I WON'T BE WORRIED LONG (2:36)
I looked down the track as far as I could see. Little bitty hand was waving after me." The vivid, hurting imagery of a prison blues. It’s Jerry’s version heard on this album. A man may be down but he’s not out in an old cliché; yet when the group sings "I may be worried now, but I won’t be worried long," you can’t help but believe
All about that lady of high degree who abandoned home, lord, and jewels for the love of a gypsy laddie. It appeared in Francis Child’s monumental collection of Scottish and English ballads. (Charlotte Bronte flirted with this theme in "Wurtherinh Heights." (If only Cathy had the courage to run off with Heathcliff! Oh, Well.) Ernie sings in the properly buoyant manner of the doll who followed the dictates of her heart.
Just about every Korean knows this one. It has served a number of purposes, depending upon circumstance; sometimes a lover’s lament, sometimes a marching song. It has a haunting flavor that lasts and lasts.
Based on a Caribbean dark legend, Marc had composed an original melody. It’s the age-old battle of man against the elements. The feeling of terror is here and impending doom. Listen to the composer sing it. You’ll dig it.
COME ALL YE FAIR AND TENDER MAIDENS
A poignant warning from the Southern Appalachians to all the ladies within earshot. Trust the male animal so far and no further. Alan Lomax in his excellent "Folk Song; USA" tells us it served as a courting song. Elmerlee’s rich contralto sings out: "Beware."
EAST VIRGINIA BLUES
"I don’t want your greenback dollars" sang the Populists at the end of the last century. Not a bad tune for them to take. A wail and a shout of an unrequited lover. The Gateways follow the fine old tradition of "lining a hymn." No hymn, this – but with that solo voice feeding lines, it makes for an exuberant community sing.
DON’T YOU LIE, DADDY-O
Based on the frontier breakdown, "Sail Away, Ladies." A wild, free, dancey tune. It was Uncle Dave Macon, "the Dixie Dewdrop," whose venerable nasal sang it out for Alan Lomax on one of the collector’s memorable pre-European projects. The Gateways stay tuned to the spirit of it.
A sister under the skin to miss Otis. The only difference is she was done in rather than doing him in. It is said this dirge to a fickle lady was first heard in the south and traveled to the West Indies. They make clear she’s a universal type.
The initials could be those of the transit company of any metropolis. A sudden rise in fare for Boston passengers in 1948 inspired Bess Lomax Hawes to write this merry satire. It’s in the healthy tradition of kidding contemporary iniquities. The fact that it was banned in Boston puts it in pretty fast company: e.g., "Ulysses," "Sister Carrie," "Well of Loneliness." Marc offers it in the appropriate serio-comic vein.
COME ALONG, CHARLIE
One of those great work songs that is moved along by the quartet at a spritely pace. This is music with a smile.
Somewhere between the bittersweetness of "I’m Sad and I’m Lonely" and the longing of "Wagoneer’s Lad" lies this one. Jerry becomes the woebegone swain, all alone, a banjo crying with him. Saro, and all her named and nameless sisters are the unattainable – unlike the Pretty Polly’s who are done to and done in.
This interpretation is based on a spiritual, moving, indeed, from the Georgia Sea Island. It serves the purpose of a work song; a variation of the fisherman’s "Michael, Row the Boat." It Surges.
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I Won't Be Worried Long (2:36)
Come All Ye Fair And Tender Maidens (2:46)
East Virginia Blues (2:08)
Don't You Lie, Daddy-O (2:01)
Dehlia's Blues (2:56)
The Mta (2:26)
Come Along, Charlie (2:53)
Pretty Saro (2:13)
Keep A-Movin' (2:32)
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