Ruminations on "Let Her Go"

Readers of this blog will be familiar with quite a few recent entries discussing various incarnations of the verse that begins "Let her go, let her go, God bless her."

Over at No Notes, Rob Walker has posted a lengthy rumination on "St. James Infirmary" and its "Let Her Go" verse. As always, his writing is vivid and captivating. I too had been pondering the almost - or seemingly - haphazard injection of the "let her go" sentiment, and how it gives the song its peculiar aura. Rob's conclusion is well worth reading, but I advise none to rush to the end of his narrative - there is great pleasure to be had in the journey.

The Denton and Haskins influence in a new variation of SJI

I was looking through the Mudcat Cafe site the other day. Mudcat is devoted to the exploration and preservation of traditional songs, and is a valuable resource. One correspondent, Dorothy, recently wrote, "My brother used to sing me a song. The lyrics seem similar to ones I have read in your listings. I used to love him singing it . . . I am still confused as to where my brother would have heard it. I miss him so much, he died of a brain hemorrhage aged 42. This was 31 years ago. I still miss him so much, but my memory of his singing is so vivid I can still hear him." Dorothy included the lyrics to the song, which can be found here.

Those lyrics, Dorothy, are really interesting. It would be good to know how long ago your brother started singing them. They come from all sorts of places - from recorded songs, from the Sandburg versions . . . and even, judging by the second-to-last verse, sort of made up but similar to earlier verses.

The first two verses, though, first appeared in 1930, when the company Denton and Haskins published a version of "St. James Infirmary" to rival the stranglehold Mills Publishing had over the song. On the inside front cover they included traditional versions of the song that had been collected by the poet (and folk song archivist) Carl Sandburg. But what they were selling - or, once Mills launched a cease and desist lawsuit, trying to sell - was a new version of the song, arranged by Claude Austin with additional lyrics by William J. McKenna.

I have never encountered a recording of this version of the song. In fact it died pretty quickly once the legal wrangling ended. Still, there was a brief time when this sheet music was circulating, probably mostly around New York City. Obviously parts of it found their way into your brother's song, which is an example of the many guises "St. James Infirmary" has assumed in its adventurous life.

Lyrics to St. James Infirmary - Denton and Haskins edition

In reference to the posting above, here are the lyrics from the version of "St. James Infirmary" as published (and copyrighted) by the music publisher Denton and Haskins in 1930. (You might find it interesting to compare them with Dorothy's version, found here.)

I'm a gambler, never did refuse a bet
Played for millions in my time
But I've had the biggest loss that I ever met
Tho' I didn't lose a dime
Lady Luck threw me as a pal
When she took my lovin' gal

I went to Saint James Infirmary
My baby there she lay
On a long cold marble table
I looked and turned away

What is my baby's chances?
I asked old Doctor Tarp
He said "By six this evening,
She'll be playing a golden harp"

Back to St. James Infirmary
I saw my baby's face
So white, so drawn and faded
Of her good looks not a trace

I started in a prayin'
Right there upon my knees
"Good-Bye, my lovin' baby"
My heart began to freeze.

Porter Grainger - birth date discovered

Above, a detail from the 1925 New York City telephone book, showing addresses for music partners Porter Grainger and Robert Ricketts

I recently received an email from an enthusiastic Porter Grainger fan. In fact, his first comment was to point out that "Dyin' Crapshooter's Blues" actually made it onto piano rolls! Readers of this blog - and of the book - will know that the composer of "Dyin' Crapshooter's Blues" was Porter Grainger. Grainger was one of those souls who disappeared almost completely from public consciousness, even though he left a significant mark on the music of the 1920s. His contribution has been minimized, and I (as well as my correspondent, Andrew Barrett) think that is inaccurate and unfair.

Generally, not much is known about Grainger, aside from the fact that he wrote songs for Bessie Smith, and accompanied her in concerts and revues (a very fancy dresser, he was for a time part of Bessie's inner circle). He is one of the characters central to the story of SJI, and makes an important appearance in my book. Still, even the most reliable resources, such as the remarkable allmusic.com, say things like "Very little is known about the pianist Porter Grainger . . . even his birth and death dates are unknown."

I can't help with the date of his death, but while researching the book I did discover when (and where) he was born. The census records don't help. He first makes an appearance in the 1900 records, which show he was living with his grandfather, and was about nine years old. His draft cards, however, are another matter.

Above, Grainger's WWII draft card, revealing his date of birth.

Both Grainger's WWI and WWII draft cards reveal his birth date as October 22, 1891. He was born in Bowling Green, Kentucky. His 1917 card declares his profession as "Composer of songs." His WWII card shows he was employed at the Minsky-Eltinge Theatre at W42nd Street, in New York City.

These draft cards - both for Grainger and his friend Robert Ricketts - bring up further questions that are covered in the book.

For those who enjoy clarifying the obscure, Mr. Barrett wrote to me, "If you think Porter Grainger is obscure, try his friend Robert W. Ricketts (bandleader, pianist(?), led 'Ricketts' Stars' accompanying many blues singers) and Everett Robbins (a FANTASTIC blues pianist and singer)." Everett Robbins - whose piano rolls are of particular interest to Mr. Barrett - shared writing credit with Grainger for the famous blues song (first recorded by Bessie Smith) "Ain't Nobody's Business If I Do."