Person, place, or thing? Animal, vegetable, or mineral? These are legitimate questions when considering the often performed “Shady Grove.” Hundred of variations exist, some featuring minor changes in wording or verbiage, while others seem unrecognizable from each other. The biggest difference that exist seem to hinge on the fact that we are not sure if Shady Grove is a person or a place. A particular interesting idea is that “Shady Grove” is a bastardized version of the name “Sadie Grove,” mispronounced somewhere along the way (this actually does happen – in Liza Wells, for instance, “…he knew Liza well” becomes “he knew Liza Wells.”) As sung in some renditions, if Shady Grove is a place, where in relation to Harlan is it located? If Shady Grove is a person, who is she? Options include, but are not limited to, a wife, a child, and, in one interpretation, a victim of obsessive abuse from the narrator. I believe that much of the confusion stems from the lack of concrete source material. Some scholars posit a connection to the 17th century ballad “Matty Groves,” which then degraded and transformed after its transatlantic journey and through the years. The Library of Congress has a instrumental fiddle take performed by Henry Reed in 1966, which incorporates variations on a “widespread British and American air, showing up in such disparate places as the British ‘Boyne Water’ march and some Appalachian variants of the ballad ‘Barbara Allen.'” This could give creedence to some suppositions that “Shady Grove” originated as an instrumental song with an assemblage of lyrics tacked on. In keeping with the immigrated explanation, the African bania (banjo), as well as the mountain dulcimer (see Jean Ritchie), were used by Scots-Irish Appalachian settlers attempting to imitate the drone pipes of Celtic bagpipes, perhaps legitimizing the 18th century Appalachian connection for “Shady Grove.” Whatever the case may be, “Shady Grove” continues to delight and entertain, as it also continues to transform and mutate.
Tonight on Folkadelphia Radio, we will premiere a session from one of our favorite up-and-coming Philadelphia local groups, Liz And The Lost Boys. They ran a successful Kickstarter campaign back in 2012 to fund a full length album and single released last year, working with our friend, engineer, producer, and musician Jeff Zeigler. The band, led by Liz Ciavolino who sings and doubles up on harp and piano, have found a sonic comfort zone at the convergence of baroque pop, skittering jazz-rock, and chamber classical. Listening, you never know quite what to expect around the corner of a verse or chorus.
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