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.

More about Border Radio on WFHB - Live!

The above image is from the web site of Bloomington, Indiana's Buskirk-Chumley Theater. This historic building will be the site for WFHB's March 27th live broadcast after the style of Border Radio - of interest here because of a) its historical context and b) it promises the first live performance after the style of Carl "Deacon" Moore in perhaps 70 years.

I was doing a bit of surfing this morning, and noticed that WFHB's home page had added the following notice:

WFHB holds live radio show at Buskirk-Chumley Theater March 27th

Remember the days when the radio announcer would say "Who's this on the Wolfman telephone?" or "Put your hands on the radio to feel the power of His love..."? Then you'll want to mark the date for WFHB's Spring Variety Show on Friday, March 27th at the historic Buskirk-Chumley Theater in downtown Bloomington. Local and regional musical acts, radio skits, live sound effects and more will transport you back to an earlier age when preachers, psychics, and purveyors of snake oil prevailed.

There is more detail here.

So, if you happen to live nearby, or are visiting Bloomington, Indiana, the live show is from 8 to 10 pm on March 27th. Those of us further away can catch it via their live feed at www.wfhb.org.

Coming soon: Border Radio - live feed - including Carl "Deacon" Moore!

I have been exchanging emails with Mike Kelsey, dj of a really interesting radio show at the WFHB community radio station in Bloomington, Indiana.

Readers of this blog will be familiar with the name Carl "Deacon" Moore - and probably with the recordings I have posted here. Recently Mike played some of the Carl Moore records on his show - this is probably the first time they've been heard in broadcast since sometime in the 1930s! But later this month he will be doing something even more exciting!

Mark your calendars for Friday March 27th, between 8 and 10 pm Eastern Time. Turn your digital dial to http://www.wfhb.org/ for a live broadcast patterned after the Border Radio of the 1930s and 1940s. Among the songs to be broadcast will be live covers of at least one of the Moore songs. What will it be? "Evolution Mama?" "Nobody Knows Where She's Gone?" Place your bets at the window.

There are a number of books about Border Radio, but one in particular manages to sum it up nicely in its subtitle: "Quacks, Yodelers, Pitchmen, Psychics, and Other Amazing Broadcasters of the American Airwaves." The broadcast promises to be a real treat so, see you there!

ps There is a good chance that Carl's wife, the vivacious 92 year-old Marjorie Moore, will be listening in, too.

Jack Shea revisited - or should that be Irving Kaufman?

Back on November 23rd, 2008 I posted an article about Jack Shea, with an mp3 of him singing the Irving Mills/Cliff Friend song "Lovesick Blues" in 1922. This afternoon I received a note from Anonymous, declaring "Say, that's the prolific Irving Kaufman in a bluesy frame of mind as 'Jack Shea'."

Ah, the history of popular music does have its share of mysteries - and it seems plausible that Jack Shea never existed.

Irving (of the singing brothers Phillip, Jack, and Irving Kaufman) frequently recorded under aliases, with the agreement of his contracting record companies. Brian Rust, who listed only a handful of records he deemed of interest to jazz enthusiasts, included the aliases of Billy Clark, Sammy Burton, Harry Topping, Tom Nevill, Arthur Holt, Charles Dickson, Noel Taylor, and Brian Watt.

Kaufman was a prolific singer and performer, who made his first record in 1914 and his last record in 1974, when he was 84 years old. A good brief biography can be found on Tim Gracyk's Phonographs.

I did read a list of pseudonyms that claimed Jack Kaufman (Irving's brother) was Jack Shea. But others feel that Shea's intonation is more reminiscent of Irving's voice. Is the jury still out on the true identity of Jack Shea - or is Irving Kaufman's the voice we hear on that 1922 recording?

More gems from Lefty's Attic

We've finally finished much of the work on the photo website (you can see that here, although it has nothing to do with St. James Infirmary) and so here's another post. I had been planning something about the song collector Dorothy Scarborough, but in the meantime came across this.

By way of explanation, we tend to think first of John and Alan Lomax when we consider song collectors. There were others who preceded them - in North America these include Harry Odum and Dorothy Scarborough. Scarborough's 1925 On the Trail of Negro Folk Songs includes a song that contains a verse with the familiar, "Let her go, let her go / May God bless her, wherever she may be." Her book is a fascinating document, as she comments on the songs and her relationship to them - and interesting in that many of the "Negro songs" she includes obviously came from the minstrel stage.

And then we have Ralph Peer. Peer was a businessman, with little love for the types of songs he was hunting. Still, he went in search of talent, and was responsible for discovering such luminaries as The Carter Family and Jimmie Rodgers. The records he made with them were profit-seeking ventures, and so we generally don't include them in the canon of discovered folk songs; we don't see them as equally representative of the non-commercial music of the period.

But here - now, this is a different story. When auditioning for Peer, the musicians would bring their own songs - the stuff they were playing and singing at home, or at the village barn dances. Eventually Peer would send A.P. Carter in search of Appalachian folk songs that he could "modify" and thereby declare as original compositions (all the better to copyright, my dear). But our friend, Lonesome Lefty, has made available some of the original 1927 Bristol Session recordings. Here are The Carter Family, Jimmie Rodgers, The Tenneva Ramblers (Rodgers' band - they split up while arguing about auditioning for Peer), Ernest Stoneman and others, some of whom never recorded again. The sound quality is good, and the download includes the record covers and liner notes. A wonderful find - thanks, Lefty! You can download that album here.

(If you are interested in more detail about these sessions, I can recommend "The Bristol Sessions: Writings About the Big Bang of Country Music," published in 2005. Other highly readable resources include Nolan Porterfield's Jimmie Rodgers: The Life and Times of America's Blue Yodeler and Mark Zwonitzer's Will You Miss Me When I'm Gone?: The Carter Family & Their Legacy in American Music.)

Carl "Deacon" Moore - "Waiting for the Evening Mail" MP3

It's been a while since I've posted to the site. I've been involved in a number of projects (that include working on a photo web site - although, truth be told, Pam has been doing most of that).

Anyway, we're long past due for another Carl "Deacon" Moore song. Like the others he made, Waiting for the Evening Mail (Sitting on the Inside Looking Outside) was recorded for Decca in 1938. Originally written by Tin Pan Alley composer Billy Baskette, it was a popular ditty recorded by the likes of Bing Crosby and Al Jolson. This is a tragi-comical song, and Moore does it well. To hear the song, click on: "Waiting for the Evening Mail" MP3.