHT 'TIL THE BROAD DAYLIGHT

G A7 D
GO HOME WITH THE GALS IN THE MORNING

G D
HEY HO BOATMAN ROW SAILING DOWN THE RIVER ON THE OHIO

G D A7 D
HEY HO BOATMAN ROW SAILING DOWN THE RIVER ON THE OHIO

G D
HEY HO BOATMAN ROW SAILING DOWN THE RIVER ON THE OHIO

G D A7 D
HEY HO BOATMAN ROW SAILING DOWN THE RIVER ON THE OHIO

Tribute to Bob Gibson

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I got a letter from Bob Gibson the other day:

'From the Computer of … Bob Gibson

August 15, 1996

Dear Friends,

As my health has declined, I have found that I may miss
music more than anything else. I miss making music,
listening to music and being around others who have
music in their blood. So, I'm going to have a party and
invite everyone to bring their voices, instruments and
songs!

Please join me, just north of Chicago, at the Sheraton
North Shore on Friday, September 20, 1996 to visit and jam!
I've arranged for a small sound system, a no host bar,
light refreshments, and a view of the Chicago skyline. I
would like to see you, hear you and just say hello.

This may be the last chance I have to see many of you. I
am finding it increasingly difficult to do the simplest
things and traveling is really a challenge. I won't be
able to play and sing with you, but I'm really looking
forward to being an audience of one! Please RSVP to my
daughter Susan by September 15, 1996.

I hope to see you there.

Bob

John Brown and Spanky McFarlane wrote a new
version of 'Sweet Betsy From Pike' for this
occasion.

I won't be able to attend, but I wanted to sing
their song, here in the Folk Den for Bob.

The capo is on the third fret.

'Bobby From Chi'

To the tune of 'Sweet Betsy From Pike'
Lyrics by: John Brown & Elane McFarlane

Lyrics:
C Em F C

Oh don't you remember sweet Bobby from Chi?

C Am Dm G

He sang in a cellar, a folk-singin' guy

F

He picked on the banjo and 12-string guitar

C Em F C Em Am G

At the old Gate of Horn, what a wonderful bar!

And down in that cellar, all smoky and damp

He sang of Old Blue with young Bobby Camp

The crowd was ecstatic, my gosh what a scene

With liner notes written by Shel Silverstein

They gave the old folk songs a twist that was new

Camp hollered 'I'm sorry your mother turned blue'

In three-button suits they were polished and lean

They kept off the weight with that pure methadrene

Now all us young folkies thought Bob was the rage

We'd sneak in the 'Gate' and we'd sit near the stage

But we didn't go there just lookin' for kicks

We'd check out his changes and copy his licks

Oh don't you remember sweet Bobby my friend?

We'll be playing your music from now 'til the end

Now here's to you Bobby, a toast from the heart

Make Saint Peter smile with that 12-string guitar

Cold Coast of Greenland

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Lyrics:
A F#m
FAREWELL AND ADIEU LOVE
D A
I'M BOUND FOR TO SAIL
A F#m
TO THE COLD COAST OF GREENLAND
D A
TO CAPTURE THE WHALE
F#m D
AND THERE'LL BE NO TEMPTATION
D A
TO TARRY THERE LONG
A F#m
FOR THE WIND AND THE SNOW LOVE
D A
WILL SING US THEIR SONG

IT'S A HARD SEA TO TRAVEL
THROUGH THE STORM AND THE GALE
AND THERE'S NO COMPENSATION
BUT TO HUNT FOR THE WHALE
WITH OUR OILSKINS AND SLICKERS
AND OUR BOOTS TO THE KNEE
WE WILL ROLL AND WE'LL PITCH
THROUGH THE COLD GREENLAND SEA

OH THE PRIZE THAT WE SEEK LOVE
IS AS BOLD AND AS FINE
AS THE FASTEST OF STEEDS
OR THE FINEST OF WINE
HE COULD EASILY SEND US
WITH THE POWER OF HIS TAIL
TO A WATERY GRAVE
AH THE GREAT GREENLAND WHALE

FAREWELL AND ADIEU LOVE
I'M BOUND FOR TO SAIL
TO THE COLD COAST OF GREENLAND
TO CAPTURE THE WHALE
AND THERE'LL BE NO TEMPTATION
TO TARRY THERE LONG
FOR THE WIND AND THE SNOW LOVE
WILL SING US THEIR SONG

New York Girls

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This is another example of a young sailor's warning about the dangers of shore leave. Getting drunk and into trouble with the women in seaport towns was a common theme that ran through many sea chanties. This verse in the song 'Go To Sea No More' is another illustration of the sailor's admonitions.

Come all you bold seafaring lads
Who listen to my song
And when you go out on them long trips
Pray that you don't go wrong
Take my advice drink no strong drink
Don't go sleeping with no whore
But get married lads and have all night in
And go to sea no more

Lyrics:
G
As I walked down the Broadway
C
One evening in July
G C
I met a maid who asked me trade
C D
And a sailor John says I

To Tiffany's I took her
I did not mind expense
I bought her two gold earrings
And they cost me fifteen cents

G
AND AWAY, YOU SANTEE
C G
MY DEAR ANNIE
C Am
OH, YOU NEW YORK GIRLS
D G
CAN'T YOU DANCE THE POLKA?

Says she, 'You Limejuice sailor
Now see me home you may'
But when we reached her cottage door
She this to me did say

My flash man he's a Yankee
With his hair cut short behind
He wears a pair of long sea-boots
And he sails in the Blackball Line

He's homeward bound this evening
And with me he will stay
So get a move on, sailor-boy
Get cracking on your way

So I kissed her hard and proper
Afore her flash man came
And fare ye well, me Bowery gal
I know your little game

I wrapped me glad rags round me
And to the docks did steer
I'll never court another maid
I'll stick to rum and beer

I joined a Yankee blood-boat
And sailed away next morn
Don't ever fool around with gals
You're safer off Cape Horn

Buffalo Skinners

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At four o'clock in the morning when the bars all closed in Chicago, a few of us would go out for breakfast. There were musicians, singers and people who worked at the various bars and nightclubs along Rush Street. Herb O'Brian was a tall fellow with a mustache and a big bass voice who worked as the bartender at Easy Street. He liked to drink 151 proof rum and sing one song a cappella, over and over as we ate steak and eggs. Here is the song he sang.
Lyrics:
[Bm] 'Twas in the town of [A] Jacksburo, in the [G] year of [Bm]'73
That a [D] man by the name of [G] Kre- [A] ggo come [D] walking up to [G] me
Saying [D] how you doing young [G] fel- [A] ler and [D] would you like to [G] go
To [Bm] spend the summer [A] pleasantly on the [G] range of the [Bm] buffalo

Me being out of employment, to Kreggo I did say
This summer on the buffalo range depends upon the pay
For if you pay good wages, transportation to and fro'
It's likely I go with you to the range of the buffalo

Yes I will pay good wages, and transportation too
If you'll agree to work for me until the season's through
But if you do get homesick and you try to run away
You'll starve to death on the buffalo range, and also lose your pay

With all this fancy talking he set up quite a plan
Some ten or twelve in number, all able bodied men
Our trip it was a pleasant one as we hit the westward road
Until we reached Las Cruces in old New Mexico

Well then our pleasures ended and our troubles they begun
When lightning struck the wagon boys and made the buffalo run
A thousand head a-breathin' fire, stampeding they did go
And outlaws waiting to pick us off from the hills of Mexico

Well the working season ended but the drover would not pay
He said 'you boys been extravagant , your all in debt to me'
But the cowboys never heard such a thing as a bankrupt drover-o
So they left his bones to bleach in the hills of Mexico

Across the Rio Grande my boys and homeward we are bound
No one on this buffalo range will ever more be found
Go home to your wives and sweethearts, tell others not to go
To spend the summer pleasantly on the range of the buffalo

Springfield Mountain

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'Springfield Mountain' is purported to be the first original American ballad. This was how the news was spread in the days before radio, television or the internet. A minstrel would go from town to town and sing about the most recent events. This song is the true story of twenty-two year old Lieutenant Timothy Merrick, a young man who was about to be married. He was bitten by a rattlesnake in Springfield Mountain Massachusetts, on August 7, 1761 and died within three hours of the attack. His grave can still be seen fourteen miles north of that city.

There are many different versions of this ballad. Some were wild exaggerations made up by vaudeville performers, in which Merrick's wife-to-be died as a result of trying to suck the poison out with a broken tooth.

'Now Molly had a broken tooth, and so the poison killed them both.'

On this song, I used a Martin 0021 6-string and a Vega/Ode 5-string banjo. Both instruments are tuned down 1/2 step. 'Springfield Mountain' is here in honor of Spring. Watch your step.

Lyrics:
[Am] On Springfield Mountain there did dwell
[C] Right – tum – a – new – rife – a – lime – a – diddle – do
[Am] On Springfield Mountain there did dwell [E7] tum – a – row
[Am] On Springfield Mountain [G]there did dwell A [F] handsome youth I knew [E7] full well
[Am] Right – tum – a – new – rife – a – [G] lime – a – diddle – [Am] do

One Monday morning he did go
Right – tum – a – new – rife – a – lime – a – diddle – do
One Monday morning he did go tum – a – row
One Monday morning he did go Down in the meadow for to mow
Right – tum – a – new – rife – a – lime – a – diddle – do

He mowed once round that lengthy field
Right – tum – a – new – rife – a – lime – a – diddle – do
He mowed once round that lengthy field tum – a – row
He mowed once round that lengthy field And a poison serpent bit his heel
Right – tum – a – new – rife – a – lime – a – diddle – do

They brought him to his Molly dear
Right – tum – a – new – rife – a – lime – a – diddle – do
They brought him to his Molly dear tum – a – row
They brought him to his Molly dear Which made her feel so mighty queer
Right – tum – a – new – rife – a – lime – a – diddle – do

Oh Johnny dear why did you go?
Right – tum – a – new – rife – a – lime – a – diddle – do
Oh Johnny dear why did you go? tum – a – row
Oh Johnny dear why did you go Down in the meadow for to mow?
Right – tum – a – new – rife – a – lime – a – diddle – do

Oh Molly Dear now don't you know
Right – tum – a – new – rife – a – lime – a – diddle – do
Oh Molly Dear now don't you know tum – a – row
Oh Molly Dear now don't you know It's father's field and must be mowed
Right – tum – a – new – rife – a – lime – a – diddle – do

On Springfield Mountain there did dwell
Right – tum – a – new – rife – a – lime – a – diddle – do
On Springfield Mountain there did dwell tum – a – row
On Springfield Mountain there did dwell A handsome youth I knew him well
Right – tum – a – new – rife – a – lime – a – diddle – do

Easter

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This is a song that was performed by Lead Belly on his 12-string guitar. It's interesting to note that although it's in the key of E minor, Leadbelly played only major chords while singing the minor melody line, as he did with all his songs in a minor key. The effect is very unusual and quite appealing.
Lyrics:
[E] On Easter morn' He rose
On Easter morn' He rose
On Easter morn' He rose [B7] for me
[E] One day when I was [E7]lost
They [A] hung Him on a [E] cross
They [A] hung Him on a [B7] cross for [E] me

The sky turned dark and gray
The sky turned dark and gray
The sky turned dark and gray for me
One day when I was lost
They hung Him on a cross
They hung Him on a cross for me

He bowed His head and died
He bowed His head and died
He bowed His head and died for me
One day when I was lost
They hung Him on a cross
They hung Him on a cross for me

They laid Him in a tomb
They laid Him in a tomb
They laid Him in a tomb for me
One day when I was lost
They hung Him on a cross
They hung Him on a cross for me

On Easter morn' He rose
On Easter morn' He rose
On Easter morn' He rose for me
One day when I was lost
They hung Him on a cross
They hung Him on a cross for me

To Morrow

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This is a recording of me at age 16, in 1958 (38 years ago) made on a Pentron reel to reel tape machine running at 7 1/2 inches per second. There is a tape stretch in the last verse, but the overall quality is quite good, considering its age.

I first heard this song from Bob Gibson at the Latin School of Chicago where I was a student. My music teacher was a friend of Bob's and asked him to perform an hour show for us, early in the fall of 1957. I hadn't been exposed to folk music prior to that and became so interested that I enrolled at Chicago's, Old Town School of Folk Music later that year.

To Morrow is a traditional American folk song with Irish roots and is here as a tribute to St. Patrick's Day.

Lyrics:
[D] I started on a journey, [G] about a year [D] ago
To a little town called Morrow in the [E] state of [A] Ohio
I've [D] never been much of a traveller, so I [G] really didn't [D] know
That [G] Morrow was the [D] hardest place I'd ever [A] try to [D] go!

I [G] went down to the [D] station for my [G] ticket and [D] applied
For [G] tips regarding [D] Morrow not [E] expecting to be [A] guyed (means fooled)
[D] Said he to me, 'Now let me see if [G] I have heard you [D] right–
You'd [G] like to go to [D] Morrow and return [A] tomorrow [D] night'

'You should have gone to Morrow yesterday and back today
For the train today to Morrow is a mile upon its way….
If you had gone to Morrow yesterday now don't you see
you could have gone to Morrow and returned today at three.'

'For the train today to Morrow if the schedule is right
Today it goes to Morrow and returns tomorrow night'
I was so disappointed I was mad enough to swear,
The train had gone to Morrow and it left me standing there.

The man was right in tellin' me that I was howlin' jay
I could not go to Morrow, so I guess in town I'll stay.

John Riley

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I first heard this song in 1960, at the Club 47, in Cambridge Massachusetts. Joan Baez was performing. She was young and beautiful, with long, flowing black hair. She played and sang with more feeling than anyone I had ever seen before. Her finger-picking technique particularly impressed me, because a lot of folk singers just strummed. But she could really pick.

I was in love that autumn, with the colors and smells of Cambridge and with Joan Baez.

The 12-string is in the Dm position, but played in the key of E with a capo on the second fret. The 5-string banjo is in the G position with the fifth string tuned down to E.

Lyrics:
[Dm] Fair young maid [G] all in her [Dm] garden
Strange young man [G] come riding [Dm] by
Saying fair young [F] maid will you marry [C] me?
And this dear [Em] sir was her [Dm] reply

Oh no dear sir I cannot marry thee
For I've a love who sails the deep salt sea
Though he's been gone for seven years
Still no man shall marry me

What if he's died all in some battle slain?
Or if he's drownded in the deep salt sea
What if he's found another love
He and his new love both married be?

Well if he's died all in some battle slain
Or if he's drownded in the deep salt sea
I'll remember his good name
And still no man shall marry me.

And if he's found some other love
He and his true love both married be
I wish them health and happiness
Where they now live all across the sea

He picked her up all in his arms
And kisses gave her one two and three
Saying weep no more my own true love
For I'm your long lost John Riley
Saying weep no more my own true love
For I'm your long lost John Riley

Argonaut, The

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There are many versions of this old sea chantey. Some are called 'Blow Ye Winds Of Morning.' This one is a classic tale of disaster at sea. Working aboard the whaling ships of the Nineteenth Century was a treacherous way to make a living. Sailors were often killed during shore leave, but in some cases their ships would never return to their home ports.

The 12-string guitar and banjo are tuned down one half step to F#, but the chord pattern is in the 'G' position.

Lyrics:
[G] 'Twas the twenty-first of [D] January
[G] Eighteen fifty [D] three
[G] Our gallant ship the [D] Argonaut
Set sail for [Em] jubilee
Singin' [G] blow ye winds of morning
Blow ye winds [C] hi ho
[G] Stow away your [C] runnin' gear and
[G] Blow [C] boys [G] blow [C] [G] [C] [G]

We headed up to Greenland
Into the wintry seas
Where there's ice and snow, and the whale fish blow
And Jamaca rum would freeze
Singin' blow ye winds of morning
Blow ye winds hi ho
Stow away your runnin' gear and
Blow boys blow

Our captain Davy Grant me boys
He give us all a treat
And that is why we caught a whale
That measured fifty feet
Singin' blow ye winds of morning
Blow ye winds hi ho
Stow away your runnin' gear and
Blow boys blow

And when reached Cape Harrison
The weather it turned clear
Our pilot aimed us to the south
And homeward we did steer
Singin' blow ye winds of morning
Blow ye winds hi ho
Stow away your runnin' gear and
Blow boys blow

But shortly out of Newfoundland
A storm began to rise
The seas kicked up, the mast it broke
The Argonaut capsized
Singin' blow ye winds of morning
Blow ye winds hi ho
Stow away your runnin' gear and
Blow boys blow

Of all those bold, brave sailors
On that day did set sail
Well I'm the only one alive
Left to tell the tale
Singin' blow ye winds of morning
Blow ye winds hi ho
Stow away your runnin' gear and
Blow boys blow

It was the twenty-first of January
Eighteen fifty three
Our gallant ship the Argonaut
Set sail for jubilee
Singin' blow ye winds of morning
Blow ye winds hi ho
Stow away your runnin' gear and
Blow boys blow