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Eyrie Productions, Unlimited
Gryphon
Charter Member
22406 posts |
Oct-25-09, 03:31 AM (EDT) |
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"sotd, 2009.10.25"
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Now it's just my luck to have the watch with nothing left to do But watch the deadly waters glide as we roll north to the Sault* And wonder when they'll turn again and pitch us to the rail And whirl off one more youngster in the gale The kid was so damn eager, it was all so big and new We never had to tell him twice or find him work to do And evenings on the mess deck he was always first to sing And show us pictures of the girl he'd wed in springBut I told that kid a hundred times, "Don't take the Lakes for granted They go from calm to a hundred knots so fast they seem enchanted" But tonight some red-eyed Wiarton girl lies staring at the wall And her lover's gone into a white squall Now it's a thing that us oldtimers know, in a sultry summer calm There comes a blow from nowhere and it goes off like a bomb And a sixteen-thousand-tonner can be thrown upon her beam While the gale takes all before it with a scream The kid was on the hatches, lying staring at the sky From where I stood I swear I could see tears fall from his eye So I hadn't the heart to tell him that he should be on a line Even on a night so warm and fine But I told that kid a hundred times, "Don't take the Lakes for granted They go from calm to a hundred knots so fast they seem enchanted" But tonight some red-eyed Wiarton girl lies staring at the wall And her lover's gone into a white squall When it struck he sat up with a start; I roared to him, "Get down" But for all that he could hear I could as well not made a sound So I clung there to the stanchions and I felt my face go pale As he crawled hand over hand along the rail Now I could feel her heeling over with the fury of the blow And I watched the rail go under then, so terrible and slow Then like some great dog she shook herself and roared upright again While overside I heard him call me name But I told that kid a hundred times, "Don't take the Lakes for granted They go from calm to a hundred knots so fast they seem enchanted" But tonight some red-eyed Wiarton girl lies staring at the wall And her lover's gone into a white squall So it's just my luck to have the watch with nothing else to do But watch the deadly waters glide as we roll north to the Sault And wonder when they'll turn again and pitch us to the rail And whirl off one more youngster in the gale And I tell these kids a hundred times, "Don't take the Lakes for granted They go from calm to a hundred knots so fast they seem enchanted" But tonight some red-eyed Wiarton girl lies staring at the wall And her lover's gone into a white squall - Stan Rogers "White Squall" From Fresh Water (1984) * This couplet actually rhymes. |
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Gryphon
Charter Member
22406 posts |
Oct-26-09, 09:00 PM (EDT) |
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2. "RE: sotd, 2009.10.25"
In response to message #1
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Yeah, same here. I hadn't heard of him - or at least didn't remember having heard of him - before Geoff slipped me a copy of "The Mary Ellen Carter" a couple years ago. Which is odd, since that maritime-acoustic-folk is big in this part of the world. There are a lot of acts that are at least superficially like Stan Rogers from Atlantic Canada and the New England coast. I don't usually go for that sound so much - I mean, I like sea chanties, and I don't have anything against other forms of maritime folk, but it's not something I'd usually go to much trouble seeking out - but Rogers's songs are so detailed and evocative they just draw me into the world they're depicting. The chorus of "Northwest Passage" is like a twenty-second lesson in the history of the exploration of the Canadian North (Tracing one warm line through a land so wide and savage...). I mean, contrast what the song above conveys about the shipboard experience on the Great Lakes compared with, say, "The Wreck of the Edmund Fitzgerald". Don't get me wrong, I love "The Wreck of the Edmund Fitzgerald", and it also contains one of the great evocative lines of all time (Does anyone know where the love of God goes when the waves turn the minutes to hours?), but apart from the line about the cook there's not much in it that actually engages the listener with the crew. They're not characters in the story the song's telling; only the ship is. His songs are deceptively complex, too, musically speaking. I mean, "Barrett's Privateers", just to take one example. It sounds like a straightforward sea chanty, and there's nothing wrong with that anyway, but then you listen more closely and it hits you, if you've had some musical training, that it's changing back and forth between 2/2 and 3/2 time. Which is weird and wonderful. He was that rare combination - a gifted songwriter, a fantastic lyricist, and a great performer. And people who were there have said that he died a hero's death, not, I expect, that that's much consolation to him. --G. -><- Benjamin D. Hutchins, Co-Founder, Editor-in-Chief, & Forum Admin Eyrie Productions, Unlimited http://www.eyrie-productions.com/ Ceterum censeo Carthaginem esse delendam. |
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Eyrie Productions,
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Benjamin
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