Friday, March 15, 2013

The Menhaden Chanteymen - Won't You Help Me To Raise 'em


Exploring Blues, Gospel, and Southern Soul are certainly not a unique focus to this blog, others out there have done and are still doing fine work. I doubt, however, that many places have explored the Work Songs, an oft mentioned, yet seldom heard musical tradition that is another key building block in the development of Black music in America.

Unky Cliff's Library of Congress tape stash includes a couple of jaw dropping field recordings you simply have to hear, even if it isn't necessarily something you need to keep.

Recorded in 1989 at St. Paul Episcopal Church in Beaufort, the dozen songs on this cassette are traditional work songs of a coastal Carolina menhaden fishery. The Menhaden Chanteymen are recipients of the North Carolina Folk Heritage Award.

I'm Gonna Roll Here; Help Me to Raise 'em; My Way Seems So Hard; Mule on the Mountain; Going Back to Weldon;Sweet Rosie Anna; Lazarus; Swing Low, Sweet Chariot; Drinking of the Wine; I Wish I Was Single Again; Mama Liza Jane; Remember Me.


The Menhaden Chanteymen are a group of retired African American fishermen who previously worked off the coast near Beaufort. The group, during their working years, used singing to synchronize the pulling of their nets of menhaden, or shad. A leader sang out the first line of the song alone, to be answered with another line sung in harmony by the rest of the crew. The songs derived from many sources, including hymns and gospel songs, blues, and barbershop quartet songs, and they were often improvised.

In 1988 folklorists Michael and Deborah Luster, hired by the North Carolina Arts Council to survey the folk culture of Carteret County, arranged a gathering of about a dozen retired coastal fishermen. Beaufort blues singer and guitarist Richard "Big Boy" Henry, who worked for a time as a menhaden fisherman, helped the Lusters organize the event. Although they had not sung together in more than 30 years, the men recollected their songs almost effortlessly when they began to pantomime the action of working the net.

That year the ex-fishermen performed at a public event sponsored by the North Carolina Maritime Museum in Beaufort. Since then the group, officially named the Menhaden Chanteymen, has performed for the North Carolina General Assembly and the National Council on the Arts. They have also appeared at New York City's Carnegie Hall and on national television and radio. In 1990 the Menhaden Chanteymen recorded a collection of maritime work songs, Won't You Help Me to Raise 'Em: Authentic Net Hauling Songs from an African-American Fishery, for Global Village Music.

8 comments:

KingCake said...

http://www.embedupload.com/?d=6HMJBXFYQA

Feilimid O'Broin said...

I love work song recordings and until this time have had to rely on what the Lomaxes recorded in the field, the selections provided in the Long Road to Freedom, and two compilations of Gullah and Caribbean work songs, respectively. I am very much looking forward to hearing this recording.

I am also glad that you are only semi-retired from contributing. I recently retired and am finally finding time to listen to what I have downloaded. In my only slightly informed and parochial opinion, this blog, Buddy Bolden's, the Crypt Redux, and the Cult of Analog are the finest group of blogs on the web. I always enjoy your selections and especially your write-ups, and my knowledge of jazz and rhythm and blues has increased exponentially because of what you and the other contributors have posted and the information you have provided. As a result of what I have found here, on the Crypt, and Buddy Bolden's, I have been shown new roads to explore on which I have journeyed to find and listen to like music to what these blogs provide. What I especially enjoy is that, through this blog, I have discovered gospel music which, other than seeing Say Amen, Somebody three times, I have avoided because I am not religious. But what I appreciate the most is when you from your native's perspective take us in words to New Orleans and expand our knowledge of the culture and the music. It's like having a free expert tour guide. There have been many great write-ups but nobody has written about Little Richard as you have. The Arthur Alexander and Percy Mayfield write-ups were also outstanding. pieces that readily come to mind because you not only know but deeply feel their music. I don't have the technical vocabulary or musical knowledge that so many others who comment have so I don't comment on all that I love here other than write a general thanks from time but the time and effort expended by you and the others to write and the selections you choose are always worthwhile. I have a much broader knowledge of southern soul singers now and what I value greatly is the introduction to so many fine singers whose music was not played on radio nationwide, or at least in the northeast where I grew up, or whose exposure was limited to stations specializing in soul and rhythm and blues music.

I was recently speaking with an African American friend who was raised in Louisiana and now lives in Dallas and told her about the Sunday morning gospel to which I have been listening. I have previously spoken with her about this blog, the Crypt, and the Crypt Redux but, being very religious, she became so excited when I was telling her about the gospel music offered here and my enjoyment of it that you would have thought she dressed me in white and took me to and dunked me in the river herself. I understood her excitement because it is the same excitement I experience when talking about Irish traditional music, blues, reggae, Ethiopian music, or the jazz and soul I have always loved with someone who is also interested in and passionate about music. To be able to share one's passion about music with someone who is appreciative is always joyful and gratifying, and I appreciate that you and the other contributors have labored to do so with us.

KingCake said...

Always a pleasure to read your comments OB,old habits die hard so I haven't slowed down quite as much as I expected. still two or three a week will be an easier pace than the 30 or 40 a month of last year

LAZZ said...

Fabulous.
Please pass along my appreciation to Unky Cliff Anonymous for sharing some Library of Congress stash.

I too love to read Feilimid's comments and look forward to them very much.

Two or three times a week is surely enough.
Take it easy.
No rush.

Big thanks for each slice.

Anonymous said...

As it has long been established that my tastes are rather obscure I have no fear in professing to love this material. A few quick commentss...

OB, the Lomax material is a good place to start but there are a few other equally interesting sets. David Evans has done some more recent recordings and Lawrence Gellert did quite a few in the 1930s including Cap'n You're So Mean which (i believe) is available as a CD on Rounder.

Lazz. No need to thank me I just happen to have these things BUT KC does all the work. I will admit that the look on his face when I handed him a case filled with about 50 tapes was priceless.

Finally it is worth explaining what KC means by the Library of Congress stash. For 10 years ending in 1992 the LoC convened a panel to select the best ethnic and folk recordings from the previous year. Some of this material was privately issued and available by mail order from colleges and state folk lore oriented groups. A good portion was only available on tape and has never been made available on vinyl or CD.

Unky Cliff

Feilimid O'Broin said...

Much thanks on this fine Sunday morning, Unky Cliff. I never doubted for a moment that you really existed and am tremendously grateful for your mentoring and passing on knowledge from which KC and we all benefit. Happy Saint Patrick's Day to you and all of the other readers!!!

Mutha Klanger said...

these work songs work for me, lowly desk-jockey though I may be :-) I enjoy Feilimids's words too. great to hear from Unky Cliff as well. thanks to...everyone.

Luster said...

Nice to discover a notice of my recording from 1989. Hard to believe its been 30 years since i worked with those fellows.

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