Lyrics to "Let Her Go, I'll Meet Her"

LET HER GO, I'LL MEET HER
- Recorded by Rutherford and Foster, 1929

Oh where did you stay last night
Yes, and the night before
I stayed in the pines where the sun never shines
And shivered when the cold wind blew

Let her go, go, I’ll meet her
Let her go, go , I’ll meet her
Let her go, go , God bless her so
She is mine wherever she may be

Sometimes I live in the country
Sometimes I live in town
Sometimes I take a fool notion like this
To jump in the river and drown

Let her go, go, I’ll meet her
Let her go, go , I’ll meet her
Let her go, go , God bless her so
She is mine wherever she may be

I have a ship on the ocean
A boat that sails on the sea
A pretty girl that lives in the country, boys
Has sure made a fool out of me

Let her go, go, I’ll meet her
Let her go, go , I’ll meet her
Let her go, go , God bless her so
She is mine wherever she may be

The Carl Sandburg version - What did it sound like?

In recent posts we have seen that bits of the "St. James Infirmary" lyric can be found in songs from as far back as 1902. The earliest evidence of the written music, though, is from Carl Sandburg's 1927 collection of American folk songs, The American Songbag.

By 1929 - after Louis Armstrong became the third person to record the song (preceded by Fess Williams and Buell Kazee) the song had crystallized into a bluesy melody with a fox trot rhythm. But what did it sound like to the people who sent the song to Carl Sandburg?

This afternoon, with my digital reorder in hand, I asked Bill to play the Sandburg version on an electric keyboard. What I have posted here is only sixteen seconds long, but the song is basically that sixteen seconds repeated over and over again, perhaps with variations. Some think of it as repeated choruses, others as "one little rhythmic verse and a series of endless words." So, there is enough music in these few seconds to let us know how the entire song sounded to Sandburg and his song-collecting collaborators.

To hear this sample of the music for Sandburg's version of the song from "The American Songbag" click on: Those Gambler's Blues. And . . . Bill, many thanks for doing this!

"Let Her Go, God Bless Her" mp3 - Willie Trice

Willie (or Welly, depending upon your source) Trice made two recordings under his own name in 1937, and then not again until 1970. His take on the "Let Her Go" theme is from 1937, with both he and his brother Richard playing guitars.

Document Records had a CD called Carolina Blues (1937-1947) that featured a couple of songs, including this one, by "Welly" Trice - but that's a rare find nowadays. The four disk Blind Boy Fuller Volume 2 from JSP records features the two songs by Welly and eight by Richard Trice.

Although the recording quality is good, the lyrics can be difficult to make out. One verse, for instance, sounds something like, "Oh Scarbird wants your body / And Megalon wants it too / Oh Scarbird turned his long-headed since / She was gone and she won't come back." If you can make more sense of this, please drop me a line.

To hear this song, click on "Let Her Go, God Bless Her" MP3.

"Let Her Go, God Bless Her" mp3 - the Louvin Brothers

This is a bit of fun. The Louvin Brothers once recorded a song called "Let Her Go, God Bless Her." It's from a 1956 album titled Tragic Songs of Life, and completely different from the song posted above. From some of the recent posts here, one gets the impression that the "Let Her Go" chorus from "St. James Infirmary" served as the structural cornerstone for a number of songs.

Well, that SJI chorus is here in full, and you will also recognize, unchanged, a verse from Leadbelly's "Good Night, Irene."

This is an infectious little ditty. To hear this song click on: "Let Her Go, God Bless Her" MP3.

Carl "Deacon" Moore - "A Woman Gets Tired" mp3 - and Margie Moore turns 93!

A recent photograph of Marjorie Moore, with her daughter Carol

As readers of this blog, or of the book, know - Carl Moore was credited as co-composer of "Gambler's Blues" when it was recorded by Fess Williams in 1927. "Gambler's Blues" would soon become known as "St. James Infirmary" - and credit for authorship would change; first to Don Redman, and then to Joe Primrose.

But Carl Moore (along with Phil Baxter) was the first of these. He is one of the most interesting of the characters that I explore in I Went Down to St. James Infirmary. After many years as a big band leader - and dapper, tuxedoed, comical hillbilly hick - he became one of the first (and one of the most popular) country music djs. Although he retired in 1969, Dave Sichak's website Hillbilly-Music dawt com announced that in 2008 Carl "Squeakin' Deacon" Moore had the most visited page of the many disk jockeys the site features.

Carl Moore was born in Paragould, Arkansas in 1902. He died in

Huntington Beach, California, in 1985. I telephoned his wife, the lovely Margie Moore, a few days ago. She celebrated her 93rd birthday this past weekend!

Happy Birthday Marjorie!!

In celebration of Margie's birthday, I am posting the fourth - and last - song of Carl's complete recorded output. Much of Carl's inspiration came from the vaudeville and minstrel stages, and this song - written by Paul Carter and C.H. Barker (who are today as obscure as songwriters can get) - was popular on vaudeville. Deacon drawls, the orchestra swings.

To hear this song, click on: "A Woman Gets Tired" MP3. Be warned that a few seconds in it might sound like the recording skips a beat. I edited the file a bit in order to removed a loud click.

New book review in "penguin eggs"

The Canadian magazine devoted to folk and roots music, penguin eggs, publishes four times a year. The spring issue has just been delivered to stores, and contains a review of I Went Down to St. James Infirmary.

I consider penguin eggs to be one of the best magazines of its type, and am flattered that they chose to review my book. Here is an excerpt:

“[I Went Down to St James Infirmary] is a fascinating study and anyone who has an interest … in the way songs evolve and are passed along through history will find it an utterly compelling read. This critic confesses to a weakness for this type of book and devoured it with relish over a few days, though it will retain a favourtie place in his library and remain a reference for years to come.” — Barry Hammond, Penguin Eggs, Spring 2009

The complete review can be read here: Penguin Eggs book review.

The Old, Weird America - The much expanded Harry Smith anthology

I found this blog thanks to The Celestial Monochord.

The blog is called The Old, Weird America: My Exploration of Harry Smith's Anthology. The writer, who seems to be anonymous, has set him/herself the task of examining all the songs in the Harry Smith Anthology and providing:

1. commentary on each song
2. for each performer on the anthology, files of other songs he/she/they recorded

3. files of other variations of the song being discussed

4. other things

As there are something like 84 tracks on the anthology, this is quite a task. Still, the first 18 songs have been discussed already - pretty good going, as the project only came online in November 2008.

The most recent post is all about "Gonna Die with a Hammer in My Hand" (aka "John Henry") by The Williamson Brothers & Curry. Our ambitious blogger discusses the performers, offers the few recordings they made, gives links to other sites that discuss the song, offers 100 variations on "John Henry," and even posts some video.

This is really important stuff. Congratulations to The Old Weird America!

Addendum: I have just found out that the author of the blog The Old, Weird America is a fellow called Gadaya. He is actually quite active on the web, including this Youtube Channel in which you can watch/hear him perform a ton of songs like "Casey Jones," "Worried Man Blues," "Barbara Allen" and so on. All of these he does very well indeed, accompanying himself on guitar, banjo ukelele . . . Gadaya lives in France. And while one would think that his involvement in American roots music is large enough a bite for any one man, his blog "The World's Jukebox" shows him casting his net about as wide as anyone can.

"Old Time Gambler's Song" - St. James Infirmary in 1926.

At the suggestion of John Garst (see yesterday's post) I searched for a copy of Songs of the Cowboys. The original edition, by Jack Thorp, was published in 1908. It was a mere 50 pages long, consisting of 23 cowboy songs. That edition contained a version of "Cow Boy's Lament" (aka "Streets of Laredo") that I had not encountered before:

My curse let it rest, let it rest on the fair one

Who drove me from friends that I loved and from home

Who told me she loved me, just to deceive me

My curse rest upon her, wherever she roam.

In this 'new' (1966) edition, Austin and Alta Fife elaborated on the original book, providing commentary and additional variations for each of the songs Thorp published. This edition is almost 350 pages long.

Within the chapter on "Cow Boy's Lament" is a song that I don't think really belongs there, but which is of great interest to me. By this time it had become a common assumption that there was a direct link between "The Unfortunate Rake," "Streets of Laredo," and "St. James Infirmary." And so we find a song called "Old Time Gambler's Song," with a lyric very close to - and very different from - the "St. James Infirmary" that has been popular from 1928 to the present.

One thing that intrigues me about "St. James Infirmary" is the relative rarity of alternate versions. I think this was one of the effects of Irving Mills securing copyright for the song. Because of legal restrictions, and of the immense popularity of the early recorded version, those alternate variations fell into disuse. This song was sent by Terence McKay to Robert Winslow Gordon in a letter dated April 5, 1926. Gordon was a song collector who would, two years later, found the American Archive of Folk Song at the Library of Congress.

Of the versions of SJI that we know, several refer to dying on the ocean, being killed by a cannonball. This song offers a more reasonable "I may die out on the ocean, be shot down in a gambling house brawl." The rest of the lyric is equally interesting.

Lyrics to "Old Time Gambler's Song"

          OLD TIME GAMBLER'S SONG

I dreamed I went down to St. James Infirmary

Thought I saw my baby lying there;

Laid out on a clean white table,

So pale and yet so fair.

If she's gone, let her go, God bless her,

For she's mine wherever she may be;

You may search this wide world over

You'll never find another pal such as she

I may die out on the ocean

Be shot down in a gambling house brawl;

But if you follow me to the end of my story

You'll find a blonde was the cause of it all

When I die just bury me in a box back suit,

Blue shirt, roller hat, pair of shoes with toes so tall;

Put whiskey in my coffin, deck of cards in my hand;

Don't let them weep and wail, don't let them moan at all.

Put marihuana  in my coffin,

Smoke it as you carry me along;

Take even rolling crap shooters for pall bearers,

Coke sniffers to sing my funeral song.

Put a twenty dollar gold piece on my watch charm

So the boys'll all know I'm standing pat;

Put ice on my feet, for in that place where I'm going

I won't even be cool with that.

Just carve it on my tombstone

In letters bold and black,

"Here lies an old time gambler,

Pray God won't you please bring him back!"

Let her go, God bless her - dated 1909

I've had a number of conversations in the past about those lines from St. James Infirmary, "Let her go, let her go God bless her . . ." and so on. They combine with the rest of the song to tell a very strange story. Where did these words come from, at what point did they enter the song? Were they original sentiments, placed there deliberately, or imported from elsewhere as the song evolved?

John Garst is an organic chemist and amateur folklorist, professor emeritus at the University of Georgia. He has recently (and very generously) sent me information about several songs that we shall discuss in upcoming posts, but I wanted to share this lyric as soon as I could.

John tells me that this song, "She's Gone, Let Her Go" comes from the Song Book of the Harvard Club of San Francisco, dated 1909. I'm not sure we could find a more Caucasian collection of people. There is no music, but here are the lyrics:

SHE'S GONE, LET HER GO

They say true love is a blessing,
But the blessing I never could see,
For the only girl I ever loved
Has done gone back on me.

Chorus.

She's gone, let her go, God bless her,
For she's mine wherever she may be,
You may roam this wide world all over,
But you'll never find a friend like me.

There may be a change in the weather,
There may be a change in the sea,
There may be a change all over,
But there'll never be a change in me.

It's easy to think of this as the likely inspiration for the song discussed in the entry below.

"God Bless Her" - Echoes of SJI in a WW1 song

Buried on the 348th page of American Air Service historian Edgar S. Gorrell's book Gorrell's History of the American Expeditionary Forces Air Service, 1917-1919 (stored at the U.S. National Archives and Records Administration - NARA) is a song with some resemblance to "St. James Infirmary." Gorrell assembled a few pages of songs enjoyed by the World War One airmen. These words introduce this section of the document (obviously written by someone with less than expert proficiency on a typewriter):

"One of the pleasantest recollections which the officers of the Ninetieth will carry with them from France back to the States is of the convivial evenings spent in the mess hall after the dinnerplates had been removed, cigarettes and Pierson's cigars lighted, and the cares of the day forgotten. With Conover at the head of the table leading the songs, assisted by Rohrer's dramatic tenor and Lakes melodious bass, the hours passed quickly. Sweethearts gone but not forgotten and the ties which bound us to the Ninetieth were the favorite but by no means the exclusive themes of our songs.

"We were particularly fortunate in having not only a glee club of such high ability, but also writers of such merit as Capt. Schauffler and Harvey Conover proved to be. Yet this collection does not pretend to be comprised of exclusively original songs. We have disregarded all copyright laws both as to words and music. For some of our songs we owe a debt of gratitude to the Ambulance Corps. Others will be recognized as mere naked parodies on well-known college songs. Our object has been merely to make a collection which would in future years refresh our memories of those merry evenings at Souilly and Bethelainville, and incidentally preserve from oblivion the genius of our aviator poets."

The song, "God Bless Her" looks as if it had been cobbled together, perhaps using the refrain of "St. James Infirmary" as its inspiration. This is one of the few concrete references to SJI that precede the 1920s. I am convinced there were many variations about, some of them probably quite daring - but these fell by the wayside, forgotten, after Irving Mills secured the copyright.

Lyrics to "God Bless Her"

GOD BLESS HER

Oh she turned me down last summer
For she said she didn't love me anymore;
But now she has written that she'll be my wife
An I've gone and joined the Flying Corps.

She has gone, let her go, God Bless her

She is mine wherever she may be

She may search this wide world over
But she'll never find another like me.

Oh there may come a change in the weather
And there may come a change in the sea.
And there may come a change all over
But there will never come a change in me.

She has gone, let her go, God Bless her.

She is mine wherever she may be

She may search this wide world over
But she'll have to fly to France to catch me.

Oh I've looked at the girls in New York
In London and gay Paris
And there’s one conclusion that I have got
There are other little fishes in the sea.

She has gone, let her go, God Bless her

She is mine wherever she may be

She wanted to marry a tin soldier

But a home-guard I never would be.

WFHB Community Radio - yet again!

I can't believe I'm entering three posts in a row about WFHB, in Bloomington, Indiana. This must be quite the happening community radio station.

I have just heard that folklorist Margaret Lynn Steiner will be broadcasting on Tuesday, March 17th - St. Patrick's Day - from 9 to 11 pm (Eastern time). She says that her program will be split between songs from Northern Ireland (where I was born) and songs from Miramichi, New Brunswick (near where my brother lives). Of the former Margaret says, "Newtownbutler, in Co. Fernmanagh, Northern Ireland, had a very active living song tradition, certainly in the late 1970's. Local songs abounded, centering around hunting, Gaelic football,  and cockfighting, as well as songs celebrating the local topography, etc. All I had to do was walk into McQuillan's Pub, and I could just happen on a 'singsong.'"

Regarding Miramichi, Ms. Steiner has been attending their folksong festival since 1986. This is the oldest folk music festival in Canada. Dating from 1958 it has the primary function of preserving traditional songs and culture. One of the treasures of Miramichi has been Wilmot MacDonald, a singer with an impressive store of old songs  - and who is featured on a 1962 Smithsonian recording. Margaret Steiner contributed to a CD and book about MacDonald, that is available from the Maine Folklife Center, University of Maine.

Margaret Lynn Steiner: "Edward D. (Sandy Ives) has done a lot of work on the English-language tradition, especially focusing on 19th-century folk poets such as Larry Gorman and Joe Scott. Ronald Labelle, of the University of Moncton, has worked a lot with the Francophone tradition, and I've been working with singers who are bilingual and bicultural and looking at how they juggle their biculturalism musically."

Folklorists are important people. Song collecting is important work. In this - as Lucas Gonze puts it - age of copyright extremism, we need to broaden our base of inspiration. We need to be reminded that songs can be living things with a vitality and meaningfulness that, in terms of cultural and personal value, far outstrips the monetary lifespan of Mickey Mouse.

So, that's WFHB on Tuesday, March 17th, from 9 to 11 in the evening, Eastern time. I shall be scheduling an audio capture, so I can load it onto my iPod.