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Anarchist trial defendants Bartolomeo Vanzetti (left)
and Nicola Sacco |
Last Friday's session at The Bridge saw an increase of 50% in the number of singers after the previous week. Let's hope this starts a trend. Come and join us this week (21st January) with an informal Scottish theme for
Burns' Night. Don't worry if you can't match the theme; everyone is welcome to sing whatever they fancy as long as it's acoustic (tunes, poems, stories, monologues, jokes... are also welcome).
Back to last week, Colin was MC as usual and started off the evening with Coal Hole Cavalry written by Ted Edwards who was brought up in the coal mining community of Wigan. He used to lie in bed as a small child and listen to all these early morning sounds around him, then imagine the miners in clogs as a cavalry charge, off to remove the Indians who'd taken over the mine during the night.
Mike was still singing of the new year with Richard Thompson's We Sing Hallelujah. Meanwhile Simon was prematurely Scottish, singing Geordie (roud 90, child 209).
Colin pondered whether he had recently sung Two Good Arms (Charlie King), and having established that he probably hadn't, proceeded to do so. King wrote the song in 1977, for the 50th anniversary of the execution of Sacco and Vanzetti (see photo).
Mike was still marking the new year with The Happy Man (roud 1230), a Morris Stick Dance and Song collected in Adderbury, Oxfordshire.
Colin's next song, written by Stan Kelly and Eric Winter, Come-All-Ye And Go-Back-Again is a parody of a multitude of folk songs. Kelly wrote: 'The line "Come all you gallant mariners/ shopwalkers/ computer engineers..." or what-have-youse is folk song's commonest curtain raiser. Its only real purpose is to get the audience quiet before you begin to unfold the story. One night, I found I had to sing three verses of throw-away lines before I could get hush and, when I mentioned this to Eric Winter on one occasion, it set us thinking that there must be somewhere a prototypical martyr ballad consisting of all the best introductory and closing lines. Together, Eric and I produced this masterpiece, this do-it-yourself song kit that needs only the name of your favourite hero to be inserted at strategic places.' It's worth noting that Stan Kelly-Bootle to give him his full name was a computer scientist having achieved the first postgraduate degree in computer science in 1954, from the University of Cambridge.
Mike noted that Dave Goulder's The January Man had been sung by Simon the week before in his absence, and sung it anyway "because it's the only time of year I sing it". Colin couldn't recall Simon having sung The Gentleman Soldier (roud 178) before, but he certainly had, here at least, but no doubt a few other times.
Colin gave us Sean Bhean-Bhocht which is a traditional Irish song from the period of the Irish Rebellion of 1798, and dating in particular to the lead up to a French expedition to Bantry Bay, that ultimately failed to get ashore in 1796. Let's also have a listen to it in Gaelic: An tSeanbhean Bhocht. Wikipedia tells us that the title literally means "poor old woman" and was used as a personification of Ireland in the 18th century.
I think Mike meant his singing of The Oak and the Ash (roud 1367, laws K43B) to pre-empt Burns' Night, but I couldn't find a reference to anything I could recognise as it on robertburns.org. Mike sang it as "...in the West Country"; I couldn't find a recording with that wording so, since we had been talking about various versions, I linked something which seems to me at least more obscure.
When Simon sang Tom of Bedlam (roud V16366; tune Dave Moran, Nic Jones) there was no expectation that it would be the last song of the evening. However, after Mike left the room, we moved into chat mode which carried on for the rest of the evening so this was as it turned out, the finishing off song.
Now listen to a selection of songs sung during this session.
(Number of people present - 3 of whom 3 performed)
