First, there was a battle.
On January 8, 1815, American troops under the command of the incomparably ornery Andrew Jackson met in pitched battle with British troops under the equally ornery Edward Pakenham some five miles from what is now downtown New Orleans. This was in effect the last battle of the War of 1812, and a useless one at that; the war had ended with the signing of the Treaty of Ghent on December 24, 1814, but news of the treaty would not reach the United States until February. I won't bore you with details, save to say that Jackson and his forces, outnumbered two to one, trounced Pakenham's troops, and Pakenham was killed. Although they had reinforcements nearby, the new British general retreated from the field, and Old Hickory's legend acquired new burnish.
Next, there was a fiddler.
Sometime after the battle, a frontier fiddle player, whose name is lost to history, composed a little lilting tune he called "Jackson's Victory" in honor of Jackson. Most fiddle tunes have some English, Scots or Irish background; this one is generally agreed to be purely American in origin. Sometime around the Civil War era, when Jackson's popular reputation went downhill--most likely as a result of memories of his staunch Unionist sentiments--the name of the tune was changed to "The Battle of New Orleans," in commemoration of the battle but not of the commander.
Fast forward to 1936. In that year, a high school teacher who was also a musician and songwriter had the brilliant idea of composing a song about the great battle in order to get his students more interested in history, which is way too often merely a collection of dates and places and lifeless themes. The teacher's name was James Corbitt Morris (1907-1998). He would in the 1950s legally change his name to Jimmy Driftwood, and he would write other great story songs in his time, but "The Battle of New Orleans," which he set to the old tune "Eighth of January," is still the best known.
In eighteen fourteen we took a little trip
Along with Colonel Jackson down the mighty Mississip
We took a little bacon and we took a little beans
And we fought the bloody British in the town of New Orleans. . .
Driftwood wrote a total of thirteen verses and a chorus of the song. In 1957 he recorded it on an album called NEWLY DISCOVERED EARLY AMERICAN FOLK SONGS; the recording was unfortunately deemed unsuitable for radio play because the lyrics contained the words "hell" and "damn."
However, one person who did hear the album was a country singer in dire need of a hit: Johnny Horton (1925-1960). Horton had recorded a number of story songs, and when he heard "The Battle of New Orleans" he knew it would be a hit. Trimmed down to four verses and a chorus, Horton's version was released in 1959, and in 1960 won a Grammy for Best Country and Western Recording.
Horton's hearty rendition of the song remains remarkably fresh and memorable even now. Awhile back a workmate of mine came in chuckling about his son coming home talking about what "a great new song" he'd heard in class that day. Asked what it was, he said, "The Battle of New Orleans."
No doubt the last verse of Horton's version still raises hackles at PETA, with its genial (and obviously tall-tale) use of an alligator for warlike purposes:
We fired our cannon till the barrel melted down
So we grabbed an alligator and we fought another round
We filled his head with cannonballs and powdered his behind
And when we touched the powder off the gator lost his mind. . .
And what can compare to the description of the British retreat?
Yeah, they ran through the briars and they ran through the brambles
And they ran through the bushes where a rabbit couldn't go
They ran so fast that the hounds couldn't catch 'em
On down the Mississippi to the Gulf of Mexico.
There is one last witticism about the outcome of the battle that not even Jimmy Driftwood would touch, however. Lord Pakenham, the British commander who was killed, was packed into a keg of rum for shipment back to his family burial ground in County Westmeath in Ireland. Pakenham was infamous for his surly temper, and it is said that when the rum keg arrived, bearing his remains, a relative of his remarked brightly, "The General has returned home in better spirits than he left."
And on that bibulous note, fair thee well.