NAME: Prisoner's Song (III): see New Prisoner's Song (File: RcNPS)
===
NAME: Prisoner's Song (III), The: see Sweet Lulur (File: BrIII350)
===
NAME: Private Still, The (The Gauger's Song)
DESCRIPTION: A guager believes a private (illegal) still can be found near Dublin. He asks Pat's aid, offering fifty pounds. Pat promises to lead him there. After a long trip, they see Pat's soldier brother: "They won't make him a corporal, so he's a private still"
AUTHOR: unknown
EARLIEST_DATE: before 1879 (broadside, LOCSinging sb30417b)
KEYWORDS: money drink soldier trick humorous
FOUND_IN: Ireland
REFERENCES: (3 citations)
SHenry H103, pp. 55-56, "The Private Still" (1 text, 1 tune)
O'Conor, p. 60, "A Private Still" (1 text)
DT, PRVTSTIL*
Roud #2342
BROADSIDES:
Bodleian, Firth c.14(272), "The Private Still" ("An exciseman once in Dublin at the time that I was there"), H. Disley (London), 1860-1883; also 2806 b.11(41), 2806 c.16(279), Firth b.26(131), Firth c.20(100), Harding B 11(3991), "The Private Still"
LOCSinging, sb30417b, "A Private Still," H. De Marsan (New York), 1864-1878
NOTES: Broadside LOCSinging sb30417b: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: HHH103
===
NAME: Privates Eat the Middlin', The: see Jinny Go Round and Around (File: R272)
===
NAME: Prodigal Son (I)
DESCRIPTION: Prodigal son, starving, decides to return home. His father embraces him, saying, "Kill the fatted calf." The elder son is jealous, but the father reassures him that he will inherit. Chorus: "I believe I'll go back home/And acknowledge I've done wrong"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: homesickness jealousy home separation return reunion Bible family father brother
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
Roud #4489
RECORDINGS:
Dock Boggs, "Prodigal Son" (on Boggs1, BoggsCD1)
ALTERNATE_TITLES:
I Believe I'll Go Back Home
NOTES: This should not be confused with Rev. Robert Wilkins' song "That's No Way to Get Along", also a retelling of Luke 15:11-32; Wilkins' song was recorded by the Rolling Stones as "Prodigal Son." - PJS
The song "The Prodigal Son in the Missouri Harmony does not appear to be the same piece either.
In addition to the songs mentioned above, there are a number of hymns which speak of the prodigal son (a title not found in the Bible, we might note; a few translations mention the youth's "prodigal living," but the King James Version is not one of them), and the boy's exploits occasionally come up in other songs. - RBW
File: RcPS1
===
NAME: Prohibition Boys, The
DESCRIPTION: "Here is a lesson for you prohibitioners; Some wisdom it will teach; That the prohibition boys ought To practice what they preach." The song details various prohibitionists trying covertly to acquire liquor
AUTHOR: Marshal Laughinghouse?
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: drink humorous
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 309, "The Prohibition Boys" (1 text)
Roud #6632
CROSS_REFERENCES:
cf. "Prohibition Whiskey" (theme)
File: BrII309
===
NAME: Prohibition Whiskey
DESCRIPTION: "It's been ten years ago or more, If I've been rightly told, There was stealing done in Arapohoe Of whiskey old and new." A prohibitionist steals gin and passes it to his equally thirsty and dishonest friends. Brewers are warned about prohibitionists
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: drink humorous
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 310, "Prohibition Whiskey" (1 text)
Roud #6631
CROSS_REFERENCES:
cf. "The Prohibition Boys" (theme)
File: BrII310
===
NAME: Promised Land, The: see Where Is Old Elijah? (The Hebrew Children, The Promised Land) (File: San092)
===
NAME: Prop of the Nation, The
DESCRIPTION: "'Who is the support of our country today, The rich or the poor?' you may ask. No, it is the man with the toil-hardened hand Who forever you'll find at his task." The song describes the various accomplishments of the worker, from farming to construction
AUTHOR: unknown
EARLIEST_DATE: 1941 (Warner)
KEYWORDS: work worker
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Warner 74, "The Prop of the Nation' (1 text, 1 tune)
ST Wa074 (Partial)
NOTES: Lena Bourne Fish, who sang this song for the Warners, thought it came from Rutherford B. Hayes's presidential campaign of 1876. There is, perhaps, some logic to this; Hayes, while not poor, was by no means as well-off as his Democratic opponent, Samuel Tilden. Hayes was also completely honest (a welcome change after the corruption of the Grant administration); it is sad to note that he became president as a result of Republican electoral chicanery in which he had no part. - RBW
File: Wa074
===
NAME: Prospecting Dream
DESCRIPTION: The singer dreams a dream of a miner's hard life. His long-tom falls in the river. His supplies are scattered. His girl is far away. His strike comes to nothing. He goes to town, gets drunk, is beaten, loses his equipment, and winds up a thief
AUTHOR: unknown
EARLIEST_DATE: c. 1854 ("Put's Original California Songster")
LONG_DESCRIPTION: Singer, a prospector, tells of dreaming that he had lost his equipment and provisions, struck a rich lead, written home bragging of his find, and blown all his money on a spree. He hires out as a hardware clerk, gets fired, and is caught stealing. Chorus: "Oh what a miner, what a miner was I/All swelled up with scurvy so I really thought I'd die"
KEYWORDS: mining hardtimes drink dream poverty bragging theft disease
FOUND_IN: US
REFERENCES: (1 citation)
Silber-FSWB, p. 56, "Propsecting Dream" (1 text)
RECORDINGS:
Logan English, "Prospecting Dream" (on LEnglish02)
CROSS_REFERENCES:
cf. "Oh! Susanna" (tune)
File: FSWB056
===
NAME: Proud Flora
DESCRIPTION: November 8, 1802, the Proud Flora is freighted and leaves Jamaica. In a storm they "throw out some of the lumber ... then the pipes of good wine and rich brandy we were forced to throw into the sea." They land safely the next morning.
AUTHOR: unknown
EARLIEST_DATE: 1943 (Ranson)
KEYWORDS: sea ship storm sailor
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 95-96, "Proud Flora" (1 text)
File: Ran095
===
NAME: Proud Lady Margaret [Child 47]
DESCRIPTION: Knight comes to court Margaret; he will have her or die. She says better men than he have died for her. She asks riddles; he answers and asks more. She agrees to wed, and lists her wealth.  He calls her a liar; he is her dead brother come to humble her
AUTHOR: unknown
EARLIEST_DATE: 1803 (Scott)
KEYWORDS: death courting riddle ghost
FOUND_IN: Britain(Scotland)
REFERENCES: (7 citations)
Child 47, "Proud Lady Margaret" (5 texts, 1 tune) {Bronson's #1}
Bronson 47, "Proud Lady Margaret" (3 versions)
Dixon V, pp. 42-45, "The Bonny Hind Squire" (1 text)
Leach, pp. 162-164, "Proud Lady Margaret" (1 text)
OBB 26, "Proud Lady Margaret" (1 text)
DBuchan 49, "Proud Lady Margaret" (1 text)
DT 47, PRDMARG
Roud #37
File: C047
===
NAME: Proud Nancy: see Nancy (I) [Laws P11] (File: LP11)
===
NAME: Psalm 100: see Old Hundred (File: SBoA028)
===
NAME: Pull for the Shore
DESCRIPTION: "Light in the darkness, sailor, day is at hand!" The sailor, clinging to the old boat (presumably meaning his sinful life) is urged to "cling to self no more" and "Leave the poor old stranded wreck, and pull for the shore."
AUTHOR: Philip Paul Bliss (1838-1876)
EARLIEST_DATE: 1874 (broadside, LOCSheet, sm1874 06588)
KEYWORDS: ship religious nonballad
FOUND_IN: US(So)
REFERENCES: (0 citations)
Roud #17400
BROADSIDES:
LOCSheet, sm1874 06588, "Pull for the Shore," John Church & Co (Cincinnati)/ George F. Root (Chicago), 1874 (tune)
NOTES: This song has, at best, a very limited place in tradition; I include it because it has some connection with the story of the _Titanic_. Also, it has been recorded by Tom, Brad, and Alice, which may make it known to users of the Index.
I'm surprised it isn't more popular; it wasn't in any of the four hymnals I checked (Lutheran, Methodist, Baptist, and not-sure). The tune is magnificent. Of course, the words are a bit un-hymn-like. And, with the exception of the prhrase "bright and morning star" (for which see Rev. 22:16), the words do not appear directly Bible-inspired -- though the whole thing might be suggested by Paul's shipwreck in Acts 27.
That phrase "bright and morning star" is interesting, by the way. The literal Greek text reads "the star the bright the morning." This isn't as clumsy in Greek as in English, perhaps, but I think it is an indication of the Aramaic habits of the writer. The King James Bible tried to preserve the feeling with its "bright and morning star" rendering; most of the newer translations simply say "bright morning star." - RBW
File: BdPuFoSh
===
NAME: Pulling Hard Against the Stream
DESCRIPTION: "In the world I've gained my knowledge, And for it have had to pay... Do your best for one another... Help a worn and weary brother Pulling hard against the stream." The singer advises helping those in need
AUTHOR: Harry Clifton (per Ives-NewBrunswick)
EARLIEST_DATE: 1927 (Spaeth); 19C (broadside, LOCSinging as110820)
KEYWORDS: nonballad help
FOUND_IN: US(SE) Canada(Mar)
REFERENCES: (3 citations)
BrownIII 54, "Pulling Hard against the Stream" (1 text)
Spaeth-WeepMore, pp. 157-158, "Pulling Hard Against the Stream" (1 text, 1 tune)
Ives-NewBrunswick, pp. 133-136, "Pulling Hard Against the Stream" (1 text, 1 tune)
Roud #1958
BROADSIDES:
LOCSinging, as110820, "Pulling Hard Against the Stream," unknown, 19C
NOTES: Although the description sounds like a religious song, there are in fact no explicit Christian references in this piece. - RBW
Ives's attribution of authorship to Harry Clifton is supported by the "Song Writers of the Halls" article -- quoting _The Melodies Linger On_ by Walter Macqueen-Pope -- on Harry Clifton at Frederick Denny's _World of the Music Hall_ site. - BS
File: Br3054
===
NAME: Pullman Train, The: see The Harvard Student (The Pullman Train) (File: R391)
===
NAME: Pumpe-Vise
DESCRIPTION: Norwegian pumping shanty, with chorus in English. "Blow, blow, blow, blow! Land is coming in a-lee." Verses have no story, just general sailing rhymes. Verses are repeated twice before the chorus is sung.
AUTHOR: unknown
EARLIEST_DATE: 1916 (Brochmann's _Opsang Fra Seilskibstiden_)
KEYWORDS: foreignlanguage shanty ship
FOUND_IN: Norway
REFERENCES: (1 citation)
Hugill, pp. 507-508, "Pumpe-Vise" (1 text)
File: Hugi507
===
NAME: Punch Ladle, The: see Fathom the Bowl (File: K268)
===
NAME: Punchin' Dough
DESCRIPTION: The cook points out to the cowboys that "While you're punchin' cattle I'm punchin' the dough." His life is much like theirs, except that he fights with food where they fight with animals. He intends to be "boss of this end of the show."
AUTHOR: Credited by Thorp to Henry Herbert Knibbs
EARLIEST_DATE: 1922 (Thorp)
KEYWORDS: cowboy cook food
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 37, "Punchin' Dough" (1 text, 1 tune)
DT, PNCHDOUG*
Roud #5098
RECORDINGS:
Jules Allen, "Punchin' the Dough" (Victor V-40263, 1930)
Harry Jackson, "The Round-Up Cook" (on HJackson1, CowFolkCD1)
CROSS_REFERENCES:
cf. "Budd Lake Plains" (theme)
cf. "The Pot Wrassler" (theme)
NOTES: The cook on a cattle run was usually an old cowboy who could no longer do the work. It's hardly surprising that he looked on the cowboys as "kids" -- nor that he used his control over the chuck to keep the cowboys in line. - RBW
File: FCW037
===
NAME: Purple Boy, The
DESCRIPTION: A girl asks her "Purple Boy" the secrets given man from "King Solomon's high Temple Throne." He cannot reveal them. "Those Ribbon rascals I would defy." She wishes she were a man "that I could join in your Orange band." Girls should choose a Purple boy.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Tunney-StoneFiddle)
KEYWORDS: love ritual Ireland nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 133, "The Purple Boy" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Dialogue Between Orange and Croppy" (subject)
NOTES: "Following an affray at Loughgall in Co. Armagh in 1795 the Orange Order was founded, while the Yeomen were also established in June 1796. These were made up mainly of men from the Orange Lodges." (source: _The 1798 Rebellion_ on the Hogan Stand site)
Zimmermann p. 19: "In some parts of Ulster, Protestant and Catholic tenants were mingled and contended for the land; the peasantry was thus divided into two camps, each having its oath-bound association. This led to a sort of religious war. At the end of the eighteenth century the Catholic "Defenders" were opposed to the Protestant "Peep o'Day Boys" or "Orangemen." The "Defenders were succeeded by the "Ribbonmen"
Zimmerman, p. 303: "Other Protestant organizations, such as ... the Royal Purple Chapter, developed parallel with Orangeism...."
Within the Orange Lodges, "Purple Marksmen" refers to one of the Master degree, above "Orange" and "Orange Marksman," of the Orange Institution (source: "The Formation of the Orange Order 21st September 1795" in the anti-Orange _Evangelical Truth_ at NIreland.com site). See Zimmermann's song references to "The Purple Marksman" [p. 315] and "The Purple Stream" [p. 303, fn. 39].
Tunney-StoneFiddle: .".. songs alluding to the ritual and secrets of the [Orange] Order are few and far between. Indeed, until 1952 when one William Coulter sang 'The Purple Boy' for Sean O Boyle, it was not sung outside the Lodge." - BS
File: TSF133
===
NAME: Purple Dress, The: see Mary Hamilton [Child 173] (File: C173)
===
NAME: Purty Molly Brannigan: see Polly Brannigan (File: E153E)
===
NAME: Push Along, Keep Moving
DESCRIPTION: The singer attempts various enterprises, all ending in failure (e.g. when he opens a "whiskey shop," his wife demands all the drink for herself); after each failure, he sets out on a new adventure. Moral/refrain: "Push along, keep moving"
AUTHOR: unknown
EARLIEST_DATE: 1828 (The Theatrical Budget)
KEYWORDS: humorous drink work
FOUND_IN: Britain(England) US(Ap)
REFERENCES: (1 citation)
JHCox 180, "The Nigger Tune" (1 text)
ST JHCox180 (Full)
Roud #5469
NOTES: According to Arthur M. Schlesinger, Jr.'s _The Age of Jackson_, p. 4, "the celebrate Buffo singer" George Washington Dixon was making the song "Push-a-Long, Keep Moving" popular at the time of Andrew Jackson's 1829 inauguration; Dixon also sang  "The Hunters of Kentucky" and, slightly later, "Old Zip Coon." - RBW
File: JHCox180
===
NAME: Push Boat
DESCRIPTION: The hard work and low pay of poling on the Big Sandy River are described. Much of the song is devoted to the relations between the singer and his girl, (Cynthie Jane).
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: river ship work courting sailor
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Thomas-Makin', pp. 35-37, (no title) (1 text, 1 tune)
Botkin-MRFolklr, p. 567, "Push Boat" (1 text, 1 tune)
DT, PUSHBOAT*
Roud #8088
CROSS_REFERENCES:
cf. "Liza Jane" (lyrics)
NOTES: This reminds me -- very strongly -- of "Liza Jane," and the two have assorted individual lines in common. I would not be surprised if they have a common origin. But they have drifted enough that we separate them. - RBW
File: BMRF567
===
NAME: Pussy Cat, Pussy Cat, Where Have You Been?
DESCRIPTION: "Pussy cat, pussy cat, where have you been? I've been to London to look at the queen. Pussy cat, pussy cat, what did you there? I frightened a little mouse under her chair"
AUTHOR: unknown
EARLIEST_DATE: 1805 (Songs for the Nursery, according to Opie-Oxford2)
KEYWORDS: dialog animal royalty
FOUND_IN: 
REFERENCES: (3 citations)
Opie-Oxford2 428, "Pussy cat, pussy cat, where have you been?" (1 text)
Baring-Gould-MotherGoose #150, p. 116, "(Pussy cat, pussy cat, where have you been?)"
Montgomerie-ScottishNR 1, "(Pussy, pussy baudrons)" (1 text)
ST OO2428 (Partial)
Roud #15094
NOTES: According to the Baring-Goulds, there was an incident similar to this during the reign of Elizabeth I, and many have thought the song refers to that.
There is an English proverb, "A cat may look at a king," which is quoted, e.g., in _Alice in Wonderland_, chapter VIII, "The Queen's Croquet Ground." The idea also appears in Baring-Gould-MotherGoose #759, p. 759. Whether either is in any way related I do not know. - RBW
File: OO2428
===
NAME: Put Me In My Little Bed
DESCRIPTION: "Oh birdie, I am tired now, I do not care to hear you sing." The child asks the bird to go to sleeps, and requests, "come put me in my little bed." The singer recalls her mother telling her "never, never go astray"
AUTHOR: Words: Dexter Smith / Music: C. A. White
EARLIEST_DATE: 1870 (sheet music)
KEYWORDS: orphan bird death mother
FOUND_IN: US(MW,So)
REFERENCES: (1 citation)
Belden, pp. 279-280, "Put Me In My Little Bed" (1 text)
Roud #4339
RECORDINGS:
Leake County Revelers, "Put Me In My Little Bed" (Columbia 15292-D, 1928)
NOTES: Belden's notes to this song are confused. He claims that Spaeth refers to this song in _Read 'Em and Weep_ -- but there is no such reference, at least in my copy. Spaeth does, however, mention the song in  _A History of Popular Music in America_ as one of several hits by C. A. White.
White seems to have had a thing about birds; his first big hit was "Come, Birdie, Come."
Spaeth claims that this song was the forerunner of the more popular "Put My Little Shoes Away." - RBW
File: Beld279
===
NAME: Put My Little Shoes Away
DESCRIPTION: "Mother dear, come bathe my forehead For I'm growing very weak...." The dying child bids farewell to friends and family, and asks mother to "Put my little shoes away." They were brought by Santa, and can eventually be given to the baby
AUTHOR: Samuel N. Mitchell & Charles E. Pratt?
EARLIEST_DATE: 1915 (Chappell); probably written 1873
KEYWORDS: death clothes family
FOUND_IN: US(So)
REFERENCES: (5 citations)
Randolph 715, "Put My Little Shoes Away" (2 texts plus a fragment, 1 tune)
Randolph/Cohen, pp. 463-465, "Put My Little Shoes Away" (1 text, 1 tune -- Randolph's 715A)
Chappell-FSRA 116, "Put My Little Shoes Away" (1 text)
Spaeth-WeepMore, pp. 25-26, "Put My Little Shoes Away" (1 text, 1 tune)
DT, PUTSHOES*
Roud #4340
RECORDINGS:
Big Slim Aliff, "Put My Little Shoes Away" (Decca 5329, 1937)
Wilf Carter, "Put My Little Shoes Away" (Bluebird [Canada] B-4617, c. 1938; Bluebird B-9032 [as Montana Slim], 1942)
Chuck Wagon Gang, "Put My Little Shoes Away" (Melotone 7-08-55, 1937)
Cramer Brothers, [pseud. for Vernon Dalhart and -- probably -- Carson Robison] "Put My Little Shoes Away" (Broadway 8071, c. 1930)
Girls of the Golden West, "Put My Little Shoes Away" (Bluebird 5226, 1933)
Lester McFarland & Bob Roberts, "Put My Little Shoes Away" (Brunswick 322, 1929; Supertone S-2038, 1930)
Bill Monroe & His Blue Grass Boys, "Put My Little Shoes Away" (Decca 29645, 1955); (Brunswick 05567)
Riley Puckett, "Put My Little Shoes Away" (Columbia 15125-D, 1927; rec. 1926)
Red Fox Chasers, "Put My Little Shoes Away" (Supertone 9535, 1929; Montgomery Ward M-4963, 1936)
Fiddlin' Doc Roberts Trio, "Put My Little Shoes Away" (Conqueror 8208, 1933)
Vagabonds, "Little Shoes" (Montgomery Ward M-4239, 1933)
Henry Whitter, "Put Away My Little Shoes" (Okeh 45046, 1926)
NOTES: The era of this song may explain its odd request: By the time of the Civil War, factory-made shoes were available, but were quite primitive, with no left and right hand versions. Shoes thus were easily acquired, but well-made shoes were becoming more of a luxury as the factory shoes made life harder for cobblers. - RBW
File: R715
===
NAME: Put on the Skillet: see Shortenin' Bread (File: R255)
===
NAME: Put the Old Man to Sleep: see Luir A Chodla (Put the Old Man to Sleep) (File: LoF191)
===
NAME: Put the Traffic Down
DESCRIPTION: "Here comes Jones with his face so cross"; drink has left him destitute. "Here comes Squire Brown," rich from selling liquor. The singer calls for an end to the liquor trade: "Put it down, put it down, put the unholy traffic down!"
AUTHOR: unknown
EARLIEST_DATE: 1924 (Randolph)
KEYWORDS: drink political money
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 334, "Put the Traffic Down" (1 text plus an excerpt, 1 tune)
Randolph/Cohen, pp. 267-269, "Put the Traffic Down" (1 text, 1 tune -- Randolph's 314A)
Roud #7790
ALTERNATE_TITLES:
The Yorktown Rum Seller
Old Jones
File: R334
===
NAME: Put Yer Shoulder Next to Mine and Pump Away
DESCRIPTION: Shanty. Formula verses about bringing a girl presents until she apparently allows herself to be seduced. Verse lines are repeated in choruses. Full chorus: "Put yer shoulder next to mine and pump away, pump away." (x2)
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
LONG_DESCRIPTION: Shanty. Formula verses about bringing a girl presents until she apparently allows herself to be seduced. Verse lines are repeated in choruses. Full chorus: "Put yer shoulder next to mine and pump away, pump away." (x2) Once I had a girl, had a girl, had a girl (x2) she had me in a whirl. Chorus. I brought her presents one... she said I shouldn't have done, etc. I brought her presents two... and her heart she let me woo." and so forth, until "I brought her presents nine... the baby's doing fine."
KEYWORDS: shanty courting gift cumulative
FOUND_IN: 
REFERENCES: (1 citation)
Hugill, pp. 508-509, "Put Yer Shoulder Next to Mine and Pump Away" (1 text, 1 tune) [AbEd, pp. 374-375]
CROSS_REFERENCES:
cf. "Roll Me Over" (tune)
NOTES: Hugill says this was popular only on British ships. Very likely gave rise to "Roll Me Over." - SL
File: Hugi508
===
NAME: Put Your Little Foot (Varsouvienna)
DESCRIPTION: "Put your little foot (x2) Put your little foot right there... Take a step to the right, Take a step to the left, But forever stay near." Further invitations to move closer follow: "Put... your arm around my waist... We will dance through the night."
AUTHOR: unknown
EARLIEST_DATE: 1943
KEYWORDS: dancing nonballad
FOUND_IN: US
REFERENCES: (3 citations)
Ohrlin-HBT 45, "Put Your Little Foot" (1 text, 1 tune)
Meredith/Anderson, pp. 47, 79-80, 182, 218, 230, 241, "Varsovienna" (6 tunes)
Meredith/Covell/Brown, pp. 19, 31, 38, 66, 99-100, 137, "Varsoviana" (and variant spellings) (6 tunes)
RECORDINGS:
Glenn Ohrlin, "Varsouviana" (on Ohrlin01)
ALTERNATE_TITLES:
Put Your Little Foot Right Out
Varsouvienne
NOTES: The "Varsouvianna" (Varsouvienna, etc.; described as a variation on the mazurka) tune is very common, and is cited sporadically in the references here. How often it bears this particular set of lyrics is less certain; few if any of the Australian versions, for instance, have words. - RBW
Ohrlin remarks that "Put Your Little Foot" was usually the cue for a fight to start. - PJS
File: Ohr045
===
NAME: Putnam's Hill: see Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)
===
NAME: Putting On Airs
DESCRIPTION: "No use talking (x2), The truth itself declares, If you act like the folks of fashion do, You're bound to put on airs." The singer doesn't want to mix in others' affairs, but he observes how both boys and girls dress up and put on airs
AUTHOR: unknown
EARLIEST_DATE: 1929
KEYWORDS: clothes beauty courting nonballad
FOUND_IN: US(MW,So)
REFERENCES: (2 citations)
Randolph 460, "Putting on Airs" (1 text)
Brewster 82, "You've Got to Put on Airs" (1 text)
ST R460 (Partial)
Roud #3773
CROSS_REFERENCES:
cf. "The Boys Around Here" (theme)
cf. "Putting on the Style" (theme)
cf. "When Young Men Go Courting" (theme)
NOTES: The last several verses of Randolph's text look almost like modifications of "Putting on the Style," but the first verse and chorus are different enough that I separate them. - RBW
File: R460
===
NAME: Putting On the Style
DESCRIPTION: A series of comments on the folly of those who put on false faces. Example: "Young man in a carriage driving like he's mad... He cracks his whip so lively just to see his lady smile, But she knows he's only puttin' on the style."
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cox)
KEYWORDS: humorous vanity pride
FOUND_IN: US(Ap,MA,So)
REFERENCES: (7 citations)
Randolph 469, "Putting On the Style" (1 text plus an excerpt, 1 tune)
Randolph/Cohen, pp. 320-322, "Putting On the Style" (1 text, 1 tune -- Randolph's 469A)
FSCatskills 109, "Puttin' On the Style" (1 text, 1 tune+variant form)
JHCox 184, "Putting On the Style" ( text)
PSeeger-AFB, p. 68, "Putting On The Style" (1 text, 1 tune)
Silber-FSWB, p. 24, "Putting On The Style" (1 text)
DT, PUTONSTY PUTONST2*
Roud #3767
RECORDINGS:
Vernon Dalhart, "Putting On Style" (Vocalion 15327, 1926) (Columbia 15082-D, 1926) (Edison 52118, 1927)
Warde Ford, "Putting on the Agony" [with half a verse of, "Our Goodman"] (AFS 4200 B3, 1938; tr.; in AMMEM/Cowell)
Pete Seeger, "Puttin' On the Style" (on PeteSeeger04); "Putting On the Style" (on PeteSeeger11)
[Ernest Stoneman &] The Dixie Mountaineers, "Puttin' on the Style" (Edison, unissued, 1927)
CROSS_REFERENCES:
cf. "Putting on Airs" (theme)
cf. "The Truth Twice Told" (subject)
NOTES: Cazden et al have very extensive notes about the origins of this song, which largely boil down to, "Hey, we found this song, and it belongs to us and our informant!" Nonetheless, their notes, and the existence of the several versions in Randolph, demonstrate that the song has become a true folk piece. - RBW
Seeger dates this song from the 1880s, but offers no documentation. - PJS
The version in Cox, collected in 1917, was reported to be from the informant's mother, which makes a nineteenth century date highly likely. Indeed, the first verse begins,
Eighteen hundred seventy one,
January the first,
Thought I'd write a poem,
If I could or durst.
It will be noted, however, that this verse doesn't scan as well as the others. But Randolph's informant Doney Hammontree said it was in "all the popular songbooks" in the 1890s. Still, the biggest single factor in its popularity was probably the Dalhart recording. - RBW
File: R469
===
NAME: Pytoria (Run Come See Jerusalem): see Run Come See (File: FSWB058)
===
NAME: Quack, Quack, Quack
DESCRIPTION: "There were three ducks that I once knew, Pretty ducks, fat ducks they were too, But the one with a feather curled up on his back, Oh, he ruled the others with a quack, quack, quack." The behavior of the ducks and their leader is described
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: bird
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 126, "Quack, Quack, Quack" (1 text)
Roud #7848
File: Br3126
===
NAME: Quaker (I), The
DESCRIPTION: "Verily high! Verily oh! Vivity vob like the shaker. All this wealth is awfully wrong And it terribly puzzles the quaker."
AUTHOR: unknown
EARLIEST_DATE: 1937 (recording, Bampton Morris and Jinky Wells)
KEYWORDS: nonballad recitation
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
RECORDINGS:
Bampton Morris and Jinky Wells, "The Quaker" (on Voice16)
NOTES: The current description is all of the Bampton Morris and Jinky Wells version on Voice16.
This is a dance tune. The words, which could be sung to the tune, may suggest the step. - BS
File: RcTQuak1
===
NAME: Quaker (II), The
DESCRIPTION: The Quaker is a ship with five hundred and fifty seamen. "By those blooming French dogs, we'll never be controlled." We fought them "till they could no longer stay." The war is over. A health to true girls and Lord Nelson "the best of all our crew"
AUTHOR: unknown
EARLIEST_DATE: 1936 (recording, Freddie James, RQMS Williams, G.W. Greening and Harry Hawkins?)
KEYWORDS: battle navy sea ship patriotic
FOUND_IN: Britain(England(South))
REFERENCES: (0 citations)
Roud #3093
RECORDINGS:
Freddie James, RQMS Williams, G.W. Greening and Harry Hawkins?, "The Quaker" (on Voice16)
NOTES: A ship with 550 sailors would have to be a Ship of the Line. I can't find a line battleship named _Quaker_ in any British records, pre- or post-Trafalgar. The closest I can see to a similarly-named ship is the 64-gun _Caton_. But that's hardly the most famous ship in the navy. We should probably just treat the ship name as an error. - RBW
File: RcQuak2
===
NAME: Quaker's Courtship, The
DESCRIPTION: The Quaker comes to court the girl. He offers her a ring and money; she tells him she wants a man to call her honey. He tells her she is pretty; she calls him a flatterer. He gives up; she tells him to "Find a Quaker girl to marry"
AUTHOR: unknown
EARLIEST_DATE: 1878 (broadside, LOCSheet sm1878 x0003)
KEYWORDS: courting discrimination ring
FOUND_IN: US(MW,NE,So) Canada(Mar,Ont)
REFERENCES: (14 citations)
Belden, p. 265, "The Quaker's Wooing" (1 text, lacking any reference to a Quaker but probably this)
Randolph 362, "The Courting Song" (4 texts, 2 tunes, though Randolph's "A" text is rather tenuously related to the others); 363, "I'm Going Away to Texas" (3 texts, 1 tune, the "C" text appearing to belong here; "A" is I'm Going Away to Texas" and "C" is perhaps "The Quaker's Courtship" ))
Randolph/Cohen, pp. 295-297, "The Courting Song" (1 text, 1 tune -- Randolph's 362C)
BrownIII 4, "Madam Mozelle, I've Come Courting" (1 fragment, too short to identify with certainty but perhaps this song); 8, "The Quaker's Wooing" (1 text, also short)
Linscott, pp. 276-278, "The Quaker's Wooing" (1 short text, 1 tune)
Fowke/Johnston, pp. 154-155, "The Quaker's Courtship" (1 text, 1 tune)
Creighton-NovaScotia 23, "Quaker's Courtship" (1 text, 1 tune)
Mackenzie 158, "The Quaker's Wooing" (1 text, 1 tune)
FSCatskills 36, "A Sport Song" (1 text, 1 tune)
Gardner/Chickering 176, "The Quaker Song" (3 texts, 2 tunes)
Creighton/Senior, pp. 199-200, "Quaker's Courtship" (1 fragment, 1 tune, which might be either this or "Wheel of Fortune")
Lomax-FSNA 12, "The Quaker's Courtship" (1 text, 1 tune)
Botkin-NEFolklr, p. 587, "Quaker's Courtship" (1 text, 1 tune)
LPound-ABS, 108, pp. 223-224, "The Quaker's Courtship" (1 text)
ST R362 (Partial)
Roud #716
RECORDINGS:
Buell Kazee, [Madam, I Have Come A-Courting] (on Kazee01)
BROADSIDES:
LOCSheet, sm1878 x0003, "The Quaker's Courtship," Alex Forbes (unknown), 1878 (tune) 
CROSS_REFERENCES:
cf. "The Keys of Canterbury"
cf. "No, John, No"
cf. "Wheel of Fortune (Dublin City, Spanish Lady)"
NOTES: The "courting songs" listed in the cross-references have cross-fertilized heavily; one should examine texts carefully to see where a particular variant belongs.
One form of this in particular, "Madam, I Have Come A-Courting," has worn down so much that it some versions almost no elements left to allow identification. An example is Buell Kazee's version:
Madam, I have come a-courting, Oh dear, oh dear me. Come a-courting, not a-sporting....
Well if that is your desire, Fa da link dum, fa da day, You can sit and court the fire....
I've a ring worth many a shilling... You can wear it if you're willing....
I'll not have your ring or money... Want me a man to call me honey....
Intermediate texts such as Belden's, though, imply that such items probably belong here. - RBW
File: R362
===
NAME: Quaker's Wife, The
DESCRIPTION: "The (Quaker's/Baker's) wife sat doon to bake, With all her bairns about her, She baked them every one a cake...." "And then the miller sat doon to play A tune upon the spinnet." "Merrily danced the Quaker's wife, And merrily danced the Quaker."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: cook food dancing
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 87, "(The Quaker's wife sat doon to bake)" (1 text)
Roud #6479
File: MNSR087
===
NAME: Quaker's Wooing (I), The: see Wheel of Fortune (Dublin City, Spanish Lady) AND "The Quaker's Courtship" (File: E098)
===
NAME: Quaker's Wooing (II), The: see The Quaker's Courtship (File: R362)
===
NAME: Quand j'etais fille de quinze ans (When I Was a Fifteen Year Old Girl)
DESCRIPTION: French. When I was a girl all the boys came to my house to laugh and go to the ball and dance. No longer. I have a household to maintain and children to look after. Chorus: "When I was a girl, Oh! What delightful joy to be a girl fifteen."
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage marriage wife youth
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, p. 581, "Quand j'etais fille de quinze ans" (1 text, 1 tune)
File: Pea581
===
NAME: Quand le Boiteuse Va-t-au Marche (When the Lame One goes to Market)
DESCRIPTION: French shanty. No particular story, each verse line is repeated as a refrain. Full Chorus: "Ah! ma doue, quel trŽsor d'avoir Žpouse (2x), Un coeur tout en or!" "Oh, my dear, what treasure to have married, to have wed (2x) a heart of gold!"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Hayet, _Chansons de bord_)
LONG_DESCRIPTION: French shanty. No particular story, each verse line is repeated as a refrain. Full Chorus: "Ah! ma doue, quel trŽsor d'avoir Žpouse (2x), Un coeur tout en or!" "Oh, my dear, what treasure to have married, to have wed (2x) a heart of gold!" Some of the verses are reminiscent of "The Fire Ship" in the use of naval euphemisms, i.e. (in translation) "and then he furls her petticoat, clewing up her lower sails," "then to get goin' the smart topman, send up her the main topmast."
KEYWORDS: foreignlanguage shanty bawdy
FOUND_IN: France
REFERENCES: (1 citation)
Hugill, pp. 514-515, "Quand le Boiteuse Va-t-au Marche" (2 texts-French & English, 1 tune)
File: Hugi514
===
NAME: Quantrell
DESCRIPTION: "Come all you bold robbers and open your ears, Of QuantrelI the lion-heart you quickly will hear." Quantrell raids and burns Lawrence, Kansas, but allegedly he supports to the poor, and "a brave man or woman he'll never annoy."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: outlaw
HISTORICAL_REFERENCES: Aug 21, 1863 - Quantrill's Raiders destroy Lawrence, Kansas, killing about 150 men.
May 10, 1865 - Quantrill is mortally wounded on his way to Washington (where he hoped to stir up trouble by assassination). He dies 20 days later.
FOUND_IN: US(Ro)
REFERENCES: (2 citations)
Lomax-ABFS, pp. 132-133, "Quantrell" (1 text, 1 tune)
DT, QUANTRLL*
Roud #4094
CROSS_REFERENCES:
cf. "Charlie Quantrell" (subject)
cf. "The Call of Quantrell" (subject)
NOTES: As is so often the case with outlaw ballads, this paints much too pretty a picture. For a brief background on Quantrill (the name used in Confederate records), see the notes to "Charlie Quantrell."
To tell this song from other Quantrell pieces, consider this first stanza:
Come all you bold robbers and open your ears
Of QuantrelI the lion-heart you quickly will hear
With his band of bold raiders in double-quick time
He came to burn Lawrence just over the line.
This song is item dE33 in Laws's Appendix II. - RBW
File: LoA132
===
NAME: Quare Bungle Rye: see Quare Bungo Rye (File: Log416)
===
NAME: Quare Bungo Rye
DESCRIPTION: Sailor Jack meets a girl, who offers to sell him "old bungo rye." Jack thinks it a whiskey, and buys her basket. In it he finds a child. Jack declares the child to be "quare bungo rye," and has the child christened with that name
AUTHOR: unknown
EARLIEST_DATE: 1869 (Logan)
KEYWORDS: sailor drink children baby trick clergy
FOUND_IN: Britain Ireland Canada(Mar,Newf)
REFERENCES: (6 citations)
Logan, pp. 416-421, "Bung Your Eye" (1 text)
SHenry H700, pp. 277-278, "Mind Your Eye" (1 text, 1 tune)
Peacock, pp. 895-896, "Young Bung-'er-eye" (1 text, 1 tune)
Creighton-NovaScotia 39, "Jack the Sailor" (1 fragment, probably this though the chorus has swapped off somewhere, 1 tune)
Hugill, pp. 211-212, "Blow the Man Down" (1 text, version "F" of "Blow the Man Down" sung to the tune of "Lowlands Low") [AbEd, pp. 166-167]
DT, QUARERYE*
ST Log416 (Full)
Roud #2404
RECORDINGS:
The Clancy Brothers and Tommy Makem, "Bungle Rye" (on IRClancyMakem02)
CROSS_REFERENCES:
cf. "The Basket of Eggs" (plot and baby in basket motif) and references there
cf. "The Child in the Budget" (baby in basket motif)
cf. "The Oyster Girl" [Laws Q13] (mysterious--read female--"box" motif)
cf. "Bung Yer Eye" (chorus lyrics)
cf. "The Charming Young Widow I Met on the Train" (theme of the female leaving a baby)
ALTERNATE_TITLES:
Queer Bungo Rye
Quare Bungle Rye
NOTES: Re:the mysterious box motif. The Lesley Nelson-Burns site Folk Music of England Scotland Ireland, Wales & America collection includes a page by John Renfro Davis with text for this ballad as "Quare Bungle Rye" and a note that "This is a variant of The Oyster Girl." The note goes on to cite a Bodleian broadside for The Oyster Girl. It also cites as "variants and alternate titles" The Basket of Oysters, Bungerye, Queer Bungle Rye, Quare Bungo Rye, Young Bung-'er'Eye, The Basket of Eggs, and Eggs in Her Basket.
The Oyster Maid/Basket of Eggs connection similarities are based on the motif of a sailor being fooled by a woman into taking something hidden in a basket which, in some versions, turns out to be a baby. While the parallels -- including the sexual symbolisms -- are obvious, these should be treated as three different ballads because of the differences in the punch lines.
The motif of the "box" with *censored* contents that cannot just be thrown away is even closer to the 1950 Phil Harris hit "The Thing" written by Charles R. Grean and set to the tune of "The Chandler's Wife." - BS
File: Log416
===
NAME: Quartermaster Corps, The (The Quartermaster Store)
DESCRIPTION: "Oh, it's beer , beer, beer that makes you feel so queer, In the corps, in the corps." "My eyes are dim, I cannot see, I have not brought my specs with me." Similarly, "...cheese... brings you to your knees," and so forth with other army items
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: army soldier food disease nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 272, "The Quartermaster Store" (1 text)
DT, QMCORP*
Roud #10508
File: FSWB272A
===
NAME: Quay of Dundocken: see The Isle of Man Shore (The Quay of Dundocken; The Desolate Widow) [Laws K7] (File: LK07)
===
NAME: Quays of Belfast, The: see The Isle of Man Shore (The Quay of Dundocken; The Desolate Widow) [Laws K7] (File: LK07)
===
NAME: Que Bonita Bandera
DESCRIPTION: Spanish language; Puerto Rican patriotic song: "What a beautiful flag, it is the flag of Puerto Rico"
AUTHOR: unknown
EARLIEST_DATE: 1955 (heard by Pete Seeger)
KEYWORDS: patriotic nonballad foreignlanguage
FOUND_IN: US(MA)
REFERENCES: (1 citation)
PSeeger-AFB, p. 14, "Que Bonita Bandera" (1 text, 1 tune)
File: PSAFB014
===
NAME: Quebec: see Brave Wolfe [Laws A1] (File: LA01)
===
NAME: Queen Among the Heather
DESCRIPTION: Young man, hunting, spies a girl herding sheep among the heather. He is smitten; she is "the bonniest lassie that e'er I saw." He asks her to go with him; she demurs, saying he's a squire and she but a shepherd's daughter. He perseveres and succeeds.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting love beauty farming lover nobility worker
FOUND_IN: Britain(Scotland) US(MW) Canada(Mar)
REFERENCES: (5 citations)
Kennedy 141, "The Queen Among the Heather" (1 text, 1 tune)
Ord, p. 433, "My Lovely Nancy" (1 text)
Ives-NewBrunswick, pp. 115-117, "Herding Lambs Among the Heather" (1 text, 1 tune)
Manny/Wilson 74, "Herding Lambs Amongst the Heather" (1 text, 1 tune)
Gardner/Chickering 51, "The Laird o' Drum" (1 fragment, listed as Child #236 but clearly a version either of this or "Heather Down the Moor"; the stanza form tentatively places it here)
Roud #375
RECORDINGS:
Belle Stewart, "Queen Amang the Heather" (on Voice15)
BROADSIDES:
Bodleian, 2806 c.15(240), "The Blooming Heather" ("As I was coming home, from the fair of Ballymena"), unknown, n.d.; also Harding B 11(331), 2806 c.14(60), "The Blooming Heather"
CROSS_REFERENCES:
cf. "Heather Down the Moor" (plot, lyrics)
cf. "Bonnie Lass Among the Heather" (subject)
cf. "The Laboring Man's Daughter (The Knight's Dream)" (plot)
ALTERNATE_TITLES:
Skippin' Barfit thro the Heather
Queen Amang the Heather
NOTES: This song is very close to "Heather Down the Moor (Among the Heather; Down the Moor)"; they have similar plots and occasional common lyrics. Roud lumps them. There will be versions where it is almost impossible to tell which is which. I thought about listing them as one song.
But on consideration, "Heather Down the Moor" has two characteristics rarely seen in "Queen among the Heather." First, this song tends to follow a complex stanza pattern of eight-line stanzas with complex internal chorus and repeats (see sample with that song). "Queen among the Heather" usually has simple four-line stanzas.
"Heather down the Moor" also tends to end with the lines
But if I were a king, I would make her a queen,
The bonnie lass I met among the heather
Down the moor.
In "Queen Among the Heather," he *is* a nobleman, so that obviously isn't a concern. - RBW
File: K141
===
NAME: Queen Anne
DESCRIPTION: "Queen Anne, Queen Anne, you sit in the sun, As fair as a lily, as white as a wand, I send you three letters, and pray read one, You must read one, if you can't read all, So pray, Miss or Master, throw up the ball."
AUTHOR: unknown
EARLIEST_DATE: 190 (Cecil Sharp collections)
KEYWORDS: playparty royalty nonballad
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Baring-Gould-MotherGoose (note to) #187, p. 134 ("Queen Anne, Queen Anne, you sit in the sun")
Roud #12755
NOTES: This is connected by folklore to Anne of Great Britain (1665-1714; reigned 1702-1714), who is reported to have enjoyed sitting in the sun in gardens. But it can't have been an eyewitness account, since Anne was hardly fair of face and not particularly fair of hue. - RBW
File: BGMG186N
===
NAME: Queen Eleanor's Confession [Child 156]
DESCRIPTION: Queen Eleanor, dying, calls for two friars. King Henry decides to substitute himself and Earl Marshal. Eleanor confesses to many sins against Henry, often with the Earl. Henry reveals himself and wishes that he could tell the world what Eleanor said
AUTHOR: unknown
EARLIEST_DATE: 1723
KEYWORDS: trick humorous royalty disease clergy
HISTORICAL_REFERENCES: 1189 - Death of Henry II
1204 - Death of Eleanor of Aquitaine
FOUND_IN: Britain(Scotland(Aber),England(Lond)) 
REFERENCES: (11 citations)
Child 156, "Queen Eleanor's Confession" (7 texts)
Bronson 156, "Queen Eleanor's Confession" (1 version)
BarryEckstormSmyth pp. 462-465, "Queen Eleanor's Confession" (notes plus a text of Child A)
Flanders-Ancient3, pp. 127-132, "Queen Eleanor's Confession" (1 text, from "The Charms of Melody" rather than tradition)
Percy/Wheatley II, pp. 164-168, "Queen Eleanor's Confession" (1 text)
BrownII 35, "Queen Eleanor's Confession" (notes only)
Leach, pp. 431-433, "Queen Eleanor's Confession" (1 text)
PBB 72, "Queen Elenor's Confession" (1 text)
Niles 48, "Queen Eleanor's Confession" (1 text, 1 tune)
BBI, ZN2274, "Queen Elenor was a sick Woman"
DT 156, QECONFES
ST C156 (Full)
Roud #74
CROSS_REFERENCES:
cf. "Rosamund Clifford" (subject)
cf. "Fair Rosamond" (subject)
ALTERNATE_TITLES:
The Dying Queen
NOTES: The element of fiction in this ballad is immense. Note the following:
* Eleanor of Aquitaine (1122-1204) outlived Henry Plantagenet (1133-1189) by fifteen years.
* Neither Earl Marshal nor King Henry took Queen Eleanor's maidenhead; she had previously been married to, and had two daughters by, Louis VII of France.
* Eleanor could hardly have poisoned Henry's mistress Rosamund Clifford; by the time Henry discovered Rosamund, he had placed Eleanor under house arrest.
If one moves the story to the time of Henry III (reigned 1216-1272), who married Eleanor of Provence, we should note that by the time the third Henry grew up, the Marshal earldom was extinct - RBW
File: C156
===
NAME: Queen Jane: see The Death of Queen Jane [Child 170] (File: C170)
===
NAME: Queen Jane (II): see The King's Dochter Lady Jean [Child 52] (File: C052)
===
NAME: Queen Mary (Auld Maid's Lament)
DESCRIPTION: The girl (perhaps "Queen Mary") is of an age to be courting but has no suitors. She dresses well, and goes out when she can, but finds no takers. Her mother laments the girl's fate, as does the girl herself
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: loneliness courting playparty
FOUND_IN: Britain(England(North)) Canada(Newf)
REFERENCES: (3 citations)
Greenleaf/Mansfield 62, "The Scotch Lassie" (2 texts, 2 tunes)
Gardner/Chickering 46, "The New Dress" (1 fragment, which appears to be this but might be "Nae Bonnie Laddie...")
DT, QUENMARY
Roud #6281
CROSS_REFERENCES:
cf. "Nae Bonnie Laddie tae Tak' Me Away (I)" (theme, lyrics)
NOTES: The relationship between this piece and "Nae Bonnie Laddie tae Tak' Me Away (I)" is extremely vexed -- to the extent that it is impossible to tell which fragments go with which song. Frankly, I'd probably lump them if Roud didn't split them (and then, seemingly, mis-file some of the versions -- aided and abetted by Ford, who had two songs of this type). As a starting point, playparties and courting games go with this piece; full-fledged songs with the other. - RBW
File: HHH230
===
NAME: Queen Mary's Men (New Year's Eve Carol)
DESCRIPTION: "This is good New Year's Even-night, We are all Queen Mary's men, And we've come here to claim our right, And that's before Our Lady." The singers travel the town asking for gifts of food. The offer good wishes for the residents
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomery)
KEYWORDS: food carol
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Montgomerie-ScottishNR 200, "Queen Mary's Men" (1 text)
DT, MARYMEN
Roud #4584
ALTERNATE_TITLES:
Orkney New Year's Eve Carol
NOTES: This song seems to be known mostly in the north of Scotland, where Catholicism held on long after the Reformation, so the refernce to "Our Lady" probably does not indicate an early date.
The reference to "Queen Mary" is not very helpful in dating. Counting backward, queens of Britain named Mary were:
Mary of Teck, wife of George V (1867-1953)
Mary II Stewart, wife of William III (joing monarchy; reigned 1689-1694; born 1662)
Mary of Modena, second wife of James II  (1658-1718); if she were meant, this would be an overtly political song, which seems unlikely
Queens Mary of England after 1400 were:
Mary I, queen regnant 1553-1558 (1516-1558)
Queens Mary of Scotland after 1500 were:
Mary Stuart, queen regnant 1542-1567 (1542-1587)
Mary of Guise, wife of James V and mother of Mary Stuart (1515-1560)
Mary of Gueldres, wife of James II (died 1463)
All of these save Mary II were Catholic, but few of them are convincing candidates for the Queen Mary of the song. - RBW
File: MSNR200
===
NAME: Queen of Elfan's Nourice, The [Child 40]
DESCRIPTION: The Queen of Elfland awakens to hear her child's (wet)-nurse weeping. The Queen of Elfland asks the reason; the nurse says that she is crying for her own son. The Queen of Elfland sets the nurse on the right road home (and on to heaven).
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: separation children magic abduction
FOUND_IN: Britain(Scotland)
REFERENCES: (5 citations)
Child 40, "The Queen of Elfan's Nourice" (1 text, 1 tune) {Bronson's (#1)}
Bronson 40, "The Queen of Elfan's Nourice" (1 version)
OBB 7, "The Queen of Elfland's Nourice" (1 text)
Montgomerie-ScottishNR 136, "(I heard a cow low, a bonnie cow low)" (1 fragment of two stanzas, with no plot; it simply mentions the lowing cow, and might be an independent item grafted into the Child ballad)
DT 40, ELFANURS*
Roud #3723
NOTES: Tradition has it that fairies much preferred to have human women nurse their babies; hence the legends about changelings and also odd stories such as this one about a human woman being kidnapped to Elfland - RBW
File: C040
===
NAME: Queen of Hearts
DESCRIPTION: "To the Queen of Hearts goes the Ace of sorrow... Young men are plenty but sweethearts few; If my love leaves me, what shall I do?" The singer talks of her wealth and family, "But I'll leave them all to go with you."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: love courting family travel
FOUND_IN: Britain
REFERENCES: (2 citations)
Silber-FSWB, p. 153, "Queen of Hearts" (1 text)
DT, QUNHEART*
Roud #3195
BROADSIDES:
Murray,  Mu23-y1:105, "The Wheel of Fortune," James Lindsay (Glasgow), 19C [extremely mixed, with the "Wheel of Fortune" verse, a thyme stanza, a bit of "Fair and Tender Ladies," a "Queen of Heart" verse, and more]
CROSS_REFERENCES:
cf. "I Know My Love"
File: FSWB153
===
NAME: Queen of Scotland, The [Child 301]
DESCRIPTION: The Queen tries to seduce Troy Muir; he denies her. To punish him, she has him lift up a certain stone under which a serpent waits. A passing girl draws off the snake by cutting off her breast. Troy Muir marries her. Her breast regrows to suckle their son
AUTHOR: unknown
EARLIEST_DATE: 1828 (Buchan)
KEYWORDS: seduction rejection trick animal injury rescue marriage childbirth
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Child 301, "The Queen of Scotland" (1 text)
Roud #3878
File: C301
===
NAME: Queen of the Desperadoes
DESCRIPTION: "She was a two-gun woman, Belle Shirley was her name." Belle marries Jim Reed who was killed by "Morris." She then marries Mr. Starr and "moved to Younger's Bend." Her six other husbands and her dominance over them are briefly described.
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: love marriage death
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 97, "Queen of the Desperadoes" (2 texts, 1 tune)
Roud #11090
File: FCW097
===
NAME: Queen of the May
DESCRIPTION: As summer comes, the singer (a plowboy?) meets a girl. He asks what she is doing; she answers that she is gathering may. They sit down together; the end result may be marriage or something less honorable
AUTHOR: unknown
EARLIEST_DATE: 1832 (Journal from the Bengal)
KEYWORDS: courting love sex marriage
FOUND_IN: 
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 190-192, "Queen of the May" (1 text, 1 tune)
DT, QUEENMAY*
Roud #594
CROSS_REFERENCES:
cf. "The Green Bushes" [Laws P2] (theme)
ALTERNATE_TITLES:
Now the Winter Is Past
The Plowboy's Courtship
NOTES: This reminds me a lot of "Green Bushes" (Laws P2). The imagery is largely the same, and there are reminiscences in the wording. But the end results are different. - RBW
File: SWMS190
===
NAME: Queen Victoria's Welcome to Deeside
DESCRIPTION: "Ye hills and ye mountains surrounding Balmoral, ye groves and ye valleys, ye surely can tell." "The eighth of September will ne'er be forgotten... We ran and we jumpit... to welcome the Queen." Victoria and Albert's visit are toasted
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: home royalty
HISTORICAL_REFERENCES: Sep 8, 1848 - Queen Victoria takes possession of Balmoral Castle
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 337, "Queen Victoria's Welcome to Deeside" (1 text)
Roud #5605
NOTES: The details in the song are not really enough to date it (no real indication of place; a date on the eighth of September, but no year), but it does mention "the Queen and her consort and three bonnie bairnies," as well as mentioning that the queen's husband in Albert. Thus Queen Victoria (1819-1901; reigned 1837-1901) and Prince Albert (1819-1861) are clearly indicated.
There is one minor curiosity in the song. Balmoral had been tenanted by Sir Robert Gordon until 1847, when that worthy died unexpectedly. Victoria and Albert then leased the house. They in fact first arrived on September 8, 1848. But the song mentions only three children; by 1848, Victoria had no fewer than six: Victoria (future Empress of Germany), Edward (future Edward VII), Alice, Alfred, Helena, and Louise, with the oldest, Victoria, still a few months shy of eight years old.
One suspects a political motive to the song. This was the era of the Highland Clearances, and not everyone in northern Scotland was happy with the English monarchy....
There seem to have been a *lot* of songs written about Queen Victoria's visits to Scotland. Broadsides on the theme include:
NLScotland, L.C.Fol.74(218), "The Queen's Visit to Scotland" ("The Queen is coming here they say, / To Scotland coming down"), unknown, n.d. but probably published in connection with an 1842 visit; also as Bodleian, Johnson Ballads 2781
NLScotland, ABS.10.203.01(128), "The Queen's Welcome to Scotland" [by Andrew Park] ("The queen she is coming, hurra! hurra! / To the land of the thistle, hurra! hurra!"), unknown, n.d.; same broadside as L.C.Fol.74(219b)
There are also broadsides on Victoria's trip to Ireland,  plus there is a sort of a parody on these praise ballads, Harding B 14(123), "The Queen's Return from Scotland," J. Paul (London), n.d.; also 2806 c.16(121a), "The Queen's return from Scotland," G. Jacques (Manchester), etc. - RBW
File: Ord337
===
NAME: Queen's Garden, The: see Sir Hugh, or, The Jew's Daughter [Child 155] (File: C155)
===
NAME: Queen's Marie, The: see Mary Hamilton [Child 173] (File: C173)
===
NAME: Queen's Maries, The: see Mary Hamilton [Child 173] (File: C173)
===
NAME: Queensland Drover, The: see Queensland Overlanders (File: FaE164)
===
NAME: Queensland Overlanders
DESCRIPTION: The singer reminds the listeners of the well-known life of the Queensland drover. He describes the various men who engage in the profession, and their visits to town. The chorus is a toast: "Tonight we drink the health of every overlander."
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: Australia travel work
FOUND_IN: Australia
REFERENCES: (3 citations)
Fahey-Eureka, pp. 164-165, "The Overlanders" (1 text, 1 tune)
Manifold-PASB, pp. 114-116, "The Queensland Drover" (1 text, 2 tunea)
DT, QNSLNDOV
File: FaE164
===
NAME: Queenstown Mourner, The (In the Town of Danville) [Laws H14]
DESCRIPTION: The singer tells of his courtship to a fine young girl, stressing his unworthiness and poverty. They are wed even so, but the wife dies suddenly. The ballad stresses its moralistic conclusion that life is short
AUTHOR: unknown
EARLIEST_DATE: 1906 (copy of broadside)
KEYWORDS: courting poverty death mourning
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Laws H14, "The Queenstown Mourner"
Flanders/Brown, pp. 29-33, "In the Township of Danville/The Queenstown Mourner" (2 texts, 1 tune)
DT 683, QTNMOURN
Roud #2195
File: LH14
===
NAME: Queer Bungo Rye: see Quare Bungo Rye (File: Log416)
===
NAME: Queer Folk i' the Shaws, The
DESCRIPTION: "I thocht unto mysel' ae day I'd like to see a Race... Sae up I gat, an wash'd mysel', put on my Sunday braws, An' ... started for the Shaws!" He likes the races, but in his ignorance ends up in trouble with the law, and vows not to return again
AUTHOR: Janes Fisher ?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: racing horse drink money police prison punishment injury
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ford-Vagabond, pp. 97-99, "The Queer Folk i' the Shaws" (1 text, 1 tune)
DT, FOLKSHAW*
Roud #3803
File: FVS097
===
NAME: Quern-Lilt, The, or, Grinding Song
DESCRIPTION: "The cronach stills the dowie heart, The jurram stills the bairnie, But the music for a hungry wame's The grinding o' the quernie." Though people rejoice in other things, the grain from the quern keeps many fed
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: work food nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ord, p. 245, "The Quern-Lilt, or, Grinding Song" (1 text)
Roud #3938
NOTES: Ord believes that Jamieson produced this as an imitation, or perhaps an improvement, of an actual grinding song. It seems likely enough. I know of no purely traditional collection. - RBW
File: Ord245
===
NAME: Quiet Village Tilting, The
DESCRIPTION:  The singer tells about a "false, fickle maid" he loved in Tilting. But he is hopeful. "My bright hopes though shattered, they might yet revive, And kind fortune bring me a faithful young bride"
AUTHOR: unknown
EARLIEST_DATE: 1980 (Lehr/Best)
KEYWORDS: courting infidelity
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 91, "The Quiet Village Tilting" (1 text, 1 tune)
File: LeBe091
===
NAME: Quilty Burning, The
DESCRIPTION: "Oh the burning of Quilty, you all know it well; When the barracks took fire Where the peelers did dwell." Everyone scurries to save what can be saved. "This old barracks is no harm to be gone, For many a poor fellow was shoved in there wrong"
AUTHOR: unknown
EARLIEST_DATE: 1977 (IRClare01)
KEYWORDS: prison fire moniker police
HISTORICAL_REFERENCES: 1920-1921 - The Black and Tan War
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #18471
RECORDINGS:
Mikey Kelleher, "The Quilty Burning" (on IRClare01)
CROSS_REFERENCES:
cf. "Cod Liver Oil" (tune) and references there
NOTES: Notes to IRClare01: "The incident that gave rise to this song ... took place around 1920, when the Royal Irish Constabulary (RIC) barracks at Quilty, a fishing village a few miles south of Miltown Malbay, was set alight by the Republicans."
"Peelers" are police. Apparently, the barracks served also as a jail. (For more on "peelers" in general, and the RIC in the context of the Black and Tan War, see "The Rineen Ambush") - BS
File: RcQuiBur
===
NAME: Quitting Time Song
DESCRIPTION: Call and response cornfield holler. "Oh oh oh oh,  I won't be here long. Oh oh oh oh, Dark don't catch me here." That's about it.
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: nonballad work
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Botkin-SoFolklr, p. 744, "Quitting Time Song" (1 text, 1 tune)
ALTERNATE_TITLES:
Arwhoolie
Hoolie
File: BSoF744
===
NAME: R.F.C.
DESCRIPTION: "Come all you poor distressed people And lend a willing ear to me; Your suffering will soon be ended For now we have the R.F.C." The government is helping the poor and homeless and hungry
AUTHOR: Buddy Preston
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: hardtimes help political nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 235-236, "R.F.C." (1 text)
NOTES: This probably sounds like a New Deal song, but in fact the Reconstruction Finance Corporation was proposed by Herbert Hoover on December 8, 1931; it was approved by Congress in January 1932 and the RFC opened for business in February.
The RFC, however, was not a relief program as such; rather, it was intended to prop up the banking and insurance system. Its financing ($500 million in government money and authorization to borrow up to $2 billion more), while adequate to keep the financial system working, was not enough to actually stimulate the economy, and it was really a failed half measure.
Still, the RFC was retained until 1957. - RBW
File: ThBa13
===
NAME: Rabbit Chase
DESCRIPTION: Humorous cante-fable description of chasing a rabbit. Part of the humor is that, unlike "fox chase" songs, not much happens: The old wife wants a rabbit (though she hardly knows what one is); the old man and dog blunder around preparing to catch it
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Charlie Parker)
KEYWORDS: hunting humorous animal dog family age
FOUND_IN: US
REFERENCES: (1 citation)
Cohen/Seeger/Wood, pp. 106-107, "Rabbit Chase" (1 text, 1 tune)
RECORDINGS:
New Lost City Ramblers, "Rabbit Chase" (on NLCR10)
Charlie Parker & Mack Woolbright, "Rabbit Chase" (Columbia 15154-D, 1927, on Cornshuckers1)
NOTES: Cohen notes that when he played this song for mountain people, they found it so amusing that they pulled out a tape recorder and taped *him*. - PJS
File: CSW106
===
NAME: Rabbit Hash
DESCRIPTION: Patting Chant: "Oh rabbit, rabbit, rabbit, Rabbit a-hash An' polecat smash; Rabbit, rabbit, rabbit a-hash. Rabbit skip an'-a rabbit hop, An' a-rabbit eat my turnip top. Oh, rabbit, rabbit, rabbit a-hash! Oh, rabbit a-hash."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: animal food nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Lomax-ABFS, pp. 238-239, "Rabbit Hash" (1 text, 1 tune, though the tune is really just a single note fitted to the music)
BrownIII 168, "The Rabbit Skipped, The Rabbit Hopped" (1 short text)
Roud #10058
NOTES: This is a sort of a dubious lumping of Lomax's and Brown's versions; Brown's text consists simply of the lines "The rabbit skipped, the rabbit hopped, the rabbit bit off the turnip top," and Brown did not note it as a patting chant. But it's easy to see how it could have shifted from one form to the other.
Roud links together several rabbit songs under one number: "Mister Rabbit," "Ole Mister Rabbit (I'll Get You Rabbit)," even "Rabbit Hash." All are about rabbits raiding gardens (something they certainly do) and the attempts to punish them for it (rarely successful, even with modern technology). But the forms are quite distinct, so I split them. - RBW
File: LxA238
===
NAME: Rabbit in the Log (Feast Here Tonight)
DESCRIPTION: "Rabbit in the log And I ain't got no dog." The singer, apparently poor and a rambler, perhaps a poacher, imagines how to catch the dog and describes how he will cook and enjoy it. He will sleep in a farmer's shed, etc.
AUTHOR: unknown
EARLIEST_DATE: 1913 (Brown)
KEYWORDS: animal food hunting
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 166, "Rabbit in the Log" (1 fragment)
RECORDINGS:
Monroe Brothers, "Have a Feast Here Tonight" (Bluebird 7508)
CROSS_REFERENCES:
cf. "Never Let Your Honey Have Her Way" (lyrics, form)
File: Br3166
===
NAME: Rabbit Skipped, The Rabbit Hopped, The: see Rabbit Hash (File: LxA238)
===
NAME: Rabbit Stole de Greens
DESCRIPTION: "Rabbit stole de greens (x2), Break down, Molly, hoo, hoo (x2)." "Big pot o' punkins, Little pot o' peas; De ole har smile To see de pot bile. Break down, Molly, hoo, hoo. (x2)"
AUTHOR: unknown
EARLIEST_DATE: 1914 (Brown)
KEYWORDS: food animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 169, "Rabbit Stole de Greens" (1 text)
File: Br3169
===
NAME: Rabble Soldier: see The Wagoner's Lad (File: R740)
===
NAME: Raccoon
DESCRIPTION: "Raccoon has a bushy tail, Possum's tail is bare. Rabbit has no tail at all, 'cept a little bunch of hair." Verses about love, animals, anything at all: "Love it is a killing thing, Beauty is a blossom, If you want your finger bit, Poke it at a possum"
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: animal love nonsense floatingverses
FOUND_IN: US(Ap,MW,SE,So)
REFERENCES: (9 citations)
Randolph 260, "Kitty Cain't You Come Along Too?" (1 short text, 1 tune)
BrownIII 162, "De Possum Am a Cunning Thing" (2 short texts plus mention of 1 more); also 163, "The Raccoon Has a Bushy Tail" (1 text plus 2 fragments; the "C" text has the chorus of "Cindy"); also 415, "Lynchburg Town" (3 texts plus 2 fragments, 2 excerpts, and mention of 2 more, all with the "Lynchburg Town" chorus, but "A" and "B" have verses from "Raccoon" and "Possum Up a Gum Stump and "D" and "E" are partly "If I Had a Scolding Wife" ("Lucy Long (I)"); only "C" seems to be truly "Lynchburg Town"); also 17, "I Wouldn't Marry" (7 text (some short) plus 6 excerpts, 1 fragment, and mention of 5 more, of which "A" appears to mix this with "Coming Around the Mountain (II -- Charming Betsey)" and "I Won't Marry an Old Maid")
Brewster 83, "Raccoon's Got a Bush Tail" (1 text)
Warner 186, "Raccoon" (1 text, 1 tune)
SharpAp 225, "The Squirrel" (3 texts, 3 tunes)
Sharp/Karpeles-80E 76, "The Squirrel" (1 text, 1 tune)
Scarborough-SongCatcher, p. 11,  (no title) (1 fragment, 1 tune on p. 385. A single stanza: "Jay-bird pulled a two-mule plow, Sparrow, why don't you...."; this verse seems to float but has been found in songs of this typle)
Scarborough-NegroFS, p. 165, "Old Bee Make de Honeycomb" (1 text, with most of the verses appearing to go here even though it has the "Old Bee" stanza also); also p. 169, (no title) (1 text, with verses probably from "Raccoon," unless they just floated in, while the chorus seems to be "Po' Liza Jane"); also sundry stanzas on pp. 169-170
Silber-FSWB, p. 398, "Raccoon's Got A Bushy Tail"; p. 401, "The Squirrel" (2 texts)
ST R260 (Partial)
Roud #3444
RECORDINGS:
Pete Seeger, "Raccoon's Got a Bushy Tail" (on PeteSeeger08, PeteSeegerCD02)
CROSS_REFERENCES:
cf. "Kemo Kimo" (floating lyrics)
cf. "Pains in My Fingers" (floating lyrics)
cf. "I Went to My Sweetheart's House" (floating lyrics)
cf. "Rat Coon, Rat Coon" (theme)
cf. "Bile Them Cabbage Down" (floating lyrics)
cf. "Mabel" (lyrics)
NOTES: As with all these floating-animal-verse songs, it's hard to tell where one begins and another ends. I group them as best I can.
It's interesting to note that both Randolph and the "A" text of Brown's "De Possum Am a Cunning Thing" share part of a chorus, "(Oh/Do) come along, Sandy Boy," even though this is clearly not integral to the song. Brewster's chorus is "Get along home, home, home (x3), Down the riverside." - RBW
File: R260
===
NAME: Raccoon Has a Bushy Tail: see Raccoon (File: R260)
===
NAME: Raccoon's Got a Bushy Tail: see Raccoon (File: R260)
===
NAME: Race of the Terrapin and the Deer
DESCRIPTION: The terrapin challenges the deer to a race. The deer agrees; the terrapin asks terrapins to hide by the path. When the deer calls out, "And where are you, terrapin?" the nearest terrapin answers, causing the deer to run faster till it is exhausted
AUTHOR: unknown
EARLIEST_DATE: 1910 (Belden)
KEYWORDS: animal racing trick recitation
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 504, "Race of the Terrapin and the Deer" (1 text with musical elements)
Roud #7818
NOTES: This is a widely-known folktale, but here presented with music, so into the Index it goes. - RBW
File: Beld504
===
NAME: Race, A
DESCRIPTION: Recitation. Deerfoot John brags that he's the champion foot-racer; Windigo challenges him to a 500-yard race. Deerfoot, running stark naked and with a 40-foot starting lead, runs well, but loses. Deerfoot swears that next time he'll run with his pants on.
AUTHOR: Attributed to Long Joe, from the town of Cedar, Michigan
EARLIEST_DATE: April 28, 1878 (published in newspaper)
KEYWORDS: bragging contest clothes racing sports recitation
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 36, "A Race" (1 text)
Roud #8852
NOTES: Beck quotes an informant to the effect that this is a versified news story. - PJS
File: Be036
===
NAME: Rachel Dear/The Maine Water Side
DESCRIPTION: The singer recalls the sad day Rachel fell into the river Maine and drowned. She is found by her cousin. Her family, friends, and sweetheart mourn. The song closes with a description of her beauty
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: river death
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H62, pp. 148-149, "Rachel Dear/The Main Water Side" (1 text, 1 tune)
Roud #9451
NOTES: One of the Sam Henry colums claims this is a true story and gives circumstantial details, but no dates. - RBW
File: HHH062
===
NAME: Rackets Around the Blue Mountain Lake, The: see Blue Mountain Lake (The Belle of Long Lake) [Laws C20] (File: LC20)
===
NAME: Rackyman Doo (Ring-Dang-Doo (II))
DESCRIPTION: Singer meets a young fellow, and asks whether he'd like to have a game on her rackyman doo. He asks what it is; she explains that it's soft, with hairs all round and split in two. She takes him to her father's cellar, gives him drink, and asks again
AUTHOR: unknown
EARLIEST_DATE: early 1960s (collected from Caroline Hughes)
KEYWORDS: sex bawdy
FOUND_IN: Britain(England), US(MW), West Indies
REFERENCES: (1 citation)
MacSeegTrav 40, "Ring Dang Doo" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Ring-Dang-Doo (I)" (euphemism)
NOTES: I separate this from "Ring-Dang-Doo (I)" because it doesn't contain any of the plot elements of that song -- prostitution, pox, etc. No question but they're related, of course. Also, I use the name "Rackyman Doo" because that was Hughes' title for the song. - PJS
File: McCST040
===
NAME: Radcliffe Highway: see Ratcliffe Highway AND Blow the Man Down (File: Doe114)
===
NAME: Raftsman Jim
DESCRIPTION: "So her pop says, 'Nay,' and he lopes right away, And bobs right back the very next day; And he shuts one eye, And looks very sly, She gives her pop the sweet bye-bye." Chorus: "There ain't no cub as neat as him, Dandy, handy raftsman Jim!"
AUTHOR: unknown
EARLIEST_DATE: 1944
KEYWORDS: ship sailor courting father
FOUND_IN: US
REFERENCES: (1 citation)
Botkin-AmFolklr, p. 840, "Raftsman Jim" (1 text, 1 tune)
File: BAF840
===
NAME: Raftsmen, The
DESCRIPTION: French: "La ous-qu'y sont, tous les raftsmen?" The raftsmen are on their way to winter camp. They arrive, suffer the usual poor food, work in the woods, go home, and "to greet them come their ladies gay, Who help them spend their hard-earned pay."
AUTHOR: unknown
EARLIEST_DATE: 1925
KEYWORDS: logger work foreignlanguage worker lumbering
FOUND_IN: Canada(Que)
REFERENCES: (3 citations)
Fowke/Johnston, pp. 74-75, "The Raftsmen" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 171-173, "The Raftsmen" (1 text, 1 tune)
Silber-FSWB, p. 99 "The Raftsmen (Les Raftsmen)" (1 English and one French text)
Roud #2318
RECORDINGS:
Pete Seeger, "Les Raftsmen" (on PeteSeeger29)
File: FJ074
===
NAME: Raftsmen's Song, The
DESCRIPTION: "I believe some dust of the wanderlust has been molded with my clay. Though I long to come to my home sweet home, it's never long I'll stay." The singer describes his travels, talks of troubles faced by raftsmen, and considers the raftsman's afterlife
AUTHOR: unknown
EARLIEST_DATE: 1965 (Fowke)
KEYWORDS: logger work travel
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #64, "The Raftsmen's Song" (1 text, 1 tune)
Roud #4360
NOTES: Fowke speculates that this is composed, and I think this certain; both the long lines and the style are completely un-folk-like. - RBW
File: FowL64
===
NAME: Rag Pat
DESCRIPTION: The singer is trying to make a living selling flowers. It is his only choice; father was a drunkard. One day he returns home to find mother dead. Chorus: "Flowers, bouquet, flowers I cry... My clothes don't look neat While struggling for mother and I."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: flowers drink orphan poverty
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 320, "Rag Pat" (1 text, 1 tune)
Roud #7794
File: R320
===
NAME: Ragged and Dirty Blues
DESCRIPTION: "Well I'm ragged, I'm hungry, I'm dirty too... If I clean up, sweet mama, can I stay all, all night with you?" The poor, homeless, orphaned stranger hits on the woman and complains that he wants to die. Then he decides to leave her whatever it takes
AUTHOR: unknown
EARLIEST_DATE: 1929
KEYWORDS: hardtimes hobo rambling courting train poverty
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scott-BoA, pp. 319-320, "Ragged and Dirty Blues" (1 text, 1 tune)
ALTERNATE_TITLES:
Broke and Hungry
File: SBoA319
===
NAME: Ragged Coat, The
DESCRIPTION: The singer, once poor, receives a large inheritance. As an experiment, he goes out in poor clothing -- and is despised. As soon as he displays money, he is treated kindly. He repeats the test, then notes "Many an honest heart beats beneath a ragged coat."
AUTHOR: unknown
EARLIEST_DATE: 1850
KEYWORDS: poverty money clothes
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 102, "The Ragged Coat" (2 texts, 1 tune)
ST FSC102 (Partial)
File: FSC102
===
NAME: Raggedy
DESCRIPTION: "Raggedy, raggedy are we, Just as raggedy, raggedy can be. Well we don't get nothing for our labor, So raggedy are we." Similarly, "Hungry, hungry are we"; "Homeless, homeless are we"; "Landless..."; "Pitiful..."
AUTHOR: John Handcox
EARLIEST_DATE: 1936
KEYWORDS: hardtimes poverty nonballad
FOUND_IN: US
REFERENCES: (3 citations)
Scott-BoA, pp. 337-338, "Raggedy" (1 text, 1 tune)
Greenway-AFP, pp. 219-220, "Raggedy Raggedy" (1 text)
Silber-FSWB, p. 137, "Raggedy" (1 text)
RECORDINGS:
Pete Seeger, "Raggedy" (on PeteSeeger13, AmHist1)
File: SBoA337
===
NAME: Raggedy Raggedy: see Raggedy (File: SBoA337)
===
NAME: Raggle Taggle Gypsies, O, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Raging Can-all, The: see The Raging Canal (I) (File: San178)
===
NAME: Raging Canal (I), The
DESCRIPTION: "Come listen to my story, ye landsmen one and all, I'll sing to you the dangers of that raging canal."  When the mules trip on a stormy night, the crew faces a wreck. The usual exaggerations, e.g. the cook's dress on a pole, are employed
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: canal storm humorous cook
FOUND_IN: US
REFERENCES: (3 citations)
Sandburg, pp. 178-179, "The Raging Canawl" (1 text)
Lomax-ABFS, pp. 464-465, "(Erie Canal)" (2 texts, the second of which goes here; the first is "A Trip on the Erie (Haul in Your Bowline)"); pp. 471-474, "The Raging Can-all" (1 text)
DT, RAGCANAL*
Roud #6611
CROSS_REFERENCES:
cf. "The E-ri-e" (theme) and references there
NOTES: The Erie Canal, as originally constructed, was a completely flat, shallow waterway. The barges were drawn along by mules. Thus, apart from getting wet, storms posed little danger. As for needing a distress signal, one could always step off onto dry land....
The Lomaxes, in _American Ballad and Folk Songs_, thoroughly mingled many texts of the Erie Canal songs (in fairness, some of this may have been the work of their informants -- but in any case the Lomaxes did not help the problem). One should check all the Erie Canal songs for related stanzas. - RBW
File: San178
===
NAME: Raging Canal (II), The: see Coffee Grows (Four in the Middle) (File: R524)
===
NAME: Raging Canawl, The: see The Raging Canal (I) (File: San178)
===
NAME: Raging Sea: see The Mermaid [Child 289] (File: C289)
===
NAME: Ragtime Cowboy Joe
DESCRIPTION: "The roughest, toughest man by far" in Arizona is Ragtime Cowboy Joe, who got his name because "He always sings raggy music to the cattle... On a horse that is syncopated gaited." But folks are advised not to cross him; his gun will make them dance
AUTHOR: Words: Grant Clarke/Music: Lewis F. Muir and Maurice Abrahams
EARLIEST_DATE: 1902 (copyright)
KEYWORDS: cowboy music nonballad
FOUND_IN: US
REFERENCES: (3 citations)
Fife-Cowboy/West 107, "Ragtime Cowboy Joe" (1 text, 1 tune)
Silber-FSWB, p. 107, "Rag Time Cowboy Joe" (1 text)
DT, RAGTMJOE*
Roud #11097
RECORDINGS:
Girls of the Golden West, "Ragtime Cowboy Joe" (Columbia 37724, 1947)
Ranch Boys, "Ragtime Cowboy Joe" (Decca 5074, 1935)
SAME_TUNE:
Doc Roberts, "Ragtime Chicken Joe" (Conqueror 8566, 1935)
File: FCW107
===
NAME: Railroad Bill [Laws I13]
DESCRIPTION: Railroad Bill "never worked and never will"; he drinks, steals, and travels from town to town. His career finally ends when he is shot (and/or arrested). To the very end, all he does is "ride, ride, ride"
AUTHOR: unknown
EARLIEST_DATE: 1911 (Odum, according to Cohen)
KEYWORDS: rambling robbery crime death train
HISTORICAL_REFERENCES: March 7, 1897 - Death of Morris Slater, known as "Railroad Bill"
FOUND_IN: US(SE)
REFERENCES: (12 citations)
Laws I13, "Railroad Bill"
Cohen-LSRail, pp. 122-131, "Railroad Bill" (2 texts plus many excerpts, 1 tune)
Sandburg, pp. 384-385, "Railroad Bill" (1 text, 1 tune -- perhaps bowdlerized to eliminate Bill's death)
BrownIII 504, "A Thirty-Two Special on a Forty-Four Frame" (1 two-line fragment, with lyrics sometimes associated with this song)
Scarborough-NegroFS, pp. 251-253, "It's Lookin' fer Railroad Bill" (2 texts plus some small pieces, which might be "Joseph Mica" rather than this)
Lomax-FSNA 304, "Railroad Bill" (1 text, 1 tune)
Lomax-ABFS, pp. 118-120, "Railroad Bill" (1 text, 1 tune)
Burt, pp. 201-202, "(Railroad Bill)" (1 text)
Cohen/Seeger/Wood, p. 148, "Railroad Bill" (1 text, 1 tune)
Darling-NAS, pp. 240-242, "Railroad Bill" (2 texts)
Silber-FSWB, p. 99 "Railroad Bill" (1 text)
DT 662, (RRBILL*)
Roud #4181
RECORDINGS:
Vera Hall, "Railroad Bill" (AFS 1315 B2, 1323 A3; 1937)
Willie Hill, "Railroad Bill" (on FolkVisions2)
Frank Hutchison, "Railroad Bill" (OKeh 45425, 1930; rec. 1929)
Otis Mote, "Railroad Bill" (OKeh 45389, 1929)
Riley Puckett, "Railroad Bill" (Columbia 15040-D, 1925; Silvertone 3258, 1926)
Roba Stanley, Bob Stanley & (?) Patterson, "Railroad Bill" (OKeh 40295, 1925; rec. 1924)
Hobart Smith, "Railroad Bill" (on LomaxCD1705) (Disc 6081, 1940s)
NOTES: Burt reports that Morris Slater, known as "Railroad Bill," "terrorized" Florida and Alabama from 1894 to 1897, initially robbing freight trains, but later perhaps branching out; an Alabana deputy was killed during the saga, and Slater was blamed.
Slater was eventually surrounded and surprised in a grocery, "eating crackers and cheese"; he probably could have been taken, but the posse shot him instead.
Burt's version of the ballad specifically mentions the crackers and cheese, but Laws is rather cautious in reporting Burt's story, and I have to agree with him: I don't think we can prove Burt's Alabama version (published 1927) to be the original.
Cohen adds even more data, noting a number of the parts of "Railroad Bill" seem to precede Slater. Either there was another "Railroad Bill," or the song adapted a large number of other railrod bits. - RBW
File: LI13
===
NAME: Railroad Blues (I)
DESCRIPTION: Floating verses; "Went to the depot and I looked up on the board, It read, good times, children..."; "Where was you, mama, when the train left the shed..."; "Met a little Gypsy in a fortune telling place/She read my mind, and then she slapped my face."
AUTHOR: unknown
EARLIEST_DATE: 1935 (recording, Sam McGee)
KEYWORDS: railroading nonballad floatingverses
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Cohen/Seeger/Wood, p. 190, "Railroad Blues" (1 text, 1 tune)
Cohen-LSRail, pp. 402-403, "The Railroad Blues" (1 excerpted text, 1 tune -- a subset of a song collected in 1915 and printed in JAFL, with fully 80 four-line stanzas, most of which could however be treated as doubles two-line stanzas and therefore sung as a true blues. It has floating verses from everywhere, which perhaps means it should file here. I don't list it as the Earliest Date, though, because it's so anomalous)
RECORDINGS:
Jelly Roll Anderson, "Good Time Blues" (Gennett 6181, 1927) (Herwin 92014, 1927) (one of these two successive cuts is on TimesAint03)
Willie Hill, "Good Old Birmingham" (on FolkVisions2)
Daddy John Love, "Railroad Blues" (Bluebird B-6624, 1936)
Sam McGee, "Railroad Blues" (Champion 45033, 1935; Decca 5348, 1937) (on McGeeSmith1, TimesAint05)
New Lost City Ramblers, "Railroad Blues" (on NLCR03, NLCR12, NLCRCD1)
Art Thieme, "Railroad Blues and Nine Pound Hammer" [medley] (on Thieme01)
CROSS_REFERENCES:
cf. "Baby, All Night Long" (words)
File: CSW190
===
NAME: Railroad Blues (II)
DESCRIPTION: "I got the blues, but I haven't got the fare (x2). I got the blues, but I'm too damned mean to cry." "Some say the rolling blues ain't bad..." the singer concludes they have some other sort of blues. He laments his dead mother and sister gone astray.
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: railroading death mother
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 243, "Railroad Blues" (1 text)
Roud #11646
NOTES: As with most blues, this is a rather disjointed piece; it may be a version of "Railroad Blues (I)." But as that piece is more or less a unity, and Scarborough's version has no lyrics in common that I can see, I split them. - RBW
File: ScaNF243
===
NAME: Railroad Blues (III): see Alabama Bound (II) (File: PSAFB044)
===
NAME: Railroad Boomer, The
DESCRIPTION: "Come and gather all around me, listen to my tale of woe... Take a tip from one who's travelled, never start to ramblin' round, Yu're liable to get the wandr'rin fever." The singer plans to marry, but then hears a train; he asks to be buried by the tracks
AUTHOR: Carson J. Robison
EARLIEST_DATE: 1929 (copyright and first recording)
KEYWORDS: train travel rambling wife abandonment
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 390-393, "" (1 text, 1 tune)
RECORDINGS:
Frank Luther and Carson J. Robison, "The Railroad Boomer" (Victor V-40139 [as by Bud Billings and Robison], 1929) (Gennett 7019/Champion 15848/Champion 45020/Supertone 9567, 1929)
NOTES: Somewhere in here, there's a joke about Robison writing a science fiction story about the future life of Woody Guthrie.
This is another of the songs in Cohen that comes from the railroad/hillbilly genre but that can't be shown to have circulated in oral tradition. - RBW
File: LSRai390
===
NAME: Railroad Boy, The: see The Bonny Laboring Boy [Laws M14] (File: LM14)
===
NAME: Railroad Bum, The: see Ten Thousand Miles Away from Home (A Wild and Reckless Hobo; The Railroad Bum) [Laws H2] (File: LH02)
===
NAME: Railroad Cars are Coming, The
DESCRIPTION: "The great Pacific railway, For California hail! Bring on the locomotive, Lay down the iron rail; Across the rolling prairies By steam we're bound to go. The railroad cars are coming, humming, Through New Mexico." Even animals rejoice when the train comes
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: railroading train nonballad animal
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Sandburg, pp. 358-359, "The Railroad Cars are Coming" (1 short text, 1 tune)
ST San358 (Full)
Roud #10812
CROSS_REFERENCES:
cf. "Echo Canyon Song"
NOTES: The first Transcontinental Railroad in the Unitd States was the Central Pacific, completed in Utah in May 1860. This line went from Chicago to Omaha through Nebraska, Wyoming, Utah, and Nevada on its way to Sacramento and San Francisco.
But it cannot be the line referred to, since the song describes travelling through New Mexico.
Two major transcontinental lines went through the southern states. The Southern Pacific went from New Orleans though Houston, San Antonio, and El Paso to Los Angeles. This might be the reference, but this line barely touches New Mexico.
The Santa Fe railroad (or the Atchison, Topeka, and Santa Fe) fits much better: Starting from Saint Louis as the Missouri Pacific, it passed through Kansas City and then headed west and south through Kansas, a corner of Colorado, and New Mexico, through Santa Fe and Albuquerque to Los Angeles.
The Santa Fe line makes sense in another way: It replaced the old Santa Fe trail, making its opening welcome even to the animals (since they didn't have to travel it). The line reached Santa Fe in 1880, meaning that its construction was still part of living memory when Sandburg was collecting songs. - RBW
File: San358
===
NAME: Railroad Corral, The
DESCRIPTION: "We're up in the morning ere breaking of day, The chuck wagon's busy, the flapjack's in play." The singer describes the hot, dusty, dirty work of the cowboy, and the long days and long trails. He rejoices to reach the end of the trip
AUTHOR: John Mills Hanson
EARLIEST_DATE: 1904 (Frank Leslie's Popular Monthly)
KEYWORDS: cowboy travel work food
FOUND_IN: US
REFERENCES: (4 citations)
Fife-Cowboy/West 77, "The Railroad Corral" (1 text, 1 tune)
Lomax-FSNA 185, "The Railroad Corral" (1 text, 1 tune)
Silber-FSWB, p. 113, "The Railroad Corral" (1 text)
DT, RRCORRAL*
Roud #4636
CROSS_REFERENCES:
cf. "Irish Washerwoman" (tune)
File: LoF185
===
NAME: Railroad Daddy Blues
DESCRIPTION: "Every time I hear a freight train comin', Oh, I listen to the engine sob and moan. Lawd, Lawd, I've got them railroad daddy blues." The singer descries railroad life, wishes her daddy would come back, and rejoices when "my railroad daddy's home at last."
AUTHOR: Harve Burton?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: train separation reunion
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 259, "Railroad Daddy Blues" (1 text)
File: ThBa259
===
NAME: Railroad Dinah Gal
DESCRIPTION: "As I went down to Simon's mill, There I found a very steep hill, The steers began to bellow and balk, And I began to cuss and talk. Railroad Dinah Gal, I'm going' over the mountains." "Me and old Dinah killed a sheep, Give old Dinah the head and feet."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: food animal railroading travel
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 493, "Railroad Dinah Gal" (1 short text)
Roud #11763
File: Br3493
===
NAME: Railroad Song: see The Dummy Line (II) (File: ScNS139A)
===
NAME: Railroad to Heaven, The: see The Road to Heaven (File: R600)
===
NAME: Railroad Tramp: see Remember the Poor Tramp Has to Live (File: RcRtPTHL)
===
NAME: Railroader for Me, A: see Soldier Boy for Me (A Railroader for Me) (File: R493)
===
NAME: Railroader, The: see Soldier Boy for Me (A Railroader for Me) (File: R493)
===
NAME: Railroadin' and Gamblin'
DESCRIPTION: Uncle Dave Macon surrealism. Singer has been in the state house and the court house; he is broke from gambling. Chorus: "Railroadin' and gamblin'/Pickin' up chips for mammy/Lawd, lawd, lawd/Take your feet out the sand, stick 'em in the mud."
AUTHOR: unknown
EARLIEST_DATE: 1940 (recording, Uncle Dave Macon)
LONG_DESCRIPTION: More Uncle Dave Macon surrealism. Singer has been in the state house (prison?) and the court house, and is broke from gambling despite his mother's advice. "Lawd, that preacher got, ain't that a sin/Johnny get your whiskers cut, here comes the wind." Chorus: "Railroadin' and gamblin'/Pickin' up chips for mammy/Lawd, lawd, lawd/Take your feet out the sand, stick 'em in the mud." You figure it out.
KEYWORDS: prison gambling railroading nonballad nonsense
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Uncle Dave Macon, "Railroadin' and Gamblin'" (Bluebird 8325, 1940; on RoughWays2)
NOTES: Almost certainly of minstrel origin; a few lines are in dialect. While I use the keyword "nonsense," I suspect there was meaning in the song once. - PJS
File: RcUDRaG
===
NAME: Railroading on the Great Divide
DESCRIPTION: "Railroading on the Great Divide/Nothing around me but the Rockies and sky/There you'll find me as the years roll by...." Singer wanders the country before landing on the Great Divide, and tells of the rails and ties he has laid there.
AUTHOR: Sara Carter Bayes
EARLIEST_DATE: 1952 (record, A. P. Carter Family)
KEYWORDS: pride rambling travel railroading work nonballad worker
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 528-529, "Railroading on the Great Divide" (1 text, 1 tune)
RECORDINGS:
A. P. Carter Family, "Railroading on the Great Divide" (Acme 992, 1952)
NOTES: Seldom cited, composed after World War II, but it has attained sufficient circulation in the revival that I index it. - PJS
This has been credited to Janette Carter, who recorded it in 1952 with her brother Joe and her parents A. P. Carter and Sara Carter Bayes; indeed, it was listed as by Janette in the earlier editions of this index. But Cohen corresponded with Sara Carter Bayes about the composition, so I'm following his lead.
This was recorded as part of a brief reunion of A. P. and Sara Carter (strictly musical, of course), which produced a handful of sides for the Acme label. The reunion cuts were not particularly successful (according to John Atkins, article "The Carter Family" in Bill C. Malone and Judith McCulloh, "Stars of Country Music," p. 110, Acme was a small label with no distribution channel and significant quality control problems; he also regards the instrumentation as weak in the absence of Maybelle).
A. P. kept at it with Acme until 1956, but with little reward; this was just about the only memorable product of the sessions. Had they tried the reunion a decade or so later, the folk boom might well have carried them to success -- but A. P. died in 1960. - RBW
File: RcROTGD
===
NAME: Railway Spiritualized, The: see The Road to Heaven (File: R600)
===
NAME: Rain and Snow
DESCRIPTION: Singer's wife gives him trouble, runs him "out in the cold rain and snow." She comes downstairs combing her hair, saying she'll no longer be mistreated; he kills her (, lays out the body, then trembles with cold fear)
AUTHOR: unknown
EARLIEST_DATE: Early 1960s (recording, Obray Ramsay)
KEYWORDS: marriage violence crime murder corpse death wife
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
Roud #3634
RECORDINGS:
Dillard Chandler, "Rain and Snow" (on Chandler01)
CROSS_REFERENCES:
cf. "Nine Hundred Miles" (tune)
cf. "Reuben's Train" (tune)
ALTERNATE_TITLES:
Cold Rain and Snow
NOTES: The liner notes to Chandler's recording lump this with "Sporting Bachelors." I demur; that's a humorous cautionary tale, while this is a tragedy. - PJS
It seems to me I've heard this done with a somewhat humorous twist, but certainly it's a distinct song. - RBW
File: RcRaAnSn
===
NAME: Rain Come Wet Me
DESCRIPTION: "Rain come wet me, Sun come dry me, Stand back, white man, Don't come a-nigh me."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: storm
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 490, "Rain Come Wet Me" (1 short text)
Roud #11605
File: Br3490
===
NAME: Rain Rain the Wind Does Blow: see The Wind (Rain, Rain, the Wind Does Blow) (File: RcRRtWDB)
===
NAME: Rain, Rain My Savior
DESCRIPTION: "Takes a holy man to join  us in the army of the Lord (x2), O rain, rain a rain, my savior, Rain, rain, the Lord sent it down, O rain, rain a rain my savior, Rain, rain, the Lord sent it down." "So glad I ever started in the army of the Lord...."
AUTHOR: unknown
EARLIEST_DATE: 1938 (Chappell)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Chappell-FSRA 89, "Rain, Rain My Savior" (1 text, 1 tune)
Roud #16936
File: ChFRA089
===
NAME: Rain, Rain, Go Away
DESCRIPTION: "Rain, rain, go away, Come again some other day." Additional stanzas may have additional suggestions
AUTHOR: unknown
EARLIEST_DATE: 1962 (Baring-Gould); a probable ancestor quoted by Aubrey in 1687
KEYWORDS: nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #443, p. 205, "(Rain, rain, go away)"
NOTES: My general assumption is that, if I learned something from other kids, with a tune, then it qualifies as "folk song." By that definition, this fits, silly as it is.
Aubrey's 1687 version, as quoted by the Baring-Goulds, is
Raine, raine, goe away,
Come again a Saterday. - RBW
File: BGMG443
===
NAME: Rainbow 'mid Life's Willows: see Locks and Bolts [Laws M13] (File: LM13)
===
NAME: Rainbow (I), The: see Johnny German [Laws N43] (File: LN43)
===
NAME: Rainbow (II), The: see The Female Warrior (Pretty Polly) [Laws N4] (File: LN04)
===
NAME: Rainbow Willow: see Locks and Bolts [Laws M13] (File: LM13)
===
NAME: Raise a Ruckus
DESCRIPTION: A slave is told by his mistress that he would be freed when she died. The promise is long in coming true, and at last the singer takes things in his own hand. Having set off (down?)river, he intends to "raise a ruckus tonight."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: slave freedom escape party
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
BrownIII 499, "Raise a Ruckus Tonight" (2 texts plus 2 fragments; the "A" text, however, is "I'll Build Me a Boat")
Lomax-FSUSA 26, "Raise a Rukus" (1 text, 1 tune)
Lomax-ABFS, pp. 253-254, "Raise a Rukus Tonight" (1 text, 1 tune)
Silber-FSWB, p. 299, "Raise A Ruckus Tonight" (1 text)
Roud #10054
RECORDINGS:
Charlie Bowman & his Brothers, "Gonna Raise the Ruckus Tonight" (Columbia 15357-D, 1929; rec. 1928)
Warren Caplinger, "G'wina Raise a Ruckus Tonight" (Vocalion 5222, c. 1928)
Cliff Carlisle, "Gonna Raise a Ruckus Tonight" (Decca 5774, 1939)
Bill Chitwood & his Georgia Mountaineers, "Raise Rough House Tonight" (OKeh 45236, 1928)
Hugh Cross & Riley Puckett, "Gonna Raise Ruckus Tonight" (Columbia 15455-D, 1929; rec. 1928)
Folkmasters, "Raise a Rukus Tonight" (on Fmst01)
The Georgia Yellow Hammers, "Going To Raise A Ruckus Tonight" (Victor 20928, 1927)
Georgia Serenaders [pseud. for Caplinger's Cumberland Mountain Entertainers], "Gonna Raise a Ruckus Tonight" (Supertone 9473, 1929) [this is probably the same as the Warren Caplinger recording listed above]
Mobile Strugglers, "Raise a Ruckus Tonight" (on AmSkBa)
Norfolk Jubilee Quartet, "Raise Rukus Tonight" (Paramount 12032, 1923)
Pete Seeger, "Raise a Ruckus Tonight" (on PeteSeeger05)
Southern Quartet, "Gonna Raise Rukus Tonight" (Columbia 14048-D, 1924)
CROSS_REFERENCES:
cf. "Old Marse John" (lyrics)
cf. "My Ole Mistus Promised Me" (lyrics)
cf. "Mourner, You Shall Be Free (Moanish Lady)" (floating lyrics)
cf. "Hard Time in Old Virginnie" (floating lyrics)
cf. "I'll Build Me a Boat" (lyrics)
File: LxU026
===
NAME: Raise a Ruckus Tonight (I): see Raise a Ruckus (File: LxU026)
===
NAME: Raise a Ruckus Tonight (II): see I'll Build Me a Boat (File: Br3499)
===
NAME: Raise a Rukus: see Raise a Ruckus (File: LxU026)
===
NAME: Raise a Rukus Tonight: see Raise a Ruckus (File: LxU026)
===
NAME: Rake and Rambling Boy, The: see The Wild and Wicked Youth [Laws L12] (File: LL12)
===
NAME: Rakes of Poverty, The
DESCRIPTION: Irish variant on "The Son of a Gambolier." The singer describes himself as "the rambling rakes of poverty... the son of a gambaleer." He likes drink, and lives shabbily, in used clothes and shoes. He wishes he had drink and sugar for all
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: drink rambling poverty
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H741, p. 50, "The Rakes of Poverty" (1 text, 1 tune)
DT, SONGAMB2*
Roud #2964
CROSS_REFERENCES:
cf. "The Son of a Gambolier (I)" (tune) and references there
NOTES: This is so close to "The Son of a Gambolier" that I'm tempted to list them as one song. But they're usually listed as separate, so here it stands. - RBW
File: HHH741
===
NAME: Raking of the Hay: see Tossing of the Hay (File: HHH635)
===
NAME: Rally Round the Flag: see The Battle Cry of Freedom (File: MA034)
===
NAME: Rally, Boys, Rally
DESCRIPTION: "Lead your partner up and down, I thought I heard them say, Lead your partner... I thought I heard...." "Rally, boys, rally, I thought I heard them say...."
AUTHOR: unknown
EARLIEST_DATE: 1936 (Hudson)
KEYWORDS: dancetune nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Hudson 150, p. 295, "Rally, Boys, Rally" (1 short text)
Roud #4508
File: Hud150
===
NAME: Ram o' Bervie, The: see references under The Derby Ram (File: R106)
===
NAME: Ram of Dalby, The: see references under The Derby Ram (File: R106)
===
NAME: Ram of Derby, The: see references under The Derby Ram (File: R106)
===
NAME: Ram of Diram, The: see references under The Derby Ram (File: R106)
===
NAME: Ram Song (I), The: see The Derby Ram (File: R106)
===
NAME: Ram Song (II), The
DESCRIPTION: Pius bought a small, thin ram from Jenny. The boys play cards for the ram "but playing cards for rams in Lent -- it was a mortal sin." The ram grows big and fat and is slaughtered "to pay the boys to plow up the old graveyard"
AUTHOR: unknown
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: cards humorous animal
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, p. 97, "The Ram Song" (1 text, 1 tune)
Roud #12451
NOTES: Did something drop out of this song in which one of the gamblers dies? Until we find another version, we can hardly tell. - RBW
File: Dib097
===
NAME: Rambleaway
DESCRIPTION: Young man meets young woman. He says he's known as "Rambleaway" (after his wandering habit). In some versions the last verse cautions girls about men like him; in others the woman slips away, and he rambles around searching for her in vain.
AUTHOR: unknown
EARLIEST_DATE: 1891
KEYWORDS: courting rambling warning pregnancy
FOUND_IN: Britain(England(South,North))
REFERENCES: (3 citations)
Sharp-100E 31, "Sweet Kitty" ; 75, "Brimbledon Fair, or, Young Ramble-Away" (2 texts, 2 tunes)
Kennedy 166, "Ramble-away" (1 text, 1 tune)
DT, RAMBLAWA
Roud #171
CROSS_REFERENCES:
cf. "Come All You Fair and Tender Girls" (theme)
cf. "When I Was Young (Don't Never Trust a Sailor)" (plot)
cf. "Yon Green Valley" (plot)
cf. "The Courting Coat" (plot, lyrics)
cf. "The Roving Shantyboy" (plot)
ALTERNATE_TITLES:
Derry Down Fair
Brimbledown Fair
Burlington Fair
Brocklesby Fair
File: ShH31
===
NAME: Rambler from Clare, The
DESCRIPTION: The rambler tells of beginning his career in the (County Tyrone), where (the women) first dubbed him the Rambler from Claire. Captured (by the English, he faces a stiff sentence) but escapes to America (and continues to pursue the women)
AUTHOR: unknown
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 11(3218)); beginning 19C (Zimmermann)
KEYWORDS: rambling emigration
FOUND_IN: Britain(England(South)) US(NE) Ireland
REFERENCES: (5 citations)
OLochlainn-More 68, "The Rambler from Clare" (1 text, 1 tune)
Zimmermann 20, "The Rambler from Clare" (1 text, 1 tune)
Moylan 46, "The Rambler from Clare" (1 text, 1 tune)
Warner 59, "The Rambler from Claire" (1 text, 1 tune)
DT, RMBLCLAR*
Roud #1531
BROADSIDES:
Bodleian, Harding B 11(3218), "The Rambler From Clare," J. Harkness (Preston), 1840-1866; also Harding B 11(3219), 2806 b.11(9), 2806 c.15(250), 2806 b.9(267)[some words illegible], Harding B 19(9)[some words illegible], Harding B 11(3217), Harding B 26(553), 2806 c.15(184), 2806 c.15(327), 2806 b.11(14), "The Rambler From Clare"
Murray, Mu23-y1:008, "The Rambler From Clair," unknown, 19C; also Mu23-y4:026, "Rambler From Clare" 
NLScotland, RB.m.169(104), "The Rambler from Clair," Robert M'Intosh (address obliterated), c.1855
NOTES: In some texts, the rambler is an Irish rebel, and is forced to flee Ireland to escape prosecution. In others, he is a deserter from the English army. In many versions, however, he is just a young man out to have as much fun with the ladies as possible.
And yes, the Warners spell it "Claire." Maybe that's the girl he was dating. - RBW
File: Wa059
===
NAME: Ramblin' Reckless Hobo: see Ten Thousand Miles Away from Home (A Wild and Reckless Hobo; The Railroad Bum) [Laws H2] (File: LH02)
===
NAME: Rambling Beauty, The: see Nancy (II) (The Rambling Beauty) [Laws P12] (File: LP12)
===
NAME: Rambling Blues: see Rambling Round (File: CSW118)
===
NAME: Rambling Boy (I), The: see The Wild and Wicked Youth [Laws L12] (File: LL12)
===
NAME: Rambling Boy (II): see My Ramblin' Boy (File: FSWB061)
===
NAME: Rambling Boys of Pleasure, The: see You Rambling Boys of Pleasure (Down by Sally's Garden) (File: FowM059)
===
NAME: Rambling Gambler, The: see The Wagoner's Lad (File: R740)
===
NAME: Rambling Miner, The
DESCRIPTION: "I'm only a rambling miner, I work where I like best, In the coal mines of Kentucky, Or the copper mines in the west." But wherever he goes, the singer is gambling his life in the mines. He says he is doing it "So that the women and kids may eat."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: mining rambling nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 248, "The Rambling Miner" (1 text)
NOTES: It is rather unfortunate that Thomas did not preserve a tune for this piece. The first two stanzas appear to be built upon "The Roving Gambler," but the final two look like something else. - RBW
File: ThBa248A
===
NAME: Rambling Round
DESCRIPTION: Singer describes rambling around cities and towns, and his life as a migrant fruit picker. He wishes he could settle down, but "I am just a refugee/As I go rambling round, boys."
AUTHOR: Woody Guthrie
EARLIEST_DATE: 1940s (recording, Woody Guthrie)
KEYWORDS: loneliness rambling work worker migrant
FOUND_IN: 
REFERENCES: (2 citations)
Cohen/Seeger/Wood, p. 118, "Rambling Blues" (1 text, 1 tune)
DT, GORAMB
CROSS_REFERENCES:
cf. "Goodnight, Irene" (tune)
ALTERNATE_TITLES:
Rambling Round Your City
As I Go Rambling 'Round
NOTES: This song verges on the status of an autobiography of Woody Guthrie, and to the best of my knowledge has never been found in tradition. The tune is an adaption of Huddie "Lead Belly" Ledbetter's "Goodnight Irene." - RBW
File: CSW118
===
NAME: Rambling Round Your City: see Rambling Round (File: CSW118)
===
NAME: Rambling Rover: see You Rambling Boys of Pleasure (Down by Sally's Garden) (File: FowM059)
===
NAME: Rambling Sailor, The: see The Rambling Soldier (File: ShH43)
===
NAME: Rambling Shoemaker, The: see James Ervin [Laws J15] (File: LJ15)
===
NAME: Rambling Soldier (I), The
DESCRIPTION: Soldier (sailor) describes the joys of rambling the countryside (of England): "I once was a seaman stout and bold, Ofttimes I plowed the ocean... For honor and promotion." In some versions he brags that he has a license to ramble, granted by the king.
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Johnson Ballads 256)
KEYWORDS: rambling nonballad sailor soldier injury
FOUND_IN: US(SE) Britain(England,Scotland) Australia
REFERENCES: (5 citations)
BrownIII 367, "The Jolly Soldier" (1 fragment plus mention of 1 more)
Sharp-100E 43, "The Rambling Sailor" (1 text, 1 tune)
Meredith/Anderson, pp. 174-175, "The Rambling Sailor" (1 text, 1 tune)
Ord, p. 326, "Dicky Johnston, or, The Roving Sailor" (1 short text)
DT, RAMBSAIL* (RMBSAIL2*)
Roud #518
RECORDINGS:
Chris Willett, "The Rambling Sailor" (on Voice12)
BROADSIDES:
Bodleian, Johnson Ballads 256, "The Rambling Sailor" ("I am a sailor stout and bold, long time I have ploughed the ocean"), J. Catnach (London), 1813-1838; also Firth c.12(275), Johnson Ballads 1230, Harding B 11(1670), Firth b.25(378), Harding B 11(3226), Harding B 11(4288), Harding B 15(250b), Johnson Ballads 966, Johnson Ballads 559, Harding B 20(142), Firth b.34(302), "[The] Rambling Sailor"; Harding B 11(3228), "The Rambling Soldier" ("I am a soldier blithe and gay"), W. and T. Fordyce (Newcastle), 1832-1842; Firth b.26(329), Harding B 11(835), Harding B 16(221a), Harding B 11(3227), Harding B 15(251a), Harding B 15(251b), Harding B 15(252a), Harding B 20(143), Harding B 17(251a), "Rambling Soldier"
CROSS_REFERENCES:
cf. "The Rambling Comber"
NOTES: Sharp notes that on the older broadsides, the rambler was a soldier; in the newer ones, he is a sailor. - PJS
Sharp may be right about which version is the older. The Bodleian broadsides give no clear-cut answer; however, Harding B 16(221a), "Rambling Soldier" lists the tune as "Rambling Sailor"; it also lists the author as John Morgan. - BS
In Brown's version (which is only two stanzas), it appears that he is a sailor who later enlists in the American Revolutionary army. This may be a rewrite, but the text it too short to be sure.
Ord's text says that the sailor has been granted a license to beg *because he has lost a limb.* Ordinarily I would consider this a significant enough distinction to split the songs, but the rest is the same; the lost limb appears (or fails to appear, perhaps) in only a single line. Perhaps a mixture with something like "The Forfar Soldier," or even a case of an injured veteran adopting the piece to his own case? - RBW
File: ShH43
===
NAME: Rambling Soldier (II), The: see The Son of a Gambolier (I) (File: San044)
===
NAME: Rambling Suiler, The: see The Jolly Beggar [Child 279] (File: C279)
===
NAME: Rambling Young Fellow, A: see Wrap Me Up in my Tarpaulin Jacket (File: FR439)
===
NAME: Rambling, Gambling Man: see The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Randal, My Son: see Lord Randal [Child 12] (File: C012)
===
NAME: Randy Dandy O
DESCRIPTION: Capstan or pumps shanty. Chorus: "Heave a pawl, o heave away. Way ay roll an' go. The anchor's on board an' the cable's all stored, timme rollockin' randy dandy o." Rhyming verses about sailing and women.
AUTHOR: unknown
EARLIEST_DATE: 1917 (Robinson)
KEYWORDS: shanty sailor
FOUND_IN: Canada(Mar) US
REFERENCES: (4 citations)
Colcord, p. 116, "Galloping Randy Dandy O!" (1 text, 1 tune)
Hugill, pp. 167-168, "Randy Dandy O" (1 text, 1 tune) [AbEd, p. 135]
DT, RANDDAND*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Galloping Randy Dandy O!" is in Part 3, 7/28/1917.
Roud #4702
NOTES: Hugill says that he and his sources cleaned this one up a good deal before printing. - SL
File: Hugi167
===
NAME: Randy Riley: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Rang-a-Tang-Too, The: see The Ring-Dang-Doo (I) (File: EM182A)
===
NAME: Range Rider's Appeal, A: see The Cowboy's Prayer (II) (File: Ohr077)
===
NAME: Ranger, The: see Bold Ranger, The (File: R076)
===
NAME: Ranger's Prayer: see The Dying Ranger [Laws A14] (File: LA14)
===
NAME: Rangey Ribs, The
DESCRIPTION: Patrick Cowley deals in cattle. He recalls the sickly scrawney "Rangey Ribs" Mickey Dubh sold to him as a thoroughbred. Pat couldn't sell him. His only use was to hang the wash. But when he died neighbors came to the burial from miles around
AUTHOR: unknown
EARLIEST_DATE: 1986 (McBride)
KEYWORDS: death commerce humorous animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 58, "The Rangey Ribs" (1 text, 1 tune)
NOTES: McBride: "The song is well known in other parts of the country and has been recorded extensively in Co. Clare. Place names matter not. The song is part of the genre popular throughout the country in which broken down cattle are ridiculed." - BS
File: McB1058
===
NAME: Ranso Ray: see Ranzo Ray (File: Hugi247)
===
NAME: Ransum Scansum
DESCRIPTION: "Ransum scansum, through yonder, Bring me a gourd to drink water. Dis way out and t'other way in, In my lady's chamber, Dis way out and t'other way in, In my lady's chamber."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: playparty nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 131, "Ransum Scansum" (a second fragment has no title, but probably should be called "Aransom Shansom") (2 short texts, 1 tune)
CROSS_REFERENCES:
cf. "Do, Do, Pity My Case" (lyrics) and references there
File: ScaNF131
===
NAME: Rantin' Laddie, The [Child 240]
DESCRIPTION: The lady has "played at the cards and the dice" with the rantin' laddie; now she has a child and is scorned. She sends a letter to the rantin' laddie -- who proves to be the Earl of Aboyne. He marries her and all are happy
AUTHOR: unknown
EARLIEST_DATE: 1803 (Skene ms.)
KEYWORDS: love courting marriage adultery bastard cards
FOUND_IN: Britain(Scotland(Aber)) US(NE)
REFERENCES: (7 citations)
Child 240, "The Rantin' Laddie" (4 texts)
Bronson 240, "The Rantin' Laddie" (6 versions+1 in addenda)
BarryEckstormSmyth pp. 303-304, "The Rantin' Laddie" (1 fragment, 1 tune, a single "Rantin' Laddie" stanxa with a "hush-a-bye" chorus perhaps from the mother to her bastard baby) {Bronson's #6}
Leach, pp. 597-598, "The Rantin' Laddie" (2 texts)
Combs/Wilgus 35, pp. 127-128, "The Rantin Laddie" (1 text)
DBuchan 57, "The Rantin Laddie" (1 text)
DT 240, RANTNLAD*
Roud #103
RECORDINGS:
Willie Mathieson, "The Bonny Rantin' Laddie" [fragment] (on FSBBAL2) {Bronson's #5.1}
NOTES: The "rant" is a dance step, now found chiefly in Northumberland and surrounding areas. - PJS
File: C240
===
NAME: Rantin', Roarin', Drunk on the Way
DESCRIPTION: Singer tells of getting drunk with his friends (all of whom he names) on the way to the lumber camp at Upyongo. At the end of the season, at home, they reminisce about how they got "drunk on the way."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: drink moniker logger
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 65, "Rattlin', Roarin', Drunk on the Way" (1 text)
Roud #8845
CROSS_REFERENCES:
cf. "How We Got Up to the Woods Last Year" (lyrics)
NOTES: The "moniker song" consists mostly of listing the names of one's compatriots, and perhaps telling humorous vignettes about each; it's common among lumberjacks, hoboes, and probably other groups. - PJS
This particular song shares the general chorus with "How We Got Up to the Woods Last Year" (where it runs "Rant and roar and drunk on the way"), but the plots seem distinct enough that Roud and I both split them. - RBW
File: Be065
===
NAME: Ranting Roving Lad: see The White Cockade (File: R120)
===
NAME: Ranzo: see Reuben Ranzo (File: Doe023)
===
NAME: Ranzo Ray
DESCRIPTION: Shanty. First refrain "Ranzo, Ranzo, hurray, hurray" (or "away, away), second refrain usually "Hilo me Ranzo ray." Verses tell of destinations and cargos, i.e. "we're bound for Yokohammer, with a load o' grand pianners."
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty ship commerce travel
FOUND_IN: Britain US
REFERENCES: (3 citations)
Hugill, pp. 247-249, "Ranzo Ray" (3 texts, 3 tunes) [AbEd, pp. 179-182]
Sharp-EFC, XIX, p. 22, "The Bully Boat" (1 text, 1 tune)
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Ranso Ray" is in Part 1, 7/14/1917.
Roud #327
CROSS_REFERENCES:
cf. "Huckleberry Hunting" (similar refrain)
ALTERNATE_TITLES:
Rando Ray
NOTES: Bone, in his notes to "Reuben Ranzo," was of the opinion that the word "Ranzo" somehow seemed to suit the action of hauling, which might explain its use in both this song and that. - RBW
File: Hugi247
===
NAME: Rap-Tap-Tap: see The Farm Servant (Rap-Tap-Tap) (File: DTraptap)
===
NAME: Rarden Wreck of 1893, The
DESCRIPTION: A train heads for Cincinnati, but the engineer dies at Rarden station after jumping from the train when he saw an open switch. The fireman is crushed in the wreck. Chorus: "Did he ever come back? No, he never came back. His fate was easily learned...."
AUTHOR: unknown
EARLIEST_DATE: 1993
KEYWORDS: train wreck disaster death
FOUND_IN: US
REFERENCES: (1 citation)
Darling-NAS, p. 215, "The Rarden Wreck of 1893" (1 text, filed with "The Wreck of the Old 97")
CROSS_REFERENCES:
cf. "The Ship that Never Returned" [Laws D27] (tune & meter) and references there
cf. "The Wreck of Old 97" [Laws G2] (tune, theme)
cf. "The Train that Never Returned" (tune, theme)
File: DarNS215
===
NAME: Rare Clonmel
DESCRIPTION: The singer is leaving his home in Clonmel. He thinks of the places there he loved. "In ev'ry fight for Erin's right, Foul tyranny to quell, First in the field and last to yield Are the boys of Rare Clonmel!"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS:  farewell home lyric nonballad patriotic
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 20B, "Rare Clonmel" (1 text, 1 tune)
Roud #9778
NOTES: Clonmel is on the river Suir, South Tipperary. OLochlainn-More has no information about the song. - BS
File: OLcM020B
===
NAME: Rare Willie Drowned in Yarrow, or, The Water o Gamrie [Child 215]
DESCRIPTION: Willie drowns in the (Yarrow). (Details of how and why vary greatly). His lover dreams a dream of woe. She sets out and finds Willie's body, and uses her hair to pull him from the water. In many accounts she (promises to) die for sorrow
AUTHOR: unknown
EARLIEST_DATE: 1733
KEYWORDS: death mourning courting drowning
FOUND_IN: Britain(England,Scotland(Aber,Bord)) US(MW) Canada Ireland
REFERENCES: (11 citations)
Child 215, "Rare Willie Drowned in Yarrow, or, The Water o Gamrie" (9 texts)
Bronson 215, "Rare Willie Drowned in Yarrow, or, The Water o Gamrie" (9 versions)
Dixon XII, pp. 66-67, "The Water o' Gamery" (1 text)
Eddy 22, "Rare Willie Drowned in Yarrow" (1 text, 1 tune, erroneously listed as Child 214) {Bronson's #4}
Leach, pp. 571-572, "Rare Willie Drowned in Yarrow, or, The Water o Gamrie" (1 text)
Friedman, p. 99, "The Braes o' Yarrow" (1 text which is mostly Child 214 but incorporates parts of Child 215)
Ord, pp. 454-455, "Willie's Drowned at Gamerie" (1 text)
Fowke/MacMillan 78, "Willie Drowned in Ero" (1 text, 1 tune)
OBB 93, "Rare Willie Drowned in Yarrow" (1 text)
PBB 62, "Rare Willie Drowned in Yarrow" (1 text)
DT 215, YARROW2* YARROW3*
Roud #206
BROADSIDES:
NLScotland, RB.m.143(003), "Braes of Yarrow," Poet's Box (Glasgow), 1870
CROSS_REFERENCES:
cf. "The Dowie Dens o' Yarrow" [Child 214]
cf. "Susan Strayed on the Briny Beach" [Laws K19] (plot)
ALTERNATE_TITLES:
Willie's Rare
NOTES: Several scholars, among them Norman Cazden, have claimed that this song is the same as Child 214, "The Dowie Dens o Yarrow/The Braes o Yarrow." Certainly there has been exchange of verses. However, I (following Leach), would maintain that there is a difference: "The Dowie Dens" is about opposition to a marriage; "Willie Drowned" is about the loss of a love.
A brief summary of the whole discussion is found in Coffin's notes in Flanders-Ancient3. It's not clear what he believes, except that the two songs are a mess and quite mixed. Which can hardly be denied.
Palgrave's _Golden Treasury_ includes a piece (item CLXIII) titled "The Braes of Yarrow," credited to J. Logan, which is clearly built upon this theme -- but it looks like a literary rewrite. Palgrave's next item (CLXIV), "Willy Drowned in Yarrow," is the real thing, though probably somewhat touched up by his (unnamed) source.
Child lists "Annan Water" as an appendix to this ballad, though it appears to me that, if it's related to any of the Child ballads, it's #216, "The Mother's Malison, or, Clyde's Water." - RBW
File: C215
===
NAME: Rare Willie's Drowned in Ero: see Rare Willie Drowned in Yarrow, or, The Water o Gamrie [Child 215] (File: C215)
===
NAME: Raspberry Lane: see Rosemary Lane [Laws K43] (File: LK43)
===
NAME: Raspberry Tart, The
DESCRIPTION: "She was a raspberry tart In her little poke bonnet, With a great big bunch Of thing-a-mees upon it; With a pinafore dress That was just the thing And a little toy dog On the end of a string... Bow wow!"
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: nonballad dog clothes
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, p. 29, "The Raspberry Tart" (1 text, 1 tune)
NOTES: Reportedly a fragment of a music hall song. - RBW
File: MCB029
===
NAME: Rat Coon, Rat Coon
DESCRIPTION: "Rat coon, rat coon, can you-all dance? No Why? Cause my tail's too short. Putty addy bum-bum bum-bum bum-bum. Putty addy bum-bum bum-bum bum.
AUTHOR: unknown
EARLIEST_DATE: 1914
KEYWORDS: animal nonsense
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 265, "Rat Coon, Rat Coon" (1 text, 1 tune)
Roud #7815
CROSS_REFERENCES:
cf. "Raccoon" (theme)
NOTES: This could, from its text, be a fragment of "Raccoon" (or almost anything else). But the metrical pattern is different, so -- given that Randolph offers only one verse -- I classify the two as separate. - RBW
File: R265
===
NAME: Ratcliffe Highway
DESCRIPTION: The sailor wanders down Ratcliffe Highway (and stops at an ale-house. What happens thereafter varies, e.g. he meets a girl, he fights with the landlady, etc.). After his business is done, he welcomes the chance to return to sea, even on a lousy old tub
AUTHOR: unknown
EARLIEST_DATE: 1905
KEYWORDS: sailor courting whore fight
FOUND_IN: US(MA) Britain
REFERENCES: (4 citations)
Doerflinger, pp. 114-116, "As I Was A-Walking Down Ratcliffe Highway" (2 text, 2 tune)
Hugill, pp. 200-201, "Ratcliffe Highway" (1 text plus 3 fragments, 1 tune) [AbEd, pp. 155-157]
Vaughan Williams/Lloyd, p. 85, "Ratcliffe Highway" (1 text, 1 tune)
DT, RATCLIF* RATCLIF2*
Roud #598
CROSS_REFERENCES:
cf. "Blow the Man Down" (floating lyrics; the songs often cross-fertilize)
cf. "The Deserter"
NOTES: Ratcliffe Highway is a road in London near Limehouse Reach. It ran near the docks of the British East India Company. Its was hardly the best part of town -- the "Ratcliffe Highway Murders" are mentioned in the Sherlock Holmes story _A Study in Scarlet_, and formed a backdrop for Thomas De Quincey's _Murder Considered as One of the Fine Arts_.
The area's reputation eventually became so bad that the road was renamed St. George's Street. - RBW
One version of "The Deserter" has the man recruited on Ratcliffe Highway, and that version is also known by the name of "Ratcliffe Highway." - PJS
File: Doe114
===
NAME: Rathaspeck Boys, The
DESCRIPTION: Thomas Power and James Kehoe from Rathaspeck had "gained an honest livelihood by toiling on the land." They take a boat out in Wexford Harbour "to pass away their evening, engaged by line and hook." They can not swim and drown when their boat capsizes.
AUTHOR: unknown
EARLIEST_DATE: 1947 (Ranson)
KEYWORDS: drowning sea ship storm wreck fishing
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 68-69, "The Rathaspeck Boys" (1 text, 1 tune)
File: Ran068
===
NAME: Rathlin Song, A
DESCRIPTION: "Where the fulmar flies on Rathlin head O'er the lake on the cliff by the sea, My love and I, in days that are dead, Watched the white clouds floating free.... But my love flew away... And I sob like the mateless dove." She prays her love will return
AUTHOR: unknown
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: love separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H696, p. 290, "A Rathlin Song" (1 text, 1 tune)
Roud #6893
File: HHH696
===
NAME: Rattle Snake (II): see Springfield Mountain [Laws G16] (File: LG16)
===
NAME: Rattlesnake
DESCRIPTION: Various animals are asked about their characteristics, e.g. "Muskrat, muskrat, what makes you smell so bad? I've been in the bottom all my life Till I'm mortified in my head." "Rattlesnake, rattlesnake, what makes your teeth so white?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (recording, Land Norris)
KEYWORDS: animal questions dialog nonballad
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Lomax-FSNA 83, "Rattlesnake" (1 text, 1 tune)
Silber-FSWB, p. 394, "Muskrat" (1 text)
Roud #6395
RECORDINGS:
Land Norris, "Muskrat" (OKeh 40404, 1925)
CROSS_REFERENCES:
cf. "Mister Rabbit" (theme)
File: LoF083
===
NAME: Rattlesnake Song, The: see Springfield Mountain [Laws G16] (File: LG16)
===
NAME: Rattlin' Roarin' Willie
DESCRIPTION: Rattlin' Willie goes to the fair to sell his fiddle. Someone urges him, "O, Willie, come sell your fiddle... And buy a pint o wine!" He refuses; "The warl' would think I was mad." He plays in "guid company"; his wife(?) says "Ye're welcome hame to me."
AUTHOR: Robert Burns
EARLIEST_DATE: 1803 (Scots Musical Museum, #194)
KEYWORDS: music commerce drink
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Montgomerie-ScottishNR 91, "(Johnny, come lend me your fiddle)" (1 text, which appears to mix elements from "Rattlin' Roarin' Willie" with something rather like "Oh, Dear, What Can the Matter Be?")
DT, RTLNROAR
Roud #6192
NOTES: Like most Burns pieces, this has a traditional stub -- there is an item in Gammer Gurton's Garland,
John, come sell thy fiddle
And buy thy wife a gown.
No, I'll not sell my fiddle
For ne'er a wife in town.
(Baring-Gould-MotherGoose #91, p. 86)
The Baring-Goulds mention a note by Sir Walter Scott that Willie was a real fiddler who was tried and executed for murder. - RBW
File: DTrtlnro
===
NAME: Rattling Bog, The
DESCRIPTION: Cumulative song about the "great chain of being." Sample: "On this branch there was a twig/Rare twig, a rattling twig/Twig on the branch and the branch on the tree and the tree in the bog/Bog down in the valley-o." Most versions complete a circle
AUTHOR: unknown
EARLIEST_DATE: 1877 (Miss M. H. Mason, _Nursery Rhymes and Country Songs_)
KEYWORDS: ritual cumulative nonballad
FOUND_IN: Britain(England(South),Scotland) Wales US(Ap,MW,SE,So) Canada(Mar,Newf)
REFERENCES: (14 citations)
Randolph 459, "The Green Grass Grew All Round" (1 text)
BrownIII 133, "The Pretty Pair Tree" (1 text)
Fuson, pp. 87-88, "The Green Grass Grew All Around" (1 text)
SharpAp 206, "The Tree in the Wood" (3 texts, 3 tunes)
Sharp-100E 98, "The Tree in the Wood" (1 text, 1 tune)
Sharp/Karpeles-80E 58, "The Tree in the Wood" (1 text, 1 tune)
Creighton/Senior, pp. 258-260, "The Tree in the Bog" (2 texts, 2 tunes)
Creighton-NovaScotia 92, "On This Hill" (1 text, 1 tune)
Leach-Labrador 107, "The Stump" (1 text, 1 tune)
Karpeles-Newfoundland 88, "The Tree in the Wood" (1 text, 1 tune)
Gardner/Chickering 200, "The Tree in the Wood" (1 text)
Kennedy 96, "An Wedhen War An Vre (The Tree on the Hill)" (1 Cornish text, 1 tune)
Silber-FSWB, p. 391, "The Green Grass Grew All Around" (1 text)
DT, RATLNBOG*
Roud #129
RECORDINGS:
Doney Hammontree, "The Tree in the Wood" (AFS; on LC12)
Mike Kent, "The Tree" (on NFMLeach)
Old King Cole, "And The Green Grass Grew All Around" (Edison 52310, 1928)
Premier Quartet, "And the Green Grass Grew All Around" (CYL: Edison [BA] 1808, n.d.)
Pete Seeger, "Green Grass Grows All Around" (on PeteSeeger20)
Uncle Don, "The Green Grass Grew All Around" (Conqueror 9013, 1938)
CROSS_REFERENCES:
cf. "Derriere Chez Nous (Behind Our House)" (theme)
cf. "Little Bird" (theme)
ALTERNATE_TITLES:
The Green Grass Growing All Around
The Endless Circle
NOTES: The Cornish words printed by Kennedy are by Talek, based on English texts with some Breton influence.
The "Rattling Bog" title is obviously rare, but I used it because it seemed the most popular pop folk title. I may have been wrong about that. - RBW
File: ShH98
===
NAME: Rattling Railway Boy, The
DESCRIPTION: The singer left home at twenty two. He went from town to town working on the railroad with his "whole estate" in his handkercheif. His money went for drink. He met and married a girl but left her in May. She tells her baby "Your daddy's a Railway Boy"
AUTHOR: unknown
EARLIEST_DATE: 1986 (McBride)
KEYWORDS: marriage rambling abandonment railroading baby rake wife
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 59, "The Rattling Railway Boy" (1 text, 1 tune)
File: McB1059
===
NAME: Raven and the Crow, The
DESCRIPTION: "The corbie with his roupie throat Cried frae the leafless tree... Come o'er the loch wi me!" The crow asks why he should come. He is told a farmer has plowed his field and seeded it; there is much corn to be had. The farmer shoots both birds
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: bird death food farming
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 34, "The Raven and the Crow" (1 text)
NOTES: I haven't met this elsewhere, but it feels enough like a traditional song that I'm indexing it. - RBW
File: MSNR034
===
NAME: Ravenal, The
DESCRIPTION: The trawler Ravenal, returning to St Pierre from the Grand Banks, is lost in a storm. "Wreckage was found on Lorie's shore. She may have struck a sunker, but such things we'll never know; We only know her eighteen men died in the waters cold"
AUTHOR: Isaac Harris
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: death sea ship storm wreck
HISTORICAL_REFERENCES: Jan 31, 1962 - Ravenal is "missing. Presumed iced up & capsized" (Northern Shipwrecks Database)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 92, "The Ravenal" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Schooner Marion Rogers" (tune)
NOTES: Lories Beach is in Placentia Bay on the south Newfoundland coast.
Sunker: "A submerged rock over which the sea breaks, familiar form of SUNKEN ROCK, BREAKER, GROUNDER" (Source: _Dictionary of Newfoundland English_ at  site of Newfoundland and Labrador Heritage). - BS
File: LeBe092
===
NAME: Raz-Ma-Taz-A-Ma-Tee: see Three Dukes (File: R551)
===
NAME: Real Old Mountain Dew: see Good Old Mountain Dew (File: LxA180)
===
NAME: Reason I Stay on Job So Long
DESCRIPTION: "Reason I stay on job so long, Lawd, dey gimme flamdonies an' coffee strong." "Reason I love my captain so, 'Cause I ast him for a dollar, Lawd, he give me fo'." "Reason why I love Boleen, She keeps my house An' shanty clean." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: work
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 46-47, "Reason I Stay on Job So Long" (1 text, 1 tune)
Roud #15568
File: LxA046
===
NAME: Reason Why, The
DESCRIPTION: The singer is picked up by a beautiful woman. She takes him to a house and then to bed: "You are the nicest boy I've seen today... I would love a jewelled ring." In the morning a man comes in and kicks him into the gutter. He pays and doesn't ask why 
AUTHOR: unknown
EARLIEST_DATE: before 1884 (broadside, Bodleian Harding B 11(3238))
KEYWORDS: love sex violence prison punishment trial beauty drink food wife children whore ring
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1745
RECORDINGS:
Walter Pardon, "One Cold Morning in December" (on Voice15)
BROADSIDES:
Bodleian, Harding B 11(3238), "The Reason Why" ("One night in cold December, I've reason to remember"), H. Disley (London), 1860-1883; also Firth b.28(13), Firth c.17(151), 2806 c.15(284), 2806 c.15(284), "The Reason Why"
CROSS_REFERENCES:
cf. "Annie of the Vale" (tune, per broadsides Bodleian Harding B 11(3238), 2806 c.15(284) and Firth b.28(13))
NOTES: The description is based on Walter Pardon's version on Voice15.
The following description, based on broadside Bodleian Harding B 11(3238), tells a story with a different ending: The singer was picked up by a beautiful woman. She took him in tow. He paid for brandy and oysters. A dandy kicked him into the gutter. The police took him to the station-house. Before a magistrate, his wife and children he is sentenced to 30 days.
Keywords combine both stories.
Walter Pardon's version has a simple chorus:
And she said, "Come, come along, old boy,
And don't look so bashful and shy
She really was a beauty. I thought it was my duty,
So I paid and never asked the reason why.
The broadside Bodleian Harding B 11(3238) version has each "chorus" modified to advance the story. - BS
File: RcTReWhy
===
NAME: Rebel Acts of Hyde, The
DESCRIPTION: "It's now I will relate, Though in a broken way, How the rich in Hyde Did carry the poor away." The singer tells how the people of the deep south and the rich carried the area from the Union, alludes to its recapture, and says that some stayed true
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: Civilwar political
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 281, "The Rebel Acts of Hyde" (1 text)
Roud #6644
NOTES: The secession crisis of 1860/1861 proceeded in two stages: The seven deep southern states seceeded before Fort Sumter. The border states (Virginia, Arkansas, Tennessee, North Carolina) stayed loyal until Lincoln called for troops after Sumter.
All four of the latter states had strong pockets of unionism. In Virginia, they were mostly in the western part of the commonwealth, and eventually gained their own state (West Virginia). The same might have happened in east Tennessee had Union troops been able to capture the area sooner. Arkansas unionism was mostly in the Ozarks, too remote for anyone to notice.
North Carolina was more complicated. It didn't have a concentrated Union area, so Union forces could not hold. But unionism was probably stronger in North Carolina than any other Confederate state, and not confined to the mountains as in Virginia, Tennessee, and Arkansas.
Hyde County and the town of Hatteras, the site of this song, are in fact on the eastern coast of North Carolina, Hyde County being on the north short of Pamlico Sound and Hatteras actually on the outer banks.
Hatteras itself was captured by Union forces on August 28-29, 1861, the first real amphibious operation of the war, and conquest of the Pamlico area continued from there. This song almost sounds like a local's protest of loyalty in an attempt to curry favor with the occupying authorities. - RBW
File: BrII281
===
NAME: Rebel Soldier, The
DESCRIPTION: Floating verses about this lonely soldier's life. "It's grapeshot and musket, And the cannons lumber loud. There's many a mangled body with blankets for a shroud." Characteristic line: "I am a rebel soldier and far from my home."
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cox)
KEYWORDS: Civilwar separation home
FOUND_IN: US(Ap,So)
REFERENCES: (9 citations)
Randolph 246, "The Rebel Soldier" (1 text)
Sharp/Karpeles-80E 50, "The Rebel Soldier" (1 text, 1 tune -- an abridged composite version)
JHCox 76, "The Rebel Soldier" (2 texts, but only the first belongs here; the second is The Sweet Sunny South (I) [Laws A23])
Hudson 117, pp. 258-259, "O Lillie, O Lillie," mostly "Rye Whiskey" but with some verses belonging here; also 116, p. 258, "I'll Eat When I'm Hungry" (1 fragment, a single stanza based on "Rye Whiskey" but probably belonging here: "I'll eat when I'm hungry, I'll drink when I'm dry, If the Yankees don't kill me, I'll live till I die")
Brewster 91, "One Morning in May" (1 text, in which it is a "poor stranger" rather than a "rebel soldier" and with many floating lyrics)
SharpAp 157, "The Rebel Soldier, or The Poor Stranger" (7 texts, 7 tunes, but A and probably F are "The Poor Stranger (Two Strangers in the Mountains Alone)")
Sandburg, pp. 136-138, "One Morning in May" (2 text, 1 tune, but only the "B" text, "The Troubled Soldier," belongs here; "A" is "One Morning in May (To Hear the Nightingale Sing)" [Laws P14])
Silber-CivWar, pp. 72-73, "The Rebel Soldier" (1 text, 1 tune)
Saffel-CowboyP, pp. 211-213, "Jack o' Diamonds" (1 text; this particular Lomax offering contains elements of "Jack o Diamonds/Rye Whisky," "The Wagoner's Lad," The Rebel Soldier," and others)
Roud #259
CROSS_REFERENCES:
cf. "The Poor Stranger (Two Strangers in the Mountains Alone)" (meter, floating lyrics)
cf. "The Wagoner's Lad" (floating lyrics)
cf. "Jack of Diamonds"  (floating lyrics)
cf. "In Eighteen-Forty-Nine" (floating lyrics)
cf. "The Blind Fiddler"
NOTES: Randolph's version is specific to the Missouri campaigns of General Sterling Price, but more generic versions of the song are abundant.
The first line, interestingly, seems to float; Sharp, Brewster, and Cox each have version from "One Morning In May" or the like (One morning, one morning, one morning in May, I heard a poor soldier lamenting and say"; another text (to the tune of "Rye Whisky") starts with lyrics from "Banks of the Nile" or something similar ("Oh Polly, oh Polly, it's for your sake alone"). - RBW
File: R246
===
NAME: Rebel's Escape, The [Laws A19]
DESCRIPTION: The soldier relates the tale of his desertion. In prison, he gets the guard drunk and sneaks off. He crosses a river on a raft. Reaching home, he wakes his wife and children, who give him a meal and advise him to "go to Dixie's land."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Thomas, "Devil's Ditties")
KEYWORDS: prisoner escape war abandonment Civilwar desertion
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws A19, "The Rebel's Escape"
Lomax-ABFS, pp. 534-535, "War Song" (1 text, 1 tune)
DT 807, REBESCAP* WARSONG*
Roud #2207
NOTES: Desertion was a chronic problem during the Civil War (which is the probable, though not certain, source of this song). Both armies were subject to disease and deprivation (the Southern due to lack of resources, the Northern due to pure incompetence and stupidity). And neither had a real system of leave, or a way to bring soldiers back to the colors.
This song, therefore, probably does match the experience of a fair number of unenthusiastic soldiers (especially as the draft took effect in the North).
On the other hand, deserting to the South probably wasn't a good idea; it left the soldier's family without his paycheck, it would subject him to punishment after the South lost -- and quite possibly it would force him into the sourthern ranks, where conditions were even worse. The South was so short of soldiers and supplies that they eventually started demanding deserters join their army. - RBW
File: LA19
===
NAME: Rebellion of 1798, The
DESCRIPTION: Rebel exploits, poisonings and massacres are recounted, from Lord Edward Fitzgerald to Father Murphy, and their defeat at each turn by yeomen and Orangemen, in Kildare, Antrim, Ballynahinch, Wexford and Kilkenny. "Down, down, croppies lie down"
AUTHOR: unknown
EARLIEST_DATE: 1798 (_Falkener's Dublin Journal_, according to Moylan)
KEYWORDS: rebellion battle death patriotic
HISTORICAL_REFERENCES: 1798 - Irish rebellion against British rule (source: "1798 - Calendar of Events" at IrelandOn-Line site)
May 19, 1798 - Lord Edward Fitzgerald arrested
June 2-3, 1798 - Rebel defeat at Kilcock, Co. Kildare
June 7, 1798 - Rebel defeat at Antrim
June 13, 1798 - United Irishmen under Henry Monro defeated at Ballynahinch
June 21, 1798 - Government recaptures Wexford
July 2, 1798 - Father Murphy (1753-1798) captured, executed, and cremated.
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 50, "The Rebellion of 1798" (1 text)
NOTES: It may not be clear from my description that this ballad is against the rebellion. The tag line of each verse is the chorus of the Orange song "Croppies Lie Down." - BS
It sounds to me as if this might be a sort of an answer to "Croppies Lie Down (II)."
For the career of Edward Fitzgerald, see the notes to "Edward (III) (Edward Fitzgerald)." For Ballynahinch and Henry Monro(e) see "General Monroe." For Father Murphy, see especially "Father Murphy (I)." 
File: Moyl050
===
NAME: Reborn Again
DESCRIPTION: "Reborn, soldier, going to reborn again, Oh, going to reborn again...." "Reborn again, reborn again, Oh, you can't get to till you're reborn again." "Paul, and Silas, dar in de jail...  One watch while de other pray."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: religious nonballad Bible floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 256-257, "Reborn Again" (1 text)
NOTES: The King James Bible refers to the need to be "born again" in John 3:3, 7 -- though most scholars now consider this a mistranslation. The same Greek word means "again" and "from above," and the structure of the passage makes it clear that this is deliberate wordplay: Jesus is saying "You must be born from above"; Nicodemus interprets it as "born again." (The Gospel of John uses this sort of wordplay frequently.) - RBW
File: ScNF256B
===
NAME: Recent Kanab Tragedy, The
DESCRIPTION: "In Kanab they will remember This Twenty-Fourth of July." "For two of the town's best men are lying In their coffins awaiting earth." "It happened because of hot anger -- A quarrel about their water right." Roundy kills Seegmiller, then kills himself
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: murder suicide family farming
HISTORICAL_REFERENCES: July 23, 1899 - The Kanab murders
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 243-244, "(The Recent Kanab Tragedy)" (1 text)
NOTES: In Utah, water was (and is) a precious commodity; Burt explains that each farmer was given a certain period of time to use the water in irrigation ditches. The Roundy/Seegmiller quarrel arose when Roundy accused Seegmiller of withholding some of the water he was due. Roundy murdered Seegmiller, and took his own life when he heard that one of Seegmiller's hands was coming after him.
Burt believes her mother, who certainly transcribed the piece, might be the author. - RBW
File: Burt243
===
NAME: Recruited Collier, The
DESCRIPTION: Singer tells of her lover, a collier now in the army. She is terrified; he's looking forward to the adventure. She points out the coals her family burns, which his hands hewed. He bids her farewell, asking her not to forsake him; she says her life is over
AUTHOR: unknown
EARLIEST_DATE: 1957 (Pinto & Rodway, _The Common Muse_)
KEYWORDS: loneliness love army parting mining lover soldier worker trick drink recruiting
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
DT, RECRUCOL*
Roud #3503
RECORDINGS:
Anne Briggs, "The Recruited Collier" (on IronMuse1, Briggs3)
ALTERNATE_TITLES:
Jimmy's Enlisted
NOTES: In the versions of this song that I've heard, the collier took the shilling after a sergeant got him drunk (standard English recruiting method). Despite what the girl said, he feels perhaps less enthusuastic than determined to make the best of it.
Though the traditional texts seem most often to be known as "The Recruited Collier," two of the three texts cited in _Grangers's Index to Poetry_ are filed under "Jimmy's Enlisted." There is no indication of authorship. - RBW
File: DTrecruc
===
NAME: Recruiting Sergeant, The: see Arthur McBride (File: PBB093)
===
NAME: Red and Green Signal Lights, The: see The Child of the Railroad Engineer (The Two Lanterns) (File: R685)
===
NAME: Red Apple Juice: see Sugar Baby (Red Rocking Chair; Red Apple Juice) (File: ADR82)
===
NAME: Red Bird
DESCRIPTION: "Red bird soon in the morning (x2), Red bird, red bird soon in the morning. (x2)" "What's the matter with the red bird soon in the morning?" "Cat got the red bird soon in the morning." "Hog got the red bird soon in the morning."
AUTHOR: unknown
EARLIEST_DATE: 1958 (recording, Pete Seeger)
KEYWORDS: bird nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 405, "Red Bird" (1 text)
Roud #11682
RECORDINGS:
Pete Seeger, "Red Bird" (on PeteSeeger21)
File: FSWB405
===
NAME: Red Cap's Hole
DESCRIPTION: Ships caught in a gale are too far out to make Avondale or Harbour Main and ride out the weather in Red Cap's Hole. "When news got to their native homes" the "gallant band marched down by land To help the toilers home."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Blondahl)
KEYWORDS: help sea ship storm
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Blondahl, pp. 95-97, "Red Cap's Hole" (1 text, 1 tune)
NOTES: The only names I recognize here, Avondale and Harbour Main, are in Conception Bay. - BS
File: Blon095
===
NAME: Red Green: see Rocky Road (Green Green) (File: CNFM154)
===
NAME: Red Herring, The
DESCRIPTION: Song describes the uses made of various parts of the herring, e.g., "Herring's eyes, puddings and pies/Herring's head, loaves of bread."
AUTHOR: unknown
EARLIEST_DATE: 1903 ("Cape Cod Dialect")
KEYWORDS: fishing ritual cumulative nonballad humorous animal
FOUND_IN: Britain(England(Lond,North,South)) Canada(Newf) Ireland
REFERENCES: (5 citations)
Vaughan Williams/Lloyd, pp. 86-87, "The Red Herring" (1 text, 1 tune)
Kennedy 296, "The Herring Song" (1 text, 1 tune)
MacSeegTrav 118, "The Jolly Herring" (1 text, 1 tune)
Botkin-NEFolklr, pp. 578-579, "The Herring Song" (1 text)
Lehr/Best 50, "The Herring" (1 text, 1 tune)
Roud #128
RECORDINGS:
Johnny Doughty, "Herrings' Heads" (on Voice07)
Mikeen McCarthy, "The Herring" (on Voice14)
CROSS_REFERENCES:
cf. "The Sow Took the Measles"
cf. "The Mallard"
cf. "Alouette (I)"
cf. "The Farmer and the Crow"
cf. "The Derby Ram" (theme)
ALTERNATE_TITLES:
The Herring's Head
The Herring's Heid
The Jovial Herring
The Jolly Red Herring
NOTES: This is essentially the same song as the American "Sow Took the Measles" [and Roud lumps them - RBW]; "The Farmer and the Crow" (also American, but also found in Sweden) marries this song to "The Carrion Crow." -PJS
Kennedy declares his "Herring Song" and "The Red Herring" to be the same. I'm not sure I agree; while the theme is the same, the lyrics and stanza form are different. But he's seen more versions than I have; I tentatively follow his lead. The danger, of course, is that Kennedy will lump anything with anything. - RBW
File: VWL086
===
NAME: Red Iron Ore [Laws D9]
DESCRIPTION: A sailor tells of a trip he took on the E.C. Roberts. They set out from Escanaba with a load of ore, and at last wind up in Cleveland. Life aboard an ore boat was not pleasant, but the sailor is proud of the good time the ship made
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: ship travel
FOUND_IN: US(MW) Canada(Ont)
REFERENCES: (8 citations)
Laws D9, "Red Iron Ore"
Rickaby 45, "Red Iron Ore" (1 text)
Sandburg, pp. 176-178, "Red Iron Ore" (1 text, 1 tune)
Lomax-ABFS, pp. 477-479, "Red Iron Ore" (1 text, 1 tune)
Lomax-FSNA 63, "Red Iron Ore" (1 text, 1 tune)
Darling-NAS, pp. 183-184, "Red Iron Ore" (1 text)
Silber-FSWB, p. 95, "Red Iron Ore" (1 text)
DT 612, REDIRON*
Roud #2233
RECORDINGS:
Stanley Baby, "The 'E. C. Roberts'" (on GreatLakes1)
Art Thieme, "Red Iron Ore" (on Thieme02) (on Thieme06)
CROSS_REFERENCES:
cf. "Iron Ore by 'Fifty-Four" (tune)
cf. "Joe Livermore" (form, tune)
File: LD09
===
NAME: Red Light Green Light: see Rocky Road (Green Green) (File: CNFM154)
===
NAME: Red Light Saloon, The
DESCRIPTION: The singer goes to Bangor on July 4 to catch a train. The train being late, he is "forced" to visit the Red Light Saloon. Immediately recognized as a logger, liquor and women soon have their way with him.
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: logger drink bawdy
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Doerflinger, pp. 249-250, "The Red Light Saloon" (1 text, 1 tune)
DT, REDLIGHT* REDLITE2*
Roud #9424
File: Doe249
===
NAME: Red Mantle, The
DESCRIPTION: Singer asks her husband for a red mantle to wear to the fair. He buys it; but when she arrives at the fair she discovers fashions have changed, and "green mantles carried the day." She tears the red mantle to shreds and goes home in tears
AUTHOR: unknown
EARLIEST_DATE: 1956 (NovaScotia1)
LONG_DESCRIPTION: Singer tells her husband her desire: a red mantle to wear to the county fair. He replies that money is scarce, but he will do what he can. He buys it for her; she sets out for the fair, but when she arrives she discovers fashions have changed, and "green mantles carried the day." She tears the red mantle to shreds and goes home in tears.
KEYWORDS: pride poverty request clothes colors husband wife vanity
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 107, "The Red Mantle" (1 text, 1 tune)
ST RcTReMan (Partial)
Roud #2777
RECORDINGS:
Angelo Dornan, "The Red Mantle" (on NovaScotia1)
NOTES: Political allegory? Fashion statement? - PJS
It's too bad we don't have more versions, to give us a clue where the song came from. Angelo Dornan, I suspect, would have called it a statement on the fickleness of fashion and women's wants; his text seems to have no political statement as such. But if, as is sometimes true, green is the color of mourning, and red of course the color of war and British soldiers' uniforms, this could indeed be a report of a change from, say, pro-war to anti-war sentiment. - RBW
File: RcTReMan
===
NAME: Red Plaid Shawl, The
DESCRIPTION: "One summer's morning I took a ramble" and meet a girl in "a red plaid shawl." The singer wants a kiss; she wants a treat. He says he is a clerk. With his money spent, she knocks him out. When he wakes next morning his coat, chain and watch are gone.
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: crime courting robbery clothes trick
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 84, "The Old Plaid Shawl" (1 text)
BROADSIDES:
Bodleian, Harding B 20(59), "The Red Plaid Shawl", unknown, n.d.; also Harding B 16(222b), Firth b.27(141), "The Red Plaid Shawl"
NOTES: Broadside Bodleian Harding B 20(59) seems more complete than O'Conor and is the basis of the description. I use the Bodleian Harding B 20(59) title as Name to try to avoid confusion with Francis Fahy's "The Ould Plaid Shawl." - BS
File: OCon084
===
NAME: Red River Shore, The: see The New River Shore (The Green Brier Shore; The Red River Shore) [Laws M26] (File: LM26)
===
NAME: Red River Valley, The
DESCRIPTION: The singer and his love are parting (either may be singing, and either may be leaving). "Come and sit by my side [ere you leave me]; do not hasten to bid me adieu; just remember the Red River Valley, And the (sweetheart) who loved you so true..."
AUTHOR: original text ("The Bright Mohawk Valley") by James Kerrigan, 1896?
EARLIEST_DATE: 1910
KEYWORDS: separation river farewell
FOUND_IN: US(Ap,MA,SE,So) Canada(West)
REFERENCES: (12 citations)
Randolph 730, "The Red River Valley" (2 texts plus 2 excerpts, 1 tune)
BrownIII 260, "Red River Valley" (1 text plus 2 excerpts and mention of 3 more)
Fowke/Johnston, pp. 88-89, "The Red River Valley" (1 text, 1 tune)
Fowke/MacMillan 52, "The Red River Valley" (1 text, 1 tune)
Sandburg, pp. 130-131, "Red River Valley" (1 text, 1 tune)
Lomax-FSUSA 65, "Red River Valley" (1 text, 1 tune)
Fife-Cowboy/West 56, "Red River Valley" (3 texts, 1 tune; the first text is "Red River Valley"  and the third is the variant "Lost River Desert"; the second is a variant of "Nobody's Darling on Earth"); also 102, "Red River Gal" (1 text, 1 tune, consisting of square dance instructions set to this rune)
Arnett, p. 124, "Red River Valley" (1 text, 1 tune)
Silber-FSWB, p. 115, "Red River Valley" (1 text)
Fuld-WFM, p. 457, "Red River Valley"
cf. Gardner/Chickering, p. 482, "Red River Valley" (source notes only)
DT, REDRIVAL*
Roud #756
RECORDINGS:
Gene Autry, "Red River Valley" (Columbia 20085/Columbia 37184, 1946)
Bascom & Blackwell, "Sherman Valley" (OKeh 45008, 1925)
Beverly Hillbillies, "Red River Valley" (Brunswick 421 [w. Tom & Ezra], 1930/Vocalion 03164, 1936)
Bud Billings Trio, "Red River Valley" (Victor V-40267, 1930; Montgomery Ward M-4058, 1933) [Bud Billings is a pseudonym for Frank Luther; record may have been issued as by Bud Billings & Carson Robison]
Bob Brooks, "Red River Valley" (Columbia 15689-D, 1931)
[Bill] Childers & [?] White, "Red River Valley" (OKeh 45208, 1928)
Luther Clarke & the Blue Ridge Highballers, "Bright Sherman Valley" (Columbia 15069-D, 1926)
Ned Cobben, "Red River Valley" (Harmony 901-H, 1929)
Sid Harkreader, "Red River Valley" (Paramount 3141, 1928; Broadway 8202, c. 1930)
Kelly Harrell, "Bright Sherman Valley" (Victor 20527, 1926; on KHarrell01)
Hill Billies, "Red River Valley" (Regal Zonophone [UK] MR-1698, 1935)
Bradley Kincaid, "Red River Valley" (Champion 15710 [as Dan Hughey]/Supertone 9403, 1929; Champion 45098, c. 1935) (Vocalion 5476, c. 1930/Vocalion 04647, 1939) (Decca 5048, 1934)
Dr. Lloyd & Howard Maxey [Massey], "Bright Sherman Valley" (OKeh, unissued, 1927)
Bascom Lamar Lunsford, "Sherman Valley" (OKeh 45008, 1926)
Frank Luther & Zora Layman, "Bright Sherman Valley" (Decca 5028, 1934)
Harry "Mac" McClintock, "Red River Valley" (Victor 21421, 1928)
Lester McFarland & Robert A. Gardner, "Bright Sherman Valley" (Brunswick 169/Vocalion 5174, 1927; Supertone S-2031 [as Kentucky Mountain Boys], 1930)
Bill Mooney & his Cactus Twisters, "Red River Valley" (Imperial 1096, n.d. but post-World War II)
Holland Puckett, "The Bright Sherman Valley" (Challenge 329 [as by Harvey Watson]/Gennett 6433/Herwin 75562 [as by Robert Howell]/Silvertone 5064, 25064, 8153, 1927/Supertone 9254 [as by Si Puckett; issued 1929])
[Hugh Cross &] Riley Puckett, "Red River Valley" (Columbia 15206-D, 1927) (Bluebird B-8335/Montgomery Ward M-8481, 1940; rec. 1939)
Ranch Boys, "Red River Valley" (Decca 5045, 1934)
Goebel Reeves, "Bright Sherman Valley" (Melotone M-12186, 1931)
Texas Jim Robertson, "Red River Valley" (Victor 27552, 1941)
Carson Robison Trio, "Red River Valley" (Romeo 1233/Banner 0615/Perfect 12591/Jewel 5871/Conqueror 7492, 1930) (Clarion 5109-C, 1930) (Crown 3025, 1930)
Pete Seeger, "Red River Valley" (on PeteSeeger32)
Leo Soileau & his Four Aces, "Red River Valley" (Decca 5182, 1936; rec. 1935)
Carl T. Sprague, "Cowboy Love Song" (Victor 20067, 1926)
Ernest V. Stoneman and the Dixie Mountaineers, "Bright Sherman Valley" (Edison 51951, 1927) (CYL: Edison [BA] 5383, 1927)
Texas Drifter, "Bright Sherman Valley" (Melotone M-12186, 1931)
Art Thieme, "Red River Valley" [instrumental version] (on Thieme02)
Sunshine Sue w. Joe Maphis, "Red River Valley" (Astra 1215, n.d.)
Vagabonds, "Red River Valley" (Bluebird B-5297/Montgomery Ward M-4479, 1934)
SAME_TUNE:
When It's Hogcalling Time (Pankake-PHCFSB, p. 158)
(Conqueror 8485, 1935; Perfect/Melotone 6-08-51, 1936; Conqueror 9512 [as Gene Autry Trio, "Answer to the Red River Valley"], 1940)
Hartman's Tennessee Ramblers, "New Red River Valley" (Bluebird B-6162, 1935' Bluebird B-8894 [as Tennessee Ramblers], 1941)
NOTES: The Fifes consider their "Little Darling" text ("Come sit by my side, little darling, Come lay your cool hand on my brow, And promise me that you will never Be nobody's darling but Mine") to be a Red River Valley variant. As, however, the chorus does not fit the "Red River Valley" tune, and the rest of the words go with this "Nobody's Darling on Earth," I classify it there.
Fuld reports a claim by Fowke that this song predates the Kerrigan text, and that the original was sung as early as 1869 in Canada, referring to the Red River of the North. I know of no supporting evidence for this claim. - RBW
File: R730
===
NAME: Red Rocking Chair: see Sugar Baby (Red Rocking Chair; Red Apple Juice) (File: ADR82)
===
NAME: Red Rocks of Bell Isle, The
DESCRIPTION: A Bell Island man is found wounded in a battle in which the Germans are defeated. He thinks of home and has a message to be carried to his mother and sweetheart at Wabana. "It's down with Adolph Hitler, God save our gracious King!"
AUTHOR: unknown
EARLIEST_DATE: 1979 (Lehr/Best)
KEYWORDS: war dying patriotic soldier
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 93, "The Red Rocks of Bell Isle" (1 text, 1 tune)
NOTES: Wabana is on Bell Island in Conception Bay, not far from St John's. - BS
File: LeBe093
===
NAME: Red Rose Top, The: see The Seeds of Love (File: K167)
===
NAME: Red Rosy Bush: see Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove) (File: Wa097)
===
NAME: Red Sea
DESCRIPTION: "When Moses was leading the Israelites, Red Sea, Pharaoh tried to catch them just for spite, Red Sea. Oh, Pharaoh he got drowned...." The remaining verses are about Jesus and how he cares for and takes away the sins of the poor
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: religious disaster death
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 629, "Red Sea" (1 short text, with one stanza printed under #629 and the rest under #610!)
MWheeler, p. 70-71, "Red Sea" (1 text, 1 tune)
Roud #10021
CROSS_REFERENCES:
cf. "Oh, Mary, Don't You Weep" (lyrics)
NOTES: It's possible that this is a much-evolved version of "Oh, Mary, Don't You Weep"; they have lyrics in common and are both about the Exodus (at least in their first verses). But they had separated enough that I would consider them separate songs.
It's worth noting that the Bible does not say that Pharaoh was drowned in the Red Sea (Sea of Reeds) -- though it doesn't say he wasn't, either. Exodus 14:27-28 reads "the Egyptians fled [into the sea], and YHWH scattered the Egyptians in the midst of the sea. The waters returned and covered Pharaoh's chariots and horesemen and all his army that had followed [the Israelites] into the sea; not one of them survived." - RBW
File: MWhee070
===
NAME: Red Wing (I)
DESCRIPTION: Red Wing, "a pretty little Indian maid," is in love with a brave, but he has died in battle. "Now the moon shines down on pretty Red Wing... So far beneath the stars her love is sleeping, While Red Wing's weeping her heart away."
AUTHOR: Kerry Mills and Thurland Chattaway
EARLIEST_DATE: 1907 (copyright)
KEYWORDS: Indians(Am.) death battle
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 50, "Red Wing" (1 text, 1 tune)
DT, REDWNG*
Roud #4784
RECORDINGS:
George W. Ballard & chorus "Red Wing" (CYL: Everlasting 1150, n.d.)
Homer Christopher & Raney Van Vink, "Red Wing" (OKeh 45097, 1927)
Dudley & McDonough "Red Wing" (Victor 17233, 1912)
Redd Evans & his Billy Boys, "Red Wing" (OKeh 4836, 1923)
Fox Chasers, "Red Wing" (OKeh 45477, 1930)
Frankie & Johnny, "Red Wing" (Conqueror 7976, 1932)
Buell Kazee, "Red Wing" (Brunswick 210, 1928; Supertone S-2057, 1930 [as Buell Kazee & Sookie Hobbs])
Kendall & Kelly, "Red Wing" (Chamption 15582, 1928)
Fred Potter, "Red Wing, An Indian Fable" (CYL: Edison 541, n.d.)
Frederick H. Potter w. the New York Military Band, "Red Wing"  (CYL: Edison [BA] 1543, c. 1912)
Riley Puckett, "Red Wing" (Columbia 15226-D, 1928; rec. 1927)
George Reneau, "Red Wing" (Vocalion 14896, 1924)
Walter Scanlan, "Red Wing" (Edison 52063, 1927)
[Frank] Stanley & [Henry] Burr "Red Wing" (Columbia 3681, 1907; Columbia A468, 1909) (CYL: Albany 1366, n.d.) (CYL: Columbia 33163, prob. 1907) (Standard 3681, n.d.) 
Stone Mountain Entertainers [Blue Ridge Highballers], "Red Wing" (Broadway 8159, c. 1930) (Broadway 8159, rec. 1927)
Floyd Thompson & his Hometowners "Red Wing" (Vocalion 5331, c. 1929)
Frank Welling & John McGhee "Red Wing" (Conqueror 7976, 1932)
Art Wenzel & his Ragtime Cowboys, "Red Wing" (Pan Am 027, n.d.)
Male duet, "Red Wing" (Busy Bee A-128, c. 1907)
CROSS_REFERENCES:
cf. "Red Wing (II)"
cf. "Union Maid" (tune)
SAME_TUNE:
Red Wing (II) (File: EM214)
Union Maid (by Woody Guthrie) (Greenway-AFP, p. 300; Silber-FSWB, p. 132; DT, UNIONMD; recordings on on Almanac4, PeteSeeger01, PeteSeeger41, PeteSeeger48)
(Charlie Chaplin parody) (Meredith/Covell/Brown, pp. 211-212)
File: FCW050
===
NAME: Red Wing (II)
DESCRIPTION: Red Wing, the unafraid Indian maid, allows the cowboys intimacies, until she is made pregnant.
AUTHOR: original version by Kerry Mills and Thurland Chattaway
EARLIEST_DATE: original version copyright 1907
KEYWORDS: bawdy parody whore childbirth Indians(Am.) derivative
FOUND_IN: Australia US(MW,Ro,So,SW)
REFERENCES: (4 citations)
Cray, pp. 214-216, "Red Wing" (1 text, 1 tune)
Randolph-Legman I, pp. 566-570, "Red Wing" (5 texts, 1 tune)
Meredith/Covell/Brown, p. 212, "Redwings" (sic) (1 tune, which Meredith et al seem to associate with the bawdy version)
DT, REDWNG2*
Roud #4784
CROSS_REFERENCES:
cf. "Red Wing (I)"
File: EM214
===
NAME: Red-Haired Man's Wife, The
DESCRIPTION: The singer asks his sweetheart, by letter and in person, to leave her husband. She had sworn fidelity but married the red-haired man instead. She will not "break the command" He offers a way out: "For the Patriarch David had a number of wives"
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Harding B 11(2188))
KEYWORDS: courting rejection wife husband marriage hair Bible
FOUND_IN: Ireland
REFERENCES: (4 citations)
OLochlainn 97, "The Red-Haired Man's Wife" (1 text, 1 tune)
DT, REDWIFE
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 60-62, "Bean an Fhir Rua" ("The Red-Haired Man's Wife") [Gaelic and English] (1 text, 1 tune)
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 232-233, "The Red Man's Wife" (1 text)
Roud #3046
BROADSIDES:
Bodleian, Harding B 11(2188), "The Red Haired Man's Wife," J. Pitts (London), 1819-1844; also Firth b.25(347), Harding B 26(564), Firth c.18(83), "The Red Haired Man's Wife"; 2806 c.16(206), 2806 b.9(113), Harding B 25(1603)[some words illegible], "The Red Hair'd Man's Wife"
NOTES: According to Milner and Kaplan, _A Bonny Bunch of Roses_, this is based on a Gaelic song, Bean An Fhir Ruaidh.
The argument that the Patriarch David was repeatedly married has its problems. There is the nitpicky one that, based on the standard definition, he was not a Patriarch; they preceded the Judges, and David was after.
More to the point, while David had many wives, and they produced many sons, the sons fought over the inheritance; eventually the oldest three died at the hands of their relatives. Solomon, the survivor, also took many wives, but they "turned away his heart after other gods" (2 Kings 11:3).
Various others in the Bible had multiple wives, but the only significant patriarch to have multiple wives *simultaneously* was Jacob, who had two wives (Rachel and Leah) and two concubines, who collectively gave birth to the Twelve Tribes of Israel.
I know of no instance whatsoever of a wife with multiple husbands. - RBW
The song translated from Gaelic in Bell/O Conchubhair is quite different from the "Englished" version. Further, there is a story to be told that sets the stage: "Our song is no simple tale of lust. Fair lad and red-head were apprentices to the rich tailor. His only daughter and the fair lad were in love, betrothed to be married.... The foxy boy stole some silver knives of the tailor's and hid them in his rival's baggage [cf. Genesis 44]. Discovered. Three years in gaol. Came out to find his love married to the rogue." Now the song starts in either version; in the Gaelic he has no answer from her but the outcome is likely the same.
Hoagland's version follows the story told in Bell/O Conchubhair commentary. - BS
File: OLoc097
===
NAME: Red, White, and Blue: see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: Red, White, and Red, The
DESCRIPTION: The Confederate soldiers proudly boast of their new flag, "The Red, White, and Red!" They promise the guard their land, and proclaim, "They never will subdue us, that you will see. While there's Davis, Bragg, Beauregard, Johnson, and Lee...."
AUTHOR: unknown
EARLIEST_DATE: 1946 (Warner)
KEYWORDS: Civilwar patriotic bragging
HISTORICAL_REFERENCES: June 10, 1861 - Battle of Big Bethel. Although trivial in size (some 6000 troops engaged, casualties totalling about 110), it was the first land battle of the war. Federal troops under Benjamin Butler ("Old Picayune," almost certainly the worst general of the war) were easily defeated by Confederates under John Bankhead Magruder
Nov. 8, 1861 - The Trent Affair (The Mason and Slidell Affair): The two Confederate diplomats are taken off the Trent by Captain Charles Wilkes of the San Jacinto in clear violation of the then-current international policy regarding neutral rights
FOUND_IN: US(MA)
REFERENCES: (3 citations)
Warner 22, "The Red, White, and Red" (1 text, 1 tune)
BrownII 223, "On the Plains of Manassas" (1 text, with a stray reference to Manassas but otherwise this song)
BrownIII 375, "The Red, White, and Red" (3 texts; the "A" text, with mentions of Mason and Slidell and Manassas, seems to be a later, expanded version)
ST Wa022 (Partial)
Roud #769
NOTES: This song is item dA36 in Laws's Appendix II. 
Among the figures mentioned in this song are:
Magruder - John Bankhead Magruder, winner at Big Bethel, set aside after the Peninsula campaign
Old Picayune - Benjamin F. Butler, a complete military incompetent who always kept his job because of his Republican political connections. He seems to have been given his nickname after a (female) character in a minstrel song, Picayune Butler
Davis - Jefferson Davis, Confederate president (at this time still a provisional president)
Bragg - Braxton Bragg, at the time of Big Bethel a general commanding part of the southern coast. He later was appointed commander of the Army of Tennessee
Beauregard - P.G.T. Beauregard, who had directed the bombardment at Fort Sumter and later held field command at First Bull Run (though his later career was not overly successful)
Johnson - almost certainly an error, either for Albert Sidney Johnston (first commander of the Tennessee army, killed at Shiloh) or Joseph E. Johnston, who preceded Lee in command in northern Virginia and held a succession of later posts
Lee - Robert E. Lee (who did not achieve a significant command in the Confederate army until 1862)
Stonewall - Thomas "Stonewall": Jackson, at the time of Big Bethel commanding a small force near Harper's Ferry but destined to command a famous brigade at First Bull Run and, of course, become Lee's chief subordinate and a southern legend. 
"The Mason and Slidell Affair": James Mason and John Slidell were Confederate diplomats who were bound for London and Paris, were on the British ship _Trent_ when it was stopped by the U. S. S. _San Jacinto_  commanded by Charles Wilkes. Wilkes took off the diplomats, prompting a furor. Washington eventually gave in to British and French pressure and sent Mason and Slidell on to their destinations.
McCulloch: Ben McCulloch, a general in the west, one of the co-commanders at Wilson's Creek, killed at Pea Ridge. Despite the song, he never gave evidence of enough competence to truly frighten the Yankees, and he never was sole commander at a major battle. - RBW
File: Wa022
===
NAME: Redbird and Jaybird
DESCRIPTION: "The jaybird sat on the redbird's nest. The redbird sat and mourned." Verses about the birds and their lives, with additional (floating?) material about partridges pulling a plow, a man riding a goose across a creek, etc.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Brown)
KEYWORDS: bird courting
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 154, "Redbird and Jaybird" (2 texts; "A" appears to be mixed and "B" is a fragment)
NOTES: Although the older of Brown's two sources lists the redbird as sitting on the jaybird's nest, the newer version, in which the jaybird moves in on the cardinal, is almost certainly correct. Jays are related to crows, and will make off with other birds' eggs. - RBW
File: Br3154
===
NAME: Redemption Song, The
DESCRIPTION: Adam and Eve squander "the heritage of heaven." Christ confounds the sages in the temple, heals the sick, shares "the Pasch," is crucified, rises and "redeemed us all." "We're safe from Satan's wrath." "That will lead us home to Heaven and our Salvation"
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: death religious Jesus Bible
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, pp. 47-48, "The Redemption Song" (1 text)
CROSS_REFERENCES:
cf. "Bean Dubh an Ghleanna" (tune, according to Tunney-StoneFiddle)
File: TSF047
===
NAME: Redesdale and Wise William [Child 246]
DESCRIPTION: Redesdale tells William that he can win any woman's favor "wi ae blink o my ee." William bets his head against Redesdale's lands that Redesdale cannot win his sister. Redesdale courts the sister, fails to win her (though he burns down her house)
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: courting sex gambling virtue wager
FOUND_IN: Britain(Scotland(Bord))
REFERENCES: (2 citations)
Child 246, "Redesdale and Wise William" (3 texts)
Bronson 246, "Redesdale and Wise William" (1 version, properly associated with "Johnnie Cock")
Roud #243
CROSS_REFERENCES:
cf. "The Fiddler's Bitch" (plot)
cf. "The Twa Knights" (plot)
File: C246
===
NAME: Redwings: see Red Wing (II); also Red Wing (I) (File: EM214)
===
NAME: Reedy Lagoon, The
DESCRIPTION: "The sweet scented wattle sheds perfume around Delighting the bird and the bee, While I lie and take rest in my fern-covered nest." The rambler relaxes and thinks back on the friends and the girl he has left behind. He misses them, but cares little
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: rambling Australia separation
FOUND_IN: Australia
REFERENCES: (2 citations)
Manifold-PASB, pp. 144-145, "The Reedy Lagoon" (1 text, 1 tune)
DT, REEDYLAG*
File: PASB144
===
NAME: Reeling Song: see Linktem Blue (Reeling Song) (File: FlBr034)
===
NAME: Regimental Song: see Katie Cruel (The Leeboy's Lassie; I Know Where I'm Going) (File: SBoA050)
===
NAME: Regular Army-O, The
DESCRIPTION: The volunteer joined the army three years ago, and has been suffering every since under "Sergeant John McCafferty and Corporal Donahue" as well as "forty miles a day on beans and hay." Captured by Indians, the soldiers at last escape army life
AUTHOR: Harrington and Hart?
EARLIEST_DATE: 1942
KEYWORDS: soldier army warning abuse
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-FSNA 177, "The Regular Army-O" (1 text, 1 tune)
DT, REGARMY*
Roud #4747
File: LoF177
===
NAME: Reid's Express
DESCRIPTION: "You'll get on board of Reid's Express to travel the icy rail" to the station at Badger Brook and lumber "just like a slave... 'twill carry you to your grave." "When I gets home no more I'll roam and the lumbering woods I'll shun."
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: lumbering hardtimes logger
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 757-758, "Reid's Express" (1 text, 1 tune)
Roud #9800
NOTES: Badger Brook, later Badger, is not far from Bonavista Bay on the northeast coast of Newfoundland. - BS
File: Pea757
===
NAME: Reidh-chnoc Mna Sidhe (Dark Fairy Rath, The)
DESCRIPTION: The singer "in search of my love" meets her and is warned. "'Touch me not, and approach me not near; I belong to this Rath, and the Fairy host here.'" He tries to hold her but she disappears.
AUTHOR: unknown
EARLIEST_DATE: 1884 (Mangan's translation _Poets and Poetry of Munster,_ according to OLochlainn-More)
KEYWORDS: courting magic supernatural
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 43, "The Dark Fairy Rath" (1 text, 1 tune)
NOTES: "The original Gaelic of this song is attributed to George Roberts about whom, if he existed, nothing is known" (source: OLochlainn-More). - BS
In the earliest known phase of Irish mythology, the Sidhe (Aes Sidhe, the People of the Hills) were the remnants of the Tuatha De Danaan, who had been defeated and driven underground by the Celtic invaders. Later the name came to be used of any generic fairy or sprite -- but the first sense may have more meaning in context.
A rath was the Irish name for a fortification or earthwork. - RBW
File: OLcM043
===
NAME: Reilly the Fisherman: see Riley's Farewell (Riley to America; John Riley) [Laws M8] (File: LM08)
===
NAME: Reilly's Daughter: see O'Reilly's Daughter (File: EM101)
===
NAME: Reilly's Farewell: see Riley's Farewell (Riley to America; John Riley) [Laws M8] (File: LM08)
===
NAME: Reily's Jailed: see William (Willie) Riley (Riley's Trial) [Laws M10] (File: LM10)
===
NAME: Rejected Lover, The [Laws P10]
DESCRIPTION: The girl tells the singer not to return; she prefers freedom to marriage. She later changes her mind; he is no longer interested. She warns others against her mistake
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: courting rejection loneliness
FOUND_IN: US(Ap,SE)
REFERENCES: (8 citations)
Laws P10, "The Rejected Lover"
JHCoxIIB, #15, pp. 155-156, "You Can't Come Again" (1 text, 1 tune)
BrownII 91, "Servant Man" (1 text)
Fuson, p. 145, "You Can't Come Again" (1 short text)
SharpAp 109, "The Rejected Lover" (10 texts, 10 tunes, but version "A" is actually a mishmosh of floaters including "Who will shoe..." and "A-roving on a winter's night...")
Darling-NAS, pp. 136-137, "The Rejected Lover" (1 text)
SHenry H589, p. 344, "The Rejected Lover" (1 text, 1 tune)
DT 495, REJCTLVR*
Roud #412
CROSS_REFERENCES:
cf. "Nancy (I)" [Laws P11] (plot)
cf. "Nancy (II) [Laws P12] (theme)
cf. "The Slighted Suitor" (plot)
cf. "Braes of Strathblane" (plot)
ALTERNATE_TITLES:
Alexander
NOTES: The notes to Henry/Huntington/Herrmann question the connection between their "Rejected Lover" song and Laws P10. They have a point; there isn't much lyric similarity. The plots are alike, however, and the form -- and the two are so widely separated in space that great divergences are possible. Plus there are almost no other versions clearly associated with the Henry text. It seemed easier to lump them.
The Henry text contains several odd Biblical allusions. First, "I'll travel to Mount Nebo, where Moses viewed the Ark." This is patently absurd. Mount Nebo is in Moab, many hundreds of kilometres from Urartu (Ararat), the resting place of the Ark. What Moses saw from Mount Nebo was the future homeland of the Israelites (Deuteronomy 34:1-5).
Equally strange is the reference to Mount Ararat as the place "where Noah did embark." The ark came to rest on the mountains of Ararat (plural! -- Genesis 8:4). But there is no reason to think he started there.
There are several mysteries about this song. Laws lists only the texts from Sharp, ignoring Brown and the various references there. The notes in Brown don't help; they link it with "The Lonesome (Stormy) Scenes of Winter" [Laws H12] -- which it may have influenced, but which is clearly not the same song.
Cox's and Fuson's versions seem to form a subgroup (which may even be an independent song which has mixed with this one), marked by the steady use of the title line "(You/I) (can't/need not) come again." Both versions, though rather defective, stress an exchange of letters (perhaps the young man has joined the army?); this may have been imported from "A Rich Irish Lady (The Fair Damsel from London; Sally and Billy; The Sailor from Dover; Pretty Sally; etc.)" [Laws P9]. - RBW
File: LP10
===
NAME: Religion Is the Best of All
DESCRIPTION: "Oh it's come along fathers And don't you want to go, And join that happy company That's going on before." Chorus: "Religion is the best of all (x3), I feel it in my soul." Continues for mothers, brothers, sisters, etc.
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: religious nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 656, "Religion Is the Best of All" (1 text)
Roud #7579
CROSS_REFERENCES:
cf. "I Am Going to Heaven" (lyrics)
File: R656
===
NAME: Religion So Sweet
DESCRIPTION: Baptizing song/sermon: "Let's go down to Jurdon (x2)... De ol' ribber Jurdon is mighty deep, but 'ligion is so sweet." The candidates are told of the benefits of baptism, told that Jesus requires it, and reminded of the "sweetness" of religion
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: nonballad religious
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, pp. 582-583, "'Ligion So Sweet" (1 text)
Roud #11061
File: LxA582
===
NAME: Religious Use of Taking Tobacco, A: see Tobacco's But an Indian Weed (File: Log262)
===
NAME: Remember the Barley Straw: see Davy Faa (Remember the Barley Straw) (File: K188)
===
NAME: Remember the Glories of Brian the Brave
DESCRIPTION: "Remember the glories of Brian the brave... To light us to victory yet." Tell the invading Danes that we prefer "to bleed for an age ... than to sleep but a moment in chains." Do not let those that died "upon Ossory's plain" have fallen in vain
AUTHOR: Thomas Moore (1779-1852)
EARLIEST_DATE: 1846 (_Irish Melodies_ by Thomas Moore, according to Zimmermann)
KEYWORDS: battle nonballad patriotic Ireland
HISTORICAL_REFERENCES: Apr 23, 1014 - Battle of Clontarf. Victory and death of Brian Boru
FOUND_IN: 
REFERENCES: (2 citations)
O'Conor, p. 48, "Brian the Brave" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, p. 111, "Brian the Brave"
Roud #12820
BROADSIDES:
Bodleian, Harding B 26(75), "Brian the Brave", The Poet's Box (Belfast), 1846-1852; also Harding B 15(33a), "Brian the Brave" 
ALTERNATE_TITLES:
Brien the Brave
NOTES: Brian Boru (Boruma), born c. 942, became king of Munster after the murder of his brother Mathgamain in 976, and then set out to become High King of Ireland. By about 1002, he was recognized as such by most major Irish lords.
Although Brian's enemies are called Danes in the song, in fact they were Viking raiders allied with rebels from Leinster (see, e.g. Mike Cronin, _A History of Ireland_, p. 8; Peter and Fiona Somerset Fry, _A History of Ireland_, p. 56). The two sides met at the Battle of Clontarf, on Good Friday 1014, and Brian's Munster forces were victorious though he was slain. In practice, that was a defeat for Brian, since it ended the fragile Irish unity. The Vikings did go away, for the most part -- but that was more because Swein Forkbeard and his son Canute were conquering England than anything else. - RBW, (BS)
File: OCon048
===
NAME: Remember the Poor
DESCRIPTION: "Cold winter is coming with his keen cutting breath...." With the fields barren and the cold coming on, the listeners are urged to remember the poor. This is urged both because the listeners have something to spare and because it is the Christian thing
AUTHOR: Words: John Fielding / Music: H. T. Dyring (source: broadside LOCSheet, sm1877 01347)
EARLIEST_DATE: 1877 (broadside LOCSheet, sm1877 01347)
KEYWORDS: poverty help religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 161, "The Snow Is on the Ground" (1 field text plus a songster version, 1 tune)
ST Wa161 (Partial)
Roud #1121
BROADSIDES:
LOCSheet, sm1877 01347, "Always Remember the Poor", [publisher illegible] (Jersey City), 1877
Murray, Mu23-y1:079, "Remember the Pooor," James Lindsay (Glasgow), 19C
ALTERNATE_TITLES:
Cold Winter is Coming
File: Wa161
===
NAME: Remember the Poor Tramp Has to Live
DESCRIPTION: Singer, a tramp, tells how hard his life is, asks for understanding. Chorus ends "Remember that the poor tramp has to live"
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Ernest V. Stoneman/Stoneman Family)
KEYWORDS: poverty rambling begging hardtimes hobo
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Cohen-LSRail, pp. 351-354, "The Poor Tramp Has to Live" (1 text plus a broadside print, 1 tune)
BrownIII 357, "The Tramp Song" (1 text, a noticeably defective transcription)
Roud #11720
RECORDINGS:
Blue Ridge Singers, "The Tramp Song" (Columbia 15647-D, 1931; rec. 1930)
Dock Boggs, "Railroad Tramp" (on Boggs2, BoggsCD1)
Walter Morris, "The Railroad Tramp" (Columbia 15101-D, 1926)
Ernest V. Stoneman, "The Poor Tramp Has to Live" (matrix GEX 493-A recorded 1927, released 1927-1928 as: Herwin 75535 [as by Stoneman], Gennett 6044 [as by Ernest V. Stoneman and his Graysen County Boys], Challenge 324/Challenge 398/Champion 15233 [all as by Uncle Jim Seany], Challenge 244/Silvertone 5001/Silvertone 8155/Silvertone 25001/Supertone 9255 [all as by Uncle Ben Hawkins]); "The Poor Tramp"  (Victor 20672, 1927); Ernest V. Stoneman and His Dixie Mountaineers, "Remember the Poor Tramp Has to Live" (Edison, unissued, 1928); Ernest Stoneman [and Eddie Stoneman], "Broke Down Section Hand" (Vocalion 02655, 1934)
CROSS_REFERENCES:
 cf. "The Tramp (II)" (plot)
cf. "The Tramp's Story" (plot)
NOTES: Boggs states he learned the song from a recording in the late 1920s, but as he doesn't give a name or title I left initially Boggs' recording as the earliest verified to date.
The Walter Morris recording is placed here tentatively; if it can be verified as this song, it would constitute the earliest verified appearance. - PJS
I don't know what Boggs's source was, but Ernest V. Stoneman and the Stoneman Family recorded this on several occasions, the first in 1927. It appears possible that the Brown version (which comes from a manuscript collection) predates this, but unfortunately this is one of the many undated items in the collection; we don't even know when Brown received the manuscript.
The first appearance of the song Cohen could find was a Wehman broadside, apparently in print by 1886; it lists Billy Kearney as the author, and the tune as "True As Steel." It is very different from the Stoneman text and doesn't even mention railroads. I'd call them recensionally different -- perhaps even separate songs -- and so leave the Stoneman recording as the earliest date, subject to Paul's caveat about the Morris recording. - RBW
File: RcRtPTHL
===
NAME: Remon
DESCRIPTION: (Creole) French: "Mo parle Remon, Remon, Le parle Simon, Simon, Le parle Titine, Titine, Li tombe dans chagrin. O femme Romulus! O belle femme Romulus! O femme Romulus! O belle femme que ca voule mo faile!"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Allan, Ware, Garrison)
KEYWORDS: foreignlanguage nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, p. 215, "Remon" (1 text, 1 tune)
File: LxA215
===
NAME: Removal of Napoleon's Ashes, The
DESCRIPTION: At Waterloo Napoleon was forced to yield. Marie Louisa wept and cursed the gold that bribed "False Grouchy." A monument is erected in Paris "to contain the ashes of his heart, And every Frenchman that passes by respectfully a tribute pays"
AUTHOR: John Morgan (source: broadside, Bodleian Harding B 11(116), Harding B 13(205), Harding B 11(3256), Curzon b.41(63) and Harding B 15(256a))
EARLIEST_DATE: before 1856 (broadside, Bodleian Harding B 11(116)); c.1845 (broadside NLScotland L.C.1270(016)) [see Notes]
KEYWORDS: battle separation betrayal France wife Napoleon
HISTORICAL_REFERENCES: December 15, 1840 - Napoleon's ashes are returned to Les Invalides in Paris (source: "Hotel des Invalides" on Travel Channel site)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 206, "Napoleon Bonaparte" (2 texts, 1 tune)
BROADSIDES:
Bodleian, Harding B 11(116), "Ashes of Napoleon," J. Cadman (Manchester), 1850-1855; also Harding B 15(256a), Firth b.34(197), "[The: Removal of Napoleon's Ashes"; Harding B 11(117), "The Ashes of Napoleon"; Harding B 13(205), Curzon b.41(63) [many words are difficult to read], Harding B 11(3256), "The Removal of Napoleon Buonaparte's Ashes"; Firth c.16(100), "Napoleon's Remains"; 2806 c.15(105), Harding B 19(14), "The Removal of the Remains of Napoleon, from St. Helena"
LOCSinging, as111620, "Removal of Napoleon's Ashes," unknown, 19C
NLScotland, L.C.1270(016), "The Ashes of Napoleon," James Kay (Glasgow), c.1845
CROSS_REFERENCES:
cf. "The Wheels of the World" (for the charge that Grouchy betrayed Napoleon)
cf. "Napoleon Bonaparte (III)" (for the charge that Grouchy betrayed Napoleon)
cf. "The Royal Eagle" (subject: Marie Louisa's grief for Napoleon)
cf. "The New Bunch of Loughero" (theme: Marie Louise's grief for Napoleon)
cf. "Saint Helena (Boney on the Isle of St. Helena)"  (theme: Marie Louise's grief for Napoleon)
NOTES: The commentary for broadside NLScotland L.C.1270(016) states "James Kay worked in Glasgow as printer during the mid-1840s." - BS
Emmanuel Grouchy (1766-1847) commanded one of the wings of Napoleon's army in the Waterloo campaign, and his failure to arrive at Waterloo may have cost Napoleon the battle. The charge that he betrayed Napoleon occurs also in "Napoleon Bonaparte (III)" (see that song for a discussion) and in "The Wheels of the World," but there is no reason whatsoever to believe that it is true.
Although the conceit is common in folk song, there  is even less reason to think that Marie Lousia of Austria grieved for him, since she became involved with other men before he was even dead. (See the notes to "Saint Helena (Boney on the Isle of St. Helena)"; also "The Royal Eagle" and "The New Bunch of Loughero") - RBW
File: Moyl206
===
NAME: Requiem for the Croppies
DESCRIPTION: "The pockets of our greatcoats full of barley," the croppies fought with pikes and would "stampede cattle into infantry." "Until, on Vinegar Hill, the fatal conclave.... And in August the barley grew up out of the grave"
AUTHOR: Seamus Heaney (1939-) (source: Moylan)
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: rebellion battle death burial
HISTORICAL_REFERENCES: June 21, 1798 - The Wexford rebels are defeated at Vinegar Hill
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 141, "Requiem for the Croppies" (1 text)
File: Moyl141
===
NAME: Restless Dead, The: see The Unquiet Grave [Child 78] (File: C078)
===
NAME: Resurrected Sweetheart, The: see The Unquiet Grave [Child 78] (File: C078)
===
NAME: Resurrection, The: see Free Salvation (The Resurrection) (File: FSC079)
===
NAME: Retour du Marin, Le: see Brave Marin (Brave Sailor) (File: LeBe013)
===
NAME: Return of Charlie Horse, The
DESCRIPTION: The singer is spending an evening at Mahers and steps out for some air. Looking over Angel Pond, he sees the ghost of Charlie horse. When the mist closes in the singer loses sight of Charlie and goes back inside to tell the boys.
AUTHOR: Omar Blondahl
EARLIEST_DATE: 1964 (Blondahl)
KEYWORDS: horse ghost
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Blondahl, pp. 20-21, "The Return of Charlie Horse" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Concerning Charlie Horse" (tune, chorus, subject and references there)
File: Blon020
===
NAME: Return of Pat Molloy
DESCRIPTION: Molloy returns to Dublin after four years in America and is stopped by "a castle-hack" who accuses him of being a Fenian. He is, but he has returned with money to take Molly and his mother to America. He and Molly marry and all move to New York.
AUTHOR: unknown
EARLIEST_DATE: before 1879 (broadside, LOCSinging as111690)
KEYWORDS: marriage emigration return reunion America Ireland patriotic money
FOUND_IN: Ireland
REFERENCES: (0 citations)
RECORDINGS:
Brigid Tunney, "Wee Paddy Molloy" (on IRTunneyFamily01)
Paddy Tunney, "Paddy Molloy" (on IRPTunney02)
CROSS_REFERENCES:
cf. "Pat Malloy" [Laws Q24] (character of Pat Malloy/Molloy)
NOTES: Notes to IRPTunney02: "This is a song linked with the Fenian Rising of 1867. Many of the Fenians learned their soldiering in America during the Civil War and then returned to Ireland to fight their own battle."
Broadside LOCSinging as111690, which is longer than Paddy Tunney's version on IRPTunney02, is the basis for the description.
Broadside LOCSinging as111690: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site.
Broadside LOCSinging as111690 includes the note "Sung, with unbounded applause, by William H. Lindsey."- BS
Most scholars don't seem to link this to Laws Q24, "Pat Malloy," though Laws notes a sequel to that ballad, 'Molly's Welcome to Pat Malloy." But in Laws Q24, we learn that Pat is in love with Molly, that he goes to America, and that he returns home at the end. This is a clear sequel to those events -- possibly a political rewrite, given the mention of the Fenians. 
The Fenians were an organization devoted to freeing Ireland. The organization was founded in 1858 by James Stephens, and quickly spread; the British government felt the need to suppress the group in 1865. Stephens and others were taken prisoner; although he escaped, it turned him cautious; he no longer had the nerve to take aggressive action. That pretty well killed the group as an active set of rebels; their attempt at an Irish rebellion failed in 1867. - RBW
File: RcRoPaMo
===
NAME: Returned Soldier, The
DESCRIPTION: French. A couple takes in a passer-by because their son is also a soldier. They worry about the boy. The passer-by reveals that he is their son
AUTHOR: unknown
EARLIEST_DATE: 1916 (Belden)
KEYWORDS: foreignlanguage soldier separation reunion
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 517, "The Returned Soldier" (1 text, reportedly incomplete)
NOTES: Sort of a Riley ballad, only with the parents rather than the lover being the ones fooled. - RBW
File: Beld517A
===
NAME: Reuben and Rachel
DESCRIPTION: Rachel speculates to Reuben about "What a good world this would be If the men were all transported Far beyond the northern sea." Reuben, shocked, tries to fathom the idea; at last he offers marriage. Rachel accepts
AUTHOR: Words: Harry Birch / Music: William Gooch
EARLIEST_DATE: 1871
KEYWORDS: dialog transportation courting love humorous marriage
FOUND_IN: US
REFERENCES: (5 citations)
RJackson-19CPop, pp. 180-183, "Reuben and Rachel" (1 text, 1 tune)
Fuld-WFM, p. 460, "Reuben and Rachel"
Silber-FSWB, p. 345, "Reuben, Reuben" (1 text)
Pankake-PHCFSB, p. 86, "Reuben, Reuben" (1 text)
DT, REUBRACH*
ST RJ19180 (Full)
Roud #15451
CROSS_REFERENCES:
cf. "The Winnipeg Whore" (tune)
cf. "The Swede from North Dakota" (tune)
File: RJ19180
===
NAME: Reuben James
DESCRIPTION: Describes the sinking of the destroyer "Reuben James" by submarines off the coast of Iceland, the loss of 100 men [and the rescue of 44]. Chorus: "What were their names, tell me what were their names/Did you have a friend on the good Reuben James?"
AUTHOR: Woody Guthrie & Pete Seeger w. the Almanac Singers
EARLIEST_DATE: November, 1941
KEYWORDS: battle navy war death rescue ship derivative
HISTORICAL_REFERENCES: Oct. 31, 1941 - U. S. destroyer Reuben James, an old 4-stacker, is the first American ship sunk in World War II.
FOUND_IN: US
REFERENCES: (1 citation)
PSeeger-AFB, p. 84, "Reuben James" (1 text, 1 tune)
RECORDINGS:
Woody Guthrie, "Sinking of the Reuben James" (on AmHist2)
Pete Seeger, "Reuben James" (on PeteSeeger41)
Pete Seeger & Sonny Terry, "Reuben James" (on SeegerTerry)
CROSS_REFERENCES:
cf. "Wildwood Flower" (tune)
ALTERNATE_TITLES:
The Sinking of the Reuben James
NOTES: There is some dispute over the authorship of this song; most alumni of the Almanac Singers say that Guthrie wrote the verses, Seeger added the chorus, but Seeger insists that other members of the group also contributed lyrics. - PJS
The _Reuben James_ was one of the the four-stack destroyers built by the U.S. Navy in the period 1917-1920, and was of the class that was "lent" to Britain. At the time of her sinking, she was based at Hvalafjordur, Iceland, and she sank while escorting convoy HX-156 from Argentia, Newfoundland.
The ship was a member of the _Clemson_ class, which (according to _Jane's Fighting Ships of World War I_) were 310 feet long, 31 feet wide. Figures as to her displacement vary; the most widely-accepted figure seems to be 1091 tons. She was initially fitted with four 4" guns and four 21" torpedo tubes; her speed when new was 35 knots. She would of course have undergone some refits in the period between the two wars, and was almost certainly somewhat slower than her 1920 speed. She was named for the man who saved Stephen Decatur's life when both were serving on the _Intrepid_.
It will be noted that the _Reuben James_ was sunk *before* the United States officially joined the Second World War. By this time, however, the U.S. Navy was unofficially escorting convoys to Britain. While U.S. ships normally did not sink submarines, they helped the British track them. What's more, the U.S.S. _Greer_ had actually fired on a German submarine (U-652) on September 4. Thus German action against U.S. ships was not unjustified.
The _Reuben James_ was not the first U.S. naval vessel to be attacked by the Germans in World War II. Apart from the incident between the _Greer_ and U-652, the destroyer U.S.S. _Kearny_ was damaged on October 17, and the oiler _Salinas_ was torpedoed on October 30. When U-562 sank the _Reuben James_ the next day, it was not really much of an escalation -- but it came as a shock to the American people.
Guthrie was correct in saying that 44 men were saved, but the ship's crew totaled 159 (a very full complement; the ships were designed for a crew of about 130), so casualties actually totaled 115.
The sinking of the _Reuben James_ , we must emphasize, did *not* cause the U. S. to go to war (indeed, the U. S. didn't declare war on Germany; Germany declared war instead). Even if it had, Guthrie's confident prediction that American battleships would engage the Germans was short-sighted. Some people say falsely that battleships were useless in World War II -- but while they had their uses, fighting the German navy wasn't one of them. Battleships are useless against submarines, and at the time the Reuben James was sunk, there was not one American battleship fast enough to catch *any* of the handful of German surface ships. It wasn't until the _North Carolina_ finished fitting out some months later that the U. S. actually had a battleship "mighty" enough (read: fast enough) to fight even against German surface navy. 
The last verse of this song as usually sung today ("Many years have passed...") was added by Fred Hellerman. - RBW
File: PSAFB084
===
NAME: Reuben Ranzo
DESCRIPTION: Shanty. Characteristic line: "Ranzo, boys, Ranzo." Typically concerns the life of Reuben Ranzo, a landlubber who "was no sailor" but wound up aboard ship and had to learn fast -- or, perhaps, had enough schooling to turn to navigation
AUTHOR: unknown
EARLIEST_DATE: 1882
KEYWORDS: shanty sailor
FOUND_IN: US(MA,NE) Canada(Mar)
REFERENCES: (14 citations)
Doerflinger, pp. 23-25, "Reuben Ranzo" (2 texts, 2 tunes)
Bone, pp. 54-56, "Ranzo" (1 text, 1 tune)
Colcord, p. 70, "Reuben Ranzo" (1 text, 1 tune)
Harlow, pp. 89-91, "Reuben Ranzo" (1 text, 1 tune)
Hugill, pp. 240-244 "Reuben Ranzo" (2 texts & fragments, 1 tune - second text is in Swedish & English) [AbEd, pp. 175-178]
Sharp-EFC, XXXII, p. 37, "Poor Old Reuben Ranzo" (1 text, 1 tune)
Linscott, pp. 144-146, "Reuben Renzo" (1 text, 1 tune)
Shay-SeaSongs, pp. 50-53, "Reuben Ranzo" (1 text, 1 tune)
Mackenzie 101, "Reuben Ranzo" (1 text)
Botkin-NEFolklr, pp. 560-561, "Reuben Renzo" (1 text, 1 tune)
Darling-NAS, pp. 313-314, "Reuben Ranzo" (1 text)
Silber-FSWB, p. 83, "Reuben Ranzo" (1 text)
DT, RBNRANZO
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). A fragment of "Reuben Ranso" is in Part 2, 7/21/1917.
Roud #3282
RECORDINGS:
Noble B. Brown, "Reuben Ranzo" (AFS, 1946; on LC26)
CROSS_REFERENCES:
cf. "Brindisi Di Marinai' (tune)
SAME_TUNE:
Brindisi Di Marinai (File: Hugi245)
NOTES: Linscott speculates that "Renzo" is a corruption of "Lorenzo," which is at least reasonable -- but then comments that "It is probable too that Lorenzo may be a mythical hero." For this supposition there is not a shred of evidence that I can find.
Hugill mentions the "Lorenzo" possibility, but notes that "Reuben" doesn't fit well in that case. He lists three other theories: That it refers to the Danish sailor Daniel Rantzau, that it was an Eastern European Jew with a name like Reuben Ronzoff, or that Reuben derives from the description "Rube" for an inexperienced hand. Evidemce is, of course, lacking.
The ending also varies; Terry mentions Ranzo marrying the Captain's daughter, or being thrown overboard (and having additional adventures undersea), and him being flogged as a thief.
Bone, who has the virtue of actually getting this from sailors, was "inclined to think that [Ranzo] was in the word alone," noting that the word somehow seems to suit the action of hauling. - RBW
File: Doe023
===
NAME: Reuben Renzo: see Reuben Ranzo (File: Doe023)
===
NAME: Reuben Wright and Phoebe Brown
DESCRIPTION: Phoebe loves Reuben; her parents disapprove, and Reuben doesn't think much of them either. They determine to marry; her father grabs a shotgun. He accidentally kills his daughter. Reuben kills the father -- and awakes from his terrible dream
AUTHOR: unknown
EARLIEST_DATE: 1896 (Phineas Garrett's "One Hundred Choice Selections")
LONG_DESCRIPTION: Phoebe loves Reuben; her parents disapprove, and Reuben doesn't think much of them either. The young people determine to marry, and start for the parsonage in the rain, while her father grabs a shotgun. Instead of hitting Reuben, he kills his daughter. Reuben kills the father, tears his hair -- and awakes from his terrible dream
KEYWORDS: hardheartedness courting elopement love violence murder revenge death dream humorous recitation father children
FOUND_IN: US(MW)
REFERENCES: (0 citations)
Roud #5414
RECORDINGS:
Hamilton Lobdell, "Reuben Wright and Phoebe Brown" (AFS, 1941; on LC55)
CROSS_REFERENCES:
cf. "The Young Sailor Bold (I) (The Rich Merchant's Daughter)" [Laws M19] (plot)
ALTERNATE_TITLES:
Love, Murder, and Almost Matrimony
NOTES: Each verse has the third line recited as prose, rather than sung. - PJS
This reportedly originated in one of the Hamlin's Wizard Oil songsters. I can't find any references in Spaeth, but this really sounds like something Charlie Case might have written. - RBW
File: RcRWaPB
===
NAME: Reuben, Reuben: see Reuben and Rachel (File: RJ19180)
===
NAME: Reuben's Train
DESCRIPTION: Lyric piece about Reuben's train and travels. Versions vary widely; most contain a verse something like this: "Reuben had a train and he put it on the track, Hear the whistle blow a hundred miles."
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Grayson & Whitter, as "Train 45")
KEYWORDS: train nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Cohen-LSRail, pp. 503-517, "Reuben's Train/Train 45/900 Miles" (2 texts plus exceprts equivalent to about three more, 2 tunes; the first text is close to "Reuben's Train," the second to "Nine Hundred Miles," but the article is mostly devoted to showing how the two songs mix)
BrownIII 236, "Reuben's Train" (2 texts, with "A" being closer to "Nine Hundred Miles" than "B")
Warner 133, "Reuben's Train" (1 text, 1 tune)
Lomax-FSNA 302, "Reuben" (1 text, 1 tune)
Roud #3423
RECORDINGS:
Emry Arthur, "Reuben Oh Reuben" (Paramount 3295, c. 1931; on BefBlues2)
Dock Boggs, "Ruben's Train" (on Boggs3, BoggsCD1)
Carolina Ramblers String Band, "Ruben's Train" (Banner 33085/Romeo 5345, 1934; Melotone M-13947, c. 1935)
Bill Cornett ,"Old Reuben" (on MMOKCD)
Elizabeth Cotten, "Ruben" (on Cotten02)
[G. B.] Grayson & [Henry] Whitter, "Train 45" (Victor 21189, 1928, rec. 1927, on GraysonWhitter01) (Gennett 6320, 1927/Champion 15447 [as by Norman Gayle], 1928)
Vester Jones, "Old Reuben" (on GraysonCarroll1)
J. E. Mainer's Mountaineers [or Wade Mainer], "Riding on Train Forty-Five" (Bluebird B-7298, 1937; Victor 27493, 1941)
Wade Mainer & the Sons of the Mountaineers, "Old Reuben" (Bluebird B-8990, 1941)
New Lost City Ramblers, "Riding on That Train 45" (on NLCR06, NLCRCD2)
Poplin Family, "Reuben" (on Poplin01)
Wade Ward, "Old Reuben" [instrumental] (on Holcomb-Ward1)
Doc Watson, "Old Ruben" (on Ashley02, WatsonAshley01)
CROSS_REFERENCES:
cf. "Nine Hundred Miles"
cf. "Rain and Snow"
SAME_TUNE:
Jack O'Diamond Blues (recorded by Blind Lemon Jefferson)
ALTERNATE_TITLES:
Old Reuben
NOTES: I know two tunes for this piece. One resembles "Nine Hundred Miles" and "Rain and Snow"; these three songs seems to have cross-fertilized (so much so, in fact, that I literally cannot tell which one was the more direct ancestor of the Grayson & Whitter recording; I placed it there almost arbitrarily).
The other is that used by Frank Proffitt, who said of it, "This is one of the oldest simple banjo tunes.... It was generally the first tune learned, by playing two strings. There are about fifty different verses to this" (quoted by Warner).
G. B. Grayson is said to have turned "Reuben's Train" into "Train 45" -- but they are still so close that I think they can be considered one song. - RBW
File: Wa133
===
NAME: Revolutionary Tea [Laws A24]
DESCRIPTION: Mother Britain is angry that her daughter America will not pay the tea-tax. The mother sends the daughter a great deal of tea and demands she pay the tax (on pain of a beating); the daughter dumps the tea into the ocean
AUTHOR: unknown
EARLIEST_DATE: 1926 (Cox)
KEYWORDS: political rebellion commerce money patriotic
HISTORICAL_REFERENCES: Dec. 16, 1773 - Boston Tea Party. Americans protest the British tax on tea by dumping a shipload into Boston Harbor
FOUND_IN: Canada(Ont) US(Ap)
REFERENCES: (6 citations)
Laws A24, "Revolutionary Tea"
JHCoxIIB, #25, pp. 188189, "Revolutionary Tea" (1 text, 1 tune)
Scott-BoA, pp. 59-61, "The Rich Lady Over the Sea" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 54-56, "Revolutionary Tea" (1 text, 1 tune)
Arnett, pp. 8-9, "Revolutionary Tea" (1 text, 1 tune)
DT 368, REVTEA*
Roud #1934
File: LA24
===
NAME: Reynardine [Laws P15]
DESCRIPTION: A lady meets Reynardine (the singer for most of the song). He courts her while bidding her not to reveal his name. He says he has a castle in the forest and that she can reach him by calling him. He then vanishes (?); she warns women against such rakes
AUTHOR: unknown
EARLIEST_DATE: 1845 (Journal from the Sharon)
KEYWORDS: courting seduction supernatural warning betrayal
FOUND_IN: US(Ap,MW,NE,SE,So) Britain(England(South)) Ireland Canada(Mar)
REFERENCES: (12 citations)
Laws P15, "Rinordine"
Belden, pp. 286-288, "Rinordine" (2 texts plus excerpts from 1 more)
Randolph 99, "Rinordine" (1 fragmentary text, 1 tune)
Chappell-FSRA 47, "Rinordine" (1 text, 1 tune)
Eddy 76, "Rinordine" (1 text)
Gardner/Chickering15 , Rinordine"" (1 confused text, 1 tune)
Combs/Wilgus 113, pp. 143-144, "Ryner Dyne" (1 text)
Huntington-Whalemen, pp. 222-223, "Rinordine" (1 text)
Creighton-Maritime, pp. 112-113, "Rinordine" (1 text, 1 tune)
Mackenzie 32, "Rinordine" (1 text)
Darling-NAS, pp. 138-139, "Reynardine" (1 text)
DT 341, REYNDINE* REYNDN2*
ST LP15 (Full)
Roud #397
RECORDINGS:
Anne Briggs "Reynardine" (on ESFB2, Briggs2, Briggs3)
A. L. Lloyd, "Reynardine" (on Lloyd2, Lloyd3)
BROADSIDES:
Bodleian, 2806 c.8(310), "Reynardine," unknown, n.d.; also 2806 c.8(253), "Reynardine"
CROSS_REFERENCES:
cf. "The Shannon Side" (plot, lyrics)
cf. "The Mountains of Pomeroy" (subject)
NOTES: Although the name "Rinordine" is pretty definitely the older and more traditional, I've used the title "Reynardine" because that seems more common today.
Some have tried to connect this song in some way to the tale of the crafty Reynard the Fox. None of the links strike me as successful, though of course Bold Reynard may have influenced the shift from "Rinordine" to "Reynardine." - RBW
File: LP15
===
NAME: Rhyme of Old Steamboats
DESCRIPTION: Poem composed of the names of steamboats, rhymed with each other. Sample: "The Fred Wyerhauser and the Frontenac, The F. C. A. Denckmann and the Bella Mac, The Menomenee and the Louisville, The R. J. Wheeler and the Jessie Bill...."
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: river recitation nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Botkin-MRFolklr, p. 586, "Rhyme of Old Steamboats" (1 text)
NOTES: It's not clear whether this was ever sung, or just recited. - NR
So much for the theory that people made better use of their time in the days before television. - RBW
File: BMRF586
===
NAME: Rhynie
DESCRIPTION: Singer recalls his first job, working at (or for) Rhynie. The work is ill, the wages small, the rules onerous. The place is miserable, but he dare not leave before the season ends for fear of losing his fee. When it does end, he hits the road cheerfully
AUTHOR: unknown
EARLIEST_DATE: Early 1950s (recorded from John Strachan)
KEYWORDS: work hardtimes abuse farming worker
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Ford-Vagabond, pp. 207-208, "Linten Lowrin" (1 text)
Ord, p. 268, "The Bogend Hairst" (1 text, a short version that might possibly be mixed with something else)
Roud #3090
RECORDINGS:
John Strachan, "Rhynie" (on FSB3)
CROSS_REFERENCES:
cf. "The Barnyards of Delgaty" (tune, chorus, theme)
cf. "Linton Lowrie" (tune)
cf. "The Cockies of Bungaree" (theme)
NOTES: I'm sorely tempted to lump this with, "Barnyards of Delgaty" -- they share the same theme, tune and chorus, and are clearly closely related. But there's no overlap in the actual words, and the man from whom, "Rhynie" was collected, John Strachan, also sang a separate version of "Barnyards," so I split them. - PJS
File: RcRhynie
===
NAME: Ribbon Blade, The
DESCRIPTION: Roman Catholic Mick Sheridan passes a parade of Yeomen. They surround him and Colston says "he commands the Ribbon Blades." They jail him in Ballina and, when bribery fails to convince him to "make discovery," hang him.
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: Ireland execution prison political
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 132, "The Ribbon Blade" (1 text)
NOTES: "Following an affray at Loughgall in Co. Armagh in 1795 the Orange Order was founded, while the Yeomen were also established in June 1796. These were made up mainly of men from the Orange Lodges." (source: _The 1798 Rebellion_ on the Hogan Stand site)
Zimmermann p. 19: "In some parts of Ulster, Protestant and Catholic tenants were mingled and contended for the land; the peasantry was thus divided into two camps, each having its oath-bound association. This led to a sort of religious war. At the end of the eighteenth century the Catholic "Defenders" were opposed to the Protestant "Peep o'Day Boys" or "Orangemen." The "Defenders" were succeeded by the "Ribbonmen."
An example of the conflict is the "Battle of Crossgar," March 17, 1849 (source: _17 March 1849- Battle of Crossgar_ at the Orange Pages site).
Ballina is in County Mayo. - BS
For more on the Orange Order and its founding and the troubles it inspired, see e.g. the notes to "Dialogue Between Orange and Croppy, "The Grand Mystic Order' and"The Boys of Wexford," - RBW
File: TSF132
===
NAME: Rich Amerikay [Laws O19]
DESCRIPTION: A young farmer is leaving Ireland. His rich sweetheart urges him not to go to a foreign land, but Ireland is too impoverished for him. Seeing that she cannot change his mind, she at last decides to go with him
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: poverty courting emigration
FOUND_IN: Canada(Newf) US(MA)
REFERENCES: (3 citations)
Laws O19, "Rich Amerikay"
Greenleaf/Mansfield 97, "Rich Amerikay" (1 text, 1 tune)
FSCatskills 27, "Wild Amerikay" (1 text, 1 tune)
Roud #1916
CROSS_REFERENCES:
cf. "The Star of Donegal" (plot)
File: LO19
===
NAME: Rich and Rambling Boy, The: see The Wild and Wicked Youth [Laws L12] (File: LL12)
===
NAME: Rich and Rare Were The Gems She Wore
DESCRIPTION: A knight meeting a beautiful lady wearing gems and a gold ring asks why she is not afraid to walk alone in Ireland. She answers: "No son of Erin will offer me harm; For tho' they love woman and golden store, Sir Knight! they love honor and virtue more!"
AUTHOR: Thomas Moore (1779-1852)
EARLIEST_DATE: before 1885 (broadside, Bodleian Firth b.28(6a/b) View 6 of 8)
KEYWORDS: virtue beauty gold Ireland patriotic knight
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 111, "Rich and Rare Were The Gems She Wore" (1 text)
BROADSIDES:
Bodleian, Firth b.28(6a/b) View 6 of 8, "Rich and Rare Were the Gems She Wore", R. March & Co. (London), 1877-1884; also Firth b.26(338), "Rich and Rare Were the Gems She Wore"
NOTES: Not one of Moore's hits; Granger's Index to Poetry doesn't mention a single anthology containing the piece, and I know of no traditional collections. - RBW
File: OCon111
===
NAME: Rich Counsellor: see The Lawyer Outwitted [Laws N26] (File: LN26)
===
NAME: Rich Irish Lady, A (The Fair Damsel from London; Sally and Billy; The Sailor from Dover; Pretty Sally; etc.) [Laws P9]
DESCRIPTION: Sally at first scorns a suitor, then changes her mind and calls for him. She admits that she is dying for love of him. He informs her that he intends to dance on her grave. She takes three rings from her fingers for him to wear while dancing, then dies
AUTHOR: unknown
EARLIEST_DATE: 1808 (journal by Hannah Lowell of Plum Island, Massachusetts)
KEYWORDS: courting dying funeral revenge sailor
FOUND_IN: US(Ap,NE,MW,SE,So) Britain(England(South)) Ireland Canada(Newf)
REFERENCES: (27 citations)
Laws P9, "A Rich Irish Lady (The Fair Damsel from London; Sally and Billy; The Sailor from Dover; Pretty Sally; etc.)"
Bronson 295, "The Brown Girl" (49 versions, but very many of these, #1, #3, #8, #13, #16, #17, (#19), #24, #25, #35, #36, #41, #44 are listed by Laws as "A Rich Irish Lady," as is #8 though it mixes with "The Death of Queen Jane"; #2, #5, #10, #15, #20, #21, #29, #32a/b, #34, #37, #38(a), #45, #47, #49 are apparently LP9 as well; #4, #6, #7, #11, #31, #38b, #39, #42 are fragments which appear more likely to be LP9; #14, #22, #23, #27 are fragments identified by Laws with LP9 though this cannot be proved; #9 (frim Baring-Gould) is definitely the Child version, and #33, #48 probably; #18 is a fragment that might be part of "Glenlogie"; #26, #28 have no text; #30, #40, #43 might be either)
SharpAp 44, "The Brown Girl" (7 texts plus 4 fragments, 11 tunes, though the "D" fragment at least could be from "Glenlogie"; although listed as Child 295, every full text appears to be Laws P9; some of the fragments might be either) {Bronson's #17, #16, #14, #18, #42, [F not in Bronson], #36, #35, #41, #46, #22}
BarryEckstormSmyth pp. 418-425, "Sally and Her True Love" (2 text plus 2 broadside versions, 3 tunes; the "A" text has an artificial happy ending carelessly grafted on) {Bronson's #1, #1, #19}
Belden, pp. 111-118, "A Brave Irish Lady" (5 rexts, 2 tunes; it appears that Laws does not consider one of these versions, probably version E, to be this song, but it certainly belongs to the same family)
Randolph 40, "Pretty Sally of London" (5 texts plus a fragment, 3 tunes; it is possible that the fragment is Child #295) {A=Bronson's #44, B=#24, F=#15}
Randolph/Cohen, pp. 104-107, "Pretty Sally of London" (1 text, 1 tune -- Randolph's 40F) {Bronson's #15}
BrownII 90, "A Brave Irish Lady" (3 texts)
Hudson 27, pp. 128-130, "The Brown Girl" (2 texts, listed as Child #295 but clearly this piece)
Davis-Ballads 50, "The Brown Girl" (8 texts plus 2 fragments, all versions of this rather than Child #295; 3 tunes, all entitled "The Brown Girl"; 1 more version mentioned in Appendix A) {Bronson's #42, #31, #23}
Scarborough-SongCatcher, p. 98, "There Was a Young Lady" (1 fragment; tune on p. 389) {Bronson's #38b}
Brewster 26, "The Brown Girl" (1 text)
Flanders/Brown, pp. 244-2426, "The Fair Damsel from London" (1 text from the Green Mountain Songster)
Flanders-Ancient4, pp. 285-291, "The Irish Lady, or Sally from London" (2 texts, one of them being from the Green Mountain Songster; 1 tune, lacking lyrics but said to be this piece)
Gardner/Chickering 52, "Fair Lady of London" (1 text)
Niles 64, "The Brown Girl" (1 text, 1 tune, listed as Child 295)
Sharp/Karpeles-80E 29, "Fair Sally (The Brown Girl)" (1 text, 1 tune -- a composite version) {Bronson's #1}
Karpeles-Newfoundland 24, "Pretty Sally" (2 texts, 2 tunes)
JHCox 114, "Pretty Sally" (4 texts plus mention of 2 more; Laws does not list the "B" text as belonging here, but it clearly does.)
Vaughan Williams/Lloyd, p. 92, "The Sailor from Dover" (1 text, 1 tune) {Bronson's #10}
SHenry H72, pp. 374-375, "Am I the Doctor?" (1 text, 1 tune -- a version with the hatred toned down and with verses reminiscent of "Glenlogie")
Huntington-Whalemen, pp. 111-112, "Pretty Sally" (1 text, 1 tune)
Leach, pp. 678-680, "The Brown Girl" (2 texts, but "B" is Laws P9)
Darling-NAS, pp. 135-136, "A Rich Irish Lady" (1 text)
Silber-FSWB, p. 146, "A Rich Irish Lady" (1 text)
BBI, ZN2324, "A seaman of Dover, sweet William by name"
DT (295), AMIDOCTR* BRNGIRL*
Roud #180
RECORDINGS:
Loman D. Cansler, "Sally" (on Cansler1)
Cas Wallin, "Fine Sally" (on OldLove) {cf. Bronson's #14}
CROSS_REFERENCES:
cf. "The Brown Girl (I)" [Child 295]
cf. "Glenlogie, or, Jean o Bethelnie" [Child 238] (lyrics in some texts)
ALTERNATE_TITLES:
The English Lady Gay
Fine Sally
NOTES: Considered by some to be a variant of "The Brown Girl" (Child #295). The plot is identical except that the male and female roles are reversed. Laws declares that the two should be considered separate but related ballads. This agrees with, e.g., Cohen, Cox, and Randolph, but disagrees with Pound, Sharp, Davis, Scarborough, Flanders (naturally; she's lumped more absurd things than this) and (tentatively) Hudson, as well as (implicitly) Bronson and Roud. - RBW
I added "sailor" as a keyword because at least some versions have a sailor as a protagonist. -PJS
File: LP09
===
NAME: Rich Lady Gay, The
DESCRIPTION: "It was of a rich lady she had gold in store. She was loved by the rich and was good to the poor." She meets a ploughboy and gives him a letter. Later she proposes. He says she's "too good for a poor man's wife." They marry. She takes up house-keeping.
AUTHOR: unknown
EARLIEST_DATE: c.1975 (recording, Harry Upton)
KEYWORDS: love marriage farming money
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1714
RECORDINGS:
Harry Upton, "The Rich Lady Gay" (on Voice05)
CROSS_REFERENCES:
cf. "Cupid the Plowboy" [Laws O7] (plot)
NOTES: Maybe this is related to "Cupid the Plowboy" [Laws O7]. Here is a comparison of Harry Upton's "Rich Lady Gay" on Voice05 with Greenleaf/Mansfield "Cupid the Plowboy [Laws O7]" 79, "The Plowboy" and broadside Bodleian Harding B 11(773) "Cupid, the Pretty Ploughboy":
** Rich Lady Gay:
A rich lady sees a plowboy in the fields and falls in love with him.
She tells him she has a letter for him. He reads it and says it must be for "some other much higher renowned."
Another day she meets him in the field but he says "you're too good to be a poor man's wife"
He admits he loves her.
She agrees to marry him.
They quickly go to church and are married.
She takes up housekeeping and they live happily. 
** Cupid the Plowboy:
A rich lady sees a plowboy in the fields and falls in love with him.
She considers writing him a letter and thinks he'll think her bold; nevertheless, she will do it.
She rejects a wealthy suitor because she loves Cupid, who "has caused me all this pain."
He hears her complaint and says he loves her.
She agrees to marry him.
They quickly go to church and are married.
They have plenty of gold and "each other do adore."
So far I have found no broadside for "Rich Lady Gay." Apparently, neither has Steve Roud.
The motif of the rich woman enjoying wifely chores not common among the wealthy is also in "The Golden Glove" [Laws N20]. - BS
File: RcRiLaGa
===
NAME: Rich Lady over the Sea, The: see Revolutionary Tea [Laws A24] (File: LA24)
===
NAME: Rich Man and Lazarus, The
DESCRIPTION: "Come all thoughtless people by whom Adam came...." Listeners are reminded of Lazarus in heaven and the Rich Man in Hell. The song consists mostly of the lecture to the Rich Man which took place after he died.
AUTHOR: Edward B. Miller?
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad punishment Hell
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 55, "Dives and Lazarus" (1 text)
Roud #6567?
CROSS_REFERENCES:
cf. "Dives and Lazarus" [Child 56] (subject) and references there
NOTES: Jesus's story of the rich man and Lazarus is found in Luke 16:19-31 (the Lazarus of John 11, 12 is unrelated).
It's worth remembering that this is not something that actually happened in the Bible; rather, it is a story Jesus told as a warning.
The status of this piece is extremely dubious; it was reportedly collected from the author. Our general policy is to exclude such songs. But the whole story comes at so many removes that we can't prove Miller's authorship (or even, I suspect, his existence).
I nonetheless incline to agree that the song is not traditional; it's too weak.
I don't know if this is the Ed Miller who is also credited with "The Triplett Tragedy," but time and place make it possible. - RBW
File: BrII055
===
NAME: Rich Man and the Poor Man, The: see Hi Ho Jerum (File: FSWB025)
===
NAME: Rich Man Rides on a Pullman Car: see She Gets There Just the Same (Jim Crow Car) (File: DarNS355)
===
NAME: Rich Man's Daughter, The: see Captain Wedderburn's Courtship [Child 46] (File: C046)
===
NAME: Rich Merchant (I), The: see Young Sailor Bold (I), The (The Rich Merchant's Daughter) [Laws M19] (File: LM19)
===
NAME: Rich Merchant (II), The: see William and Harriet [Laws M7] (File: LM07)
===
NAME: Rich Merchant and his Daughter, The: see Young Sailor Bold (I), The (The Rich Merchant's Daughter) [Laws M19] (File: LM19)
===
NAME: Rich Merchant's Daughter (I), The: see Disguised Sailor (The Sailor's Misfortune and Happy Marriage; The Old Miser) [Laws N6] (File: LN06)
===
NAME: Rich Merchant's Daughter (II), The: see The Highwayman Outwitted [Laws L2] (File: LL02)
===
NAME: Rich Nobleman's Daughter, A: see Caroline and Her Young Sailor Bold (Young Sailor Bold II) [Laws N17] (File: LN17)
===
NAME: Rich Old Farmer, The: see The Girl I Left Behind [Laws P1A/B] (File: LP01)
===
NAME: Rich Old Lady, The: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Rich Old Miser, A [Laws Q7]
DESCRIPTION: The singer has been courted by "a rich old miser" nearly four times her age. She marries him, but he becomes jealous without cause (and beat her). At last she retaliates by breaking a ladle over his head, teaching him to be civil
AUTHOR: unknown
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: marriage age abuse punishment
FOUND_IN: US(MW,NE) Ireland
REFERENCES: (5 citations)
Laws Q7, "A Rich Old Miser"
Linscott, pp. 227-229, "The Ladle Song" (1 text, 1 tune)
Warner 46, "The Battle with the Ladle" (1 text, 1 tune)
Gardner/Chickering ,175 "A Rich Old Miser" (1 text plus an excerpt, 1 tune)
DT 521, LADLESNG
Roud #1004
CROSS_REFERENCES:
cf. "In Duckworth Street There Lived a Dame"
File: LQ07
===
NAME: Rich Rambler, The: see The Wild and Wicked Youth [Laws L12] (File: LL12)
===
NAME: Rich Ship Owner's Daughter, The: see Willie o Winsbury [Child 100] (File: C100)
===
NAME: Rich Wedding Cake, The
DESCRIPTION: The singer is offered a piece of cake. In it are "insides of old concertinas," flute keys, trout hooks...." They "blow a spot off of the side" with a cannon. When he bites into it "my tooth crumbled off on a button Of a trouser rolled up on the waist."
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: wedding food humorous talltale
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 92-93, "The Rich Wedding Cake" (1 text, 1 tune)
Roud #6467
CROSS_REFERENCES:
cf. "Trinity Cake" (Theme: an inedible cake)
File: Pea092
===
NAME: Rich Widow, The
DESCRIPTION: "I am a rich widow, I live all alone, I have but one daughter And she is my own. Daughter, oh daughter, Go choose you a man, Choose you a good one, Or else choose none." (The widow marries off her daughter, says she's bound to obey, and wishes her well)
AUTHOR: unknown
EARLIEST_DATE: 1903 (Newell)
KEYWORDS: courting mother children marriage playparty
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 19-20, "I Am a Rich Widow" (1 text, 1 tune)
Roud #13181
File: Lins019
===
NAME: Rich Young Farmer, The: see William Hall (The Brisk Young Farmer) [Laws N30] (File: LN30)
===
NAME: Richard (Irchard) of Taunton Dean
DESCRIPTION: Herchard/Irchard/Richard courts Miss Jane, saying, "I can reap and I can mow..." and earn his ninepence every day. She replies that she needs  silks and satins. He perseveres, saying he has pigs and will inherit more if they marry; she consents
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Aunt Fanny Rumble)
KEYWORDS: courting marriage bargaining farming
FOUND_IN: Britain(England(South))
REFERENCES: (0 citations)
ST RcIOTD (Full)
Roud #382
RECORDINGS:
Aunt Fanny Rumble, "Richard of Taunton Dean"  (on Lomax41, LomaxCD1741)
Tony Wales, "Richard of Taunton Dean" (on TWales1)
CROSS_REFERENCES:
cf. "Lucindy, Won't You Marry Me?"
File: RcIOTD
===
NAME: Richard and I
DESCRIPTION: The singer loves poor Richard. Her parents will have him transported if she insists on marrying him. On "the day we had planned to wed" he is taken and sent to Van Dieman's land. She and her servant girl go to Van Dieman's land. She and Richard marry.
AUTHOR: unknown
EARLIEST_DATE: 1954 (Creighton-Maritime)
KEYWORDS: love marriage emigration reunion separation abduction transportation family
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 49, "Richard and I" (1 text, 1 tune)
Roud #2279
CROSS_REFERENCES:
cf. "Erin's Lovely Home" [Laws M6] (theme) and references there
File: CrMa049
===
NAME: Richardson's Farewell
DESCRIPTION: "Injured Boston now awake While I a true confession make...." The singer, called "the Informer," got a "wretch of wretches" with child, but the crime was blamed upon a Parson. The singer confesses to every other evil and bids farewell
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: pregnancy crime punishment execution clergy betrayal
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 179-181, "(The LIFE and humble CONFESSION of Richardson the Informer" (1 text); also p. 182, (no title) (a fragment of another broadside about Richardson)
NOTES: This is one of those items that belongs in a bad songs contest. Ebenezer Richardson came to be known as "The Informer" during the 1760s as the American colonies tried to avoid British imports, and in the struggles of the time, Richardson accidentally shot and killed a boy named Christopher Sneider. Richardson was sentenced to death, but he eventually was pardoned.
The outraged populace could do nothing but pin every crime, natural and unnatural, on the fellow while dreaming of hanging him. This broadside is the result -- and it's as much a crime against humanity as anything Richardson ever did. - RBW
File: Burt179
===
NAME: Richie Story [Child 232]
DESCRIPTION: An Earl's daughter is courted by one or more noble lords, but loves none but her father's servant, Richie Story. He tries to dissuade her by pointing out his poverty. At last he gives in. She goes with him and is set to work in his household
AUTHOR: unknown
EARLIEST_DATE: 1803 (Skene ms.)
KEYWORDS: nobility love poverty servant courting family elopement
FOUND_IN: Britain(Scotland(Aber)) Canada(Mar)
REFERENCES: (4 citations)
Child 232, "Richie Story" (9 texts, but the text in the appendix is "When Will Ye Gang Awa'? (Huntingtower)" [Laws O23])
Bronson 232, "Richie Story" (9 versions, but #9 is "When Will Ye Gang Awa'? (Huntingtower)" [Laws O23], and #7 and #8 may be as well)
Leach, pp. 592-593, "Richie Storie" (1 text)
DT 232, RICHILAD*
Roud #97
CROSS_REFERENCES:
cf. When Will Ye Gang Awa'? (Huntingtower)" [Laws O23]
cf. "Matt Hyland" (plot)
cf. "The Kitchie-Boy" [Child 252] (plot)
NOTES: Child considers "The Duke of Athol" (="Huntingtower," Laws O23) to be a relative of this song, probably a rewrite. It should be noted, however, that the plots are by no means identical (and it appears that the influence, if any, goes the other way; "Huntingtower" ends with the revelation that the lover is rich, which feature Child considers an addition to "Richie Story"), and there is little lyrical similarity. - RBW
File: C232
===
NAME: Richmond Blues: see Baby, All Night Long (File: CSW172)
===
NAME: Richmond is a Hard Road to Travel
DESCRIPTION: Singer, ostensibly a soldier in the Union army, sings of the difficulties involved in attempting to capture Richmond, VA. The Union generals have all failed badly. The singer wonders who will try next, as the Confederates, "fight like the devil"
AUTHOR: Words: unknown/ Music: Daniel Emmett
EARLIEST_DATE: 1863 (sheet music)
LONG_DESCRIPTION: Singer, ostensibly a soldier in the Union army, sings of the difficulties involved in attempting to capture Richmond, VA. McDowell is defeated by Stonewall Jackson, Fremont gets lost, Banks loses his supplies, the Galena, Monitor and Naugatuck are driven off, McClellan finds it hard going. Lincoln issues his Emancipation Proclamation, Pope is defeated at the second battle of Manassas, and Burnside's men are slaughtered. The singer wonders who will try next, as the Confederates, "fight like the devil"
KEYWORDS: battle Civilwar war derivative
FOUND_IN: US
REFERENCES: (2 citations)
Thomas-Makin', p. 67, (no title) (1 short text, perhaps this though it refers to Jordan rather than Richmond; it looks like a mix of the original and the parody)
DT, RCHMNDHR*
RECORDINGS:
New Lost City Ramblers, "Richmond is a Hard Road to Travel" (on NLCREP4)
BROADSIDES:
LOCSinging, as111720, "Richmond a Hard Road to Travel" or "The New Jordan," unknown, 19C
CROSS_REFERENCES:
cf. "Jordan Am a Hard Road to Travel" (original song, tune)
SAME_TUNE:
Jordan Am a Hard Road to Travel (File: R305) 
NOTES: This parody of Emmett's "Jordan Am a Hard Road to Travel" was composed by an anonymous Confederate sympathizer, probably around 1864. - PJS
Actually, it was 1863. This is shown by the sheet music -- but also by the fact that the last battle mentioned is Fredericksburg (late 1862).
The verse which refers to McDowell is perhaps somewhat deceptive; McDowell was the first commander of what would later be the Army of the Potomac, and led it to defeat (over his protests) at First Bull Run/Manasses (July 21, 1861). The Confederates were commanded by Joseph E. Johnston, who arrived just before the battle with four brigades from the Shenandoah Valley, but the local commander was P.G.T. Beauregard, who usually gets most of the credit. (Though the real problem for the Unionists was that their troops were utterly raw.) Stonewall Jackson was only a brigade commander at Bull Run; his steadiness helped save the Confederates, but affected the overall battle only slightly.
"Wooley-Horse" Fremont and Nathaniel P. Banks commanded forces in the Shenandoah Valley in the Spring of 1862. Neither was competent, and there was no overall Valley strategy or commander, and as a result Stonewall Jackson was able to outmaneuver both (battles such as Kernstown, Mar. 23, 1862, though this was not part of the Valley Campaign proper, and a tactical defeat for the Confederates; McDowell, May 8, 1862; Front Royal, May 23; Winchester, May 25; Cross Keys/Port Republic, June 8-9).
Banks is called "Commissary Banks" because his supply wagons provided so much sustenance to Jackson's soldiers.
The verse about the 1862 campaign on the James River (mentioning the _Galena_, the _Monitor_, and the _Naugatuck_) also tells only part of the story -- omitting, e.g., the whole story of the blockade of Hampton Roads, including the battle of the _Monitor_ and the _Merrimac/Virginia_.
Drewry's Bluff was a high head above the James River below Richmond. It was the key position guarding Richmond against river assault. Union ships started in this direction early in the Peninsular Campaign, but no serious assaults could be contemplated until the waters of Hampton Roads were safe for Union vessels.
It was only after Norfolk was captured and the _Merrimac_ scuttled (May 11) that the Federals were able to sail in force up the James River toward Richmond. The battle at Drewry's Bluff took place on May 15, 1862. The fleet included the new light ironclad _Galena_. (The _Naugatuck_ was a non-ironclad, and of no particular account.) The _Galena_ was anchored below the guns on the bluff -- but her armor plating was not up to the job, and she had to retire damaged after using up her ammunition. The problems with her armor proved so bad that it was later removed and she served the rest of the war as a wooden boat.
The _Monitor_ also tried to take part, but her turret-mounted guns could not elevate enough to hit the target. (The other ships also had trouble in this regard.)
Thus the real moral of this story was not that the Union ships were inferior (in fact, their performance was better than Confederate equivalents) but that seagoing vessels were not equipped to assault land targets well above river level.
The reference to McClellan and the Peninsula is a reference to the Peninsular Campaign of March-July 1862. McClellan took the Army of the Potomac by sea down to the "Peninsula" between the James and York rivers, and set it marching northwest to Richmond. He was delayed for a long time at Williamsburg, where he prepared a regular siege -- but the defender there was Magruder, not Longstreet.
The Peninsula Campaign ended when Robert E. Lee (newly appointed to command the Army of Northern Virginia) tricked McClellan to giving up the siege of Richmond in the Seven Days' Battles (June 25-July 1). It was here that Longstreet (then a senior division commander) and the Hills (A.P. Hill and D. H. Hill, also division commanders) first came to prominence.
Pope is John Pope, appointed to command large portions of McClellan's forces after the Peninsular campaign. He managed to produce an amazing amount of bombast about having his headquarters in the saddle and seeing the enemy's backs -- but had his forces enveloped and smashed at Second Bull Run (August 29-30, 1862). Pope was relieved and sent west.
The song omits the Battle of Antietam (September 17, 1862), in which McClellan threw back Lee's ill-advised invasion of Maryland, returning to the plot at the Battle of Fredericksburg (December 12, 1862), at which the new Federal commander Ambrose Burnside threw pontoon bridges across the Rappahannock River in order to attack Lee in a prepared defensive position. The result, unsurprisingly, was a slaugher.
The song concludes by asking who would be next; the answer was Joseph Hooker, who lost the Battle of Chancellorsville. He was succeeded by George Meade, who won Gettysburg and kept command of the Army of the Potomac until the end of the war. - RBW
File: RcRIHRTT
===
NAME: Richmond on the James
DESCRIPTION: The women mourn the fine men slain "On a blood-red field near Richmond, Richmond on the James." A soldier lies dying as his life-long comrade sadly watches. The dying man sends tokens to his family and sweetheart
AUTHOR: unknown
EARLIEST_DATE: 1941 (Warner)
KEYWORDS: battle Civilwar death farewell
HISTORICAL_REFERENCES: 1862 - Peninsula Campaign. The Union army approaches Richmond for the first time, only to be repelled by Robert E. Lee in the Seven Days' Battles
1864-1865 - Grant's campaign against Petersburg and Richmond, eventually leading to the fall of the city
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Warner 64, "Richmond on the James" (1 text, 1 tune)
DT, RICHJAME*
Roud #4811
NOTES: The notes in Warner speculate that this is an offshoot of "The Dying Ranger" [Laws A14]. This is possible, but no more than that; songs like this are a dime a dozen.
File: Wa064
===
NAME: Riddle Song, The: see I Gave My Love a Cherry
 (File: R123)
===
NAME: Riddles Wisely Expounded [Child 1]
DESCRIPTION: A knight arrives to court three sisters. The youngest goes to bed with him. He promises to marry her if she can answer his riddles. She does, and he either marries her or is revealed as the Devil.
AUTHOR: unknown
EARLIEST_DATE: before 1680 (broadside, Bodleian 4o Rawl. 566(193))
KEYWORDS: courting Devil riddle marriage family questions
FOUND_IN: US(Ap,NE,SE) Britain(England(North,West),Scotland)
REFERENCES: (22 citations)
Child 1, "Riddles Wisely Expounded" (5 texts)
Bronson 1, "Riddles Wisely Expounded" (7 versions)
BarryEckstormSmyth pp. 429-430, "Riddles Wisely Expounded" (scraps and notes only)
Flanders-Ancient1, pp. 45-50, "Riddles Wisely Expounded" (1 text plus two riddle fragments possibly associated with this, 1 tune); also pp. 299-315, "Captain Wedderburn's Courtship" (3 texts plus two fragments, 5 tunes; the "A" text and the F fragment and tune are mixed with "Riddles Wisely Expounded")
Leach, pp. 47-51, "Riddles Wisely Expounded" (3 texts)
McNeil-SFB2, pp. 116-118, "The Devil's Nine Questions" (1 text, 1 tune)
Davis-Ballads 1, "Riddles Wisely Expounded" (1 text; 1 tune entitled "The Devil's Nine Questions") {Bronson's #5}
Davis-More 1, pp. 1-7, "Riddles Wisely Expounded" (1 text plus an excerpt from another, 1 tune)
OBB 9, "The Riddling Knight" (1 text)
Friedman, p. 4, "Riddles Wisely Expounded" (2 texts)
PBB 10, "Riddles Wisely Expounded" (1 text)
Niles 1, "Riddles Wisely Expounded"  (3 texts, 3 tunes, but only the first, "The Devil's Questions," is Child 1)
Lomax-FSNA 86, "The Devil's Nine Questions" (1 text, 1 tune)
Chase, pp. 110-111, "The Devil's Questions" (1 text, 1 tune)
Hodgart, p. 25 ,"Riddles Wisely Expounded" (1 text)
Botkin-SoFolklr, p. 717, "The Devil's Nine Questions" (1 text, 1 tune)
Abrahams/Foss, pp. 86-87, "The Devil's Nine Questions" (1 text, 1 tune)
Chappell/Wooldridge II, pp. 80-81, "Lay the Bent to the Bonny Broom" (1 tune, partial text)
Stokoe/Reay, pp.  56-57, "Lay the Bent to the Bonnie Broom" (1 text, 1 tune) {cf. Bronson's #1 and its comments on Bruce/Stokoe}
Darling-NAS, pp. 18-19, "Riddles Wisely Expounded" (1 text)
BBI, ZN2508, "There was a Lady of the North-Country"
DT 1, JNFRGNTL BONBROMQ* DEVLNINE *
ST C001 (Full)
Roud #161
BROADSIDES:
Bodleian, 4o Rawl. 566(193), "A Noble Riddle Wisely Expounded" or "The Maids Answer to the Knights Three Questions", F. Coles (London), 1674-1679; also Douce Ballads 2(168b), "A Noble Riddle Wisely Expounded" or "The Maids Answer to the Knights Questions"
CROSS_REFERENCES:
cf. "I Gave My Love a Cherry"
SAME_TUNE:
"Lay the Bent to the Bonny Broom" (tune, per broadsides Bodleian 4o Rawl. 566(193) and Douce Ballads 2(168b) -- though that may be just the "tune name" for this song)
ALTERNATE_TITLES:
Jennifer Gentle
There Was a Man Lived in the West
NOTES: This ballad is also, as "Sven Nordmand," found in Danish tradition.
"Lay the Bent to the Bonny Broom", cited in Chappell/Wooldridge, should not be confused with the version of "The Twa Sisters" that uses those words as a refrain. - PJS
File: C001
===
NAME: Riddling Knight, The: see Riddles Wisely Expounded [Child 1] (File: C001)
===
NAME: Ride in the Creel, The: see The Keach i the Creel [Child 281] (File: C281)
===
NAME: Ridge-Running Roan, The
DESCRIPTION: Singer vows to tame a wild horse. After 17 days of pursuit the cowboy ropes him, discovering that at some point he'd been saddled and bridled, but was still wild. The horse eventually throws him and runs back to the ridges with all of his gear
AUTHOR: Curley Fletcher
EARLIEST_DATE: 1931 (Curley Fletcher, "Songs of the Sage")
LONG_DESCRIPTION: Singer hears of a wild horse and vows to tame it. After 17 days of pursuit the horse quits the ridges for softer ground and the cowboy ropes him, discovering that at some point he'd been saddled and bridled, but was still wild. Mounting, "I thought I was up on the hurricane deck/Of an earthquake and cyclone a-havin' a wreck." The horse eventually throws him and runs back to the ridges with all of his gear
KEYWORDS: work animal horse cowboy worker
FOUND_IN: US(Ro)
REFERENCES: (0 citations)
RECORDINGS:
Harry Jackson, "The Ridge-Running Roan" (on HJackson1)
CROSS_REFERENCES:
cf. "Strawberry Roan" (theme)
NOTES: There's clearly a relationship to "Strawberry Roan" (also by Fletcher), but the plots are different enough that I've split them. - PJS
File: RcTRiRuR
===
NAME: Ridin' in a Buggy
DESCRIPTION: "I'm ridin' in a buggy, O yes, O yes, It's a golden bright buggy... O Candy, Candy gal, Woncha hurry, Candy gal, Swing your partner, Candy gal... Now choose two partners... And I wants a good rappin'."
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: dancing courting nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Lomax-FSNA 262, "Ridin' in a Buggy" (1 text, 1 tune)
File: LoF262
===
NAME: Ridin' on de Cable Car
DESCRIPTION: "Come hurry to de wicket And get a first-class ticket Risin' on de cable car." The singer describes the rider's experiences: Paying six cents to be jammed in a crowd on a hot day, having someone step on your toe, being harangued by a politician
AUTHOR: H. O. Lawrence?
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: travel technology
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 509, "Ridin' on de Cable Car" (1 text)
Roud #7593
CROSS_REFERENCES:
cf. "Climbing up the Golden Stairs" (tune)
File: R509
===
NAME: Riding Boy from Powder River
DESCRIPTION: "Riding boy from Powder River Rides the broncs until they shiver, Rides the gals until they quiver, He's the riding boy!"
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: cowboy horse bawdy
FOUND_IN: US(Ro)
REFERENCES: (1 citation)
Ohrlin 39, "Riding Boy from Powder River" (1 fragmentary text, 1 tune)
File: Ohr039
===
NAME: Riding Down to Portsmouth
DESCRIPTION: A sailor falls in love with a pretty maid while "riding down to Portsmouth." After he promises to marry she sleeps with him and steals his gold watch and purse. He leaves the landlord his pony in pawn till he returns from the war.
AUTHOR: unknown
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 20(41))
KEYWORDS: sex theft whore sailor horse trick promise
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1534
RECORDINGS:
Tom Willett, "Riding Down to Portsmouth" (on Voice02)
BROADSIDES:
Bodleian, Harding B 20(41), "Riding Down to Portsmouth," J. Harkness (Preston), 1840-1866; also Harding B 11(1453), "Riding Down to Portsmouth"
NOTES: Probably just as well that wedding didn't come off.... - RBW
File: RcRdDTPo
===
NAME: Riding Herd at Night
DESCRIPTION: "Riding herd at night, a lonely exile singing," the singer falls into waking dreams of "the cot where my love lies dreaming of me." Even as he drives herds in Wyoming (a job he never imagined), his thoughts are in Ireland. He recalls the holidays there
AUTHOR: John Henry Macaulay
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: emigration cowboy work separation homesickness
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H588, pp. 220-221, "Riding Herd at Night" (1 text, 1 tune)
NOTES: Bet you never thought you would see an Irish cowboy song. - RBW
File: HHH588
===
NAME: Riding on a Donkey: see Hieland Laddie (File: Doe050)
===
NAME: Riding on That Train 45: see Reuben's Train (File: Wa133)
===
NAME: Riding on the Dummy
DESCRIPTION: "Of all the ways of travelling, by coach or carryall... the dummy beats them all." People step on each others' toes and bump into each other; people fall in each others' laps; etc. But the singer is happy "Riding on the dummy With the darling I adore."
AUTHOR: Words: Sam Booth/Music: Frederick G. Carnes
EARLIEST_DATE: 1885 (sheet music)
KEYWORDS: courting travel technology
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 511, "Riding on the Dummy" (1 text)
Cohen-LSRail, pp. 485-490, "On the Dummy Line" (about "The Dummy Line (II)," but it includes a cover of the sheet music to this piece)
Roud #7595
NOTES: Randolph reports, "The front part of the streetcars used in California in the early days was open and was called the dummy."
Randolph's text is a curious mixture of themes; the first two verses describe the dangers of riding the dummy; the chorus describes the sights seen from the train and the pleasure of riding with one's darling; the final verse describes the lovers' visit to a park. One suspects a composite text. - RBW
This should not be confused with "The Dummy Line." - PJS
File: R511
===
NAME: Riel's Song
DESCRIPTION: French: "Quand je partis ma chere Henriette, Tu n'avais pas encore quinze ans." The singer (Riel?) left home before Henrietta was fifteen. With the fighting over, he has come home
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: family sister home separation return foreignlanguage
HISTORICAL_REFERENCES: 1870 - Riel's uprising
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 124-126, "Riel's Song" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Chanson de la Grenouillere ('Song of Frog Plain,'Falcon's Song)" (subject)
cf. "Pork, Beans and Hard Tack" (subject)
cf. "The Toronto Volunteers" (subject)
cf. "Between the Forks and Carleton" (subject)
cf. "Chanson de Louis Riel" (subject)
NOTES: Tradition attributes this song to Louis Riel himself. Whether this is true we cannot tell, but the song fits the facts of Riel's life, and Riel is known to have written poetry.
Riel was born in 1844 to a Metis (French-Indian cross-breed) family. In the late 1860s, the new Dominion of Canada began to organize the Red River region. This organization would have broken up the farms and deprived the Metis of their livelihood.
When their protests failed, Riel led a group of Metis to organize a "Republic of the North-West," and set conditions for joining Canada. Unfortunately, Riel made the mistake of executing a man by the name of Thomas Scott. The government sent a force of 1200 men to clear up the situation. In August 1870, Riel fled to the United States and the rebellion ended.
Ironically, the Canadian government granted most of the rights Riel had demanded to the inhabitants of the hastily-reorganized Manitoba district.
Riel was back in Canada by 1871, and earned the informal thanks of the government for helping repel a Fenian raid. But when he was elected to parliament in 1873 and 1874, he was not permitted to take his seat; from 1874 to 1879 he was under formal sentence of banishment. Riel spent the time teaching school in Montana, and for a while was confined to a mental hospital.
In July 1883 Riel returned to Manitoba to attend the wedding of his sister. But in 1884, at the request of the Metis of Saskatchewan (now being pushed out of that province as they had been pushed from Manitoba fifteen years earlier), he organized a second rebellion.
Although the Canadian army had trouble catching up with the Metis and their Indian allies, General Middleton fought skirmishes on April 24 and May 2, then defeated Riel at Batoche on May 12, 1885 when the entrenched Metis ran out of ammunition. After a trial which had something of the air of a circus (his attorneys claimed insanity; Riel himself said -- with some truth -- that he had only been responding to political necessity), Riel was hanged late in that year.
John MacDonald (1815-1891), the Canadian Premier, heard many appeals to commute Riel's sentence, but decided that Riel had to hang to keep Ontario happy. Quebec, however, was outraged, and some historians believe that the decline of the Conservative Party in Canada (until then the dominant political force) dates from Riel's hanging.
For songs about the second rebellion, see "Pork, Beans and Hard Tack," "The Toronto Volunteers," and "Between the Forks and Carleton." There is a second song allegedly by Riel, also dating from this late period, indexed as "Chanson de Louis Riel (Riel's Song II)."
Riel's career was poignant enough that it still inspires songs. Rather better than this, to my mind, is Bill Gallaher's "The Last Battle," recorded by Gordon Bok on "In the Kind Land." - RBW
File: FMB124
===
NAME: Rifleman's Song at Bennington
DESCRIPTION: "Why come ye hither, redcoats? Your mind what madness fills?" The singer warns the British soldiers of danger in America. They are asked if there are no graves in Britain for them. He promises a quick death "If flint and trigger hold but true."
AUTHOR: Words: John Allison / Music traditional, set by John Allison
EARLIEST_DATE: 1962 (recording, Pete Seeger)
KEYWORDS: battle patriotic
HISTORICAL_REFERENCES: Aug 16, 1777 - Battle of Bennington.
FOUND_IN: US
REFERENCES: (3 citations)
Botkin-NEFolklore, pp. 543-544, "Rifleman's Song at Bennington" (1 text, 1 tune)
Silber-FSWB, p. 280, "The Riflemen At Bennington" (1 text)
DT, RIFLEBEN*
RECORDINGS:
Pete Seeger, "Riflemen of Bennington" (on PeteSeeger32)
NOTES: Recorded by John and Lucy Allison. There is no reason to believe this song ever circulated in oral tradition.
The Battle of Bennington was part of John Burgoyne's campaign that ended at Saratoga. Burgoyne had a long supply train, and was forced to forage to supply his troops. He ordered Colonel Friedrich Baum to take about 650 men to raid the Colonial supply center at Bennington.
The colonial leader John Stark is believed to have had about 2000 men, although they were poorly organized (almost all were militia, which in the Revolutionary War translated as "individuals with guns who came and went as they pleased"). This large force surrounded Baum, who ignored them until fired upon, then fought until his ammunition gave out. He was killed as his men tried to cut their way out, and most of the remaining British forces surrendered.
This very nearly doomed Burgoyne's expedition. He could perhaps have retreated -- but that wasn't politically wise. So he sat, and starved, and eventually had to surrender. For further background, see the notes to "The Fate of John Burgoyne." - RBW
File: BNEF543
===
NAME: Riflemen at Bennington, The: see Rifleman's Song at Bennington (File: BNEF543)
===
NAME: Rigby Johnson Chandler
DESCRIPTION: Floating lyrics, united by the refrain "Rigby Johnson Chandler" or  similar. Examples: Old man went out to plow And he hooked up a hog with a Jersey cow"; "Two old maids sitting in the sand"; "[My woman] went to the circus and ran off with the clown."
AUTHOR: unknown
EARLIEST_DATE: 1969
KEYWORDS: nonsense nonballad drink oldmaid floatingverses chickens
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 10, "Rigby Johnson Chandler" (1 text, 1 tune)
Roud #11084
CROSS_REFERENCES:
cf. "Salty Dog" (floating lyrics)
File: FCW010
===
NAME: Rights of Man, The
DESCRIPTION: Shiel dreams of a meeting at Athlone. Granua says "Britannia No more shall rob you of the rights of man." A man from the sky brings a shamrock. Granua promised to free them before long. The meeting parts "in exultation" at daybreak as Shiel wakes 
AUTHOR: Richard Lalor Shiel (1791-1851) 
EARLIEST_DATE: before 1886 (broadside, Bodleian 2806 b.10(214))
KEYWORDS: dream Ireland patriotic religious
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 18, "The Rights of Man" (1 text, 1 tune)
BROADSIDES:
Bodleian, 2806 b.10(214), "Rights of Man" ("I speak in candour, one night in slumber"), H. Such (London), 1863-1885; also 2806 b.9(62), Firth b.26(432), "Rights of Man"
LOCSinging, as111750, "Rights of Man," unknown, 19C
NLScotland, RB.m.143(013), "Shiel's Rights of Man," unknown, c.1870
CROSS_REFERENCES:
cf. "Eileen McMahon" (aisling format)
cf. "Granuaile" (aisling format) and references there
NOTES: Sheil was Daniel O'Connell's chief assistant when O'Connell founded the Catholic Association in 1823. (source: "Roman Catholic Relief Bill" in _The Catholic Encyclopedia_ at the New Advent site. Also see "Richard Lalor Sheil" at the same site.)
Broadsides LOCSinging as111750 and Bodleian 2806 b.9(62) appear to be duplicates.
Broadside NLScotland RB.m.143(013) commentary: "Granua (also spelt Grainne). The daughter of the mythical Irish warrior and folk hero, Finn McCool, Granua is also used as a symbol for Ireland - much like the figure of Britannia is employed as a symbol for Great Britain."
The man from heaven with the shamrock, "the three leaved plant ... it is three in one, To prove its unity in that community, That holds lenity the Rights of Man," could be Saint Patrick. Zimmermann p. 43: "According to a fairly recent legend, St. Patrick held a trefoil [shamrock] as an illustration of the Trinity. The plant had become a religious emblem and a badge of nationality about 1700. In 1778, the Cork Volunteers sang a song entitled 'The Shamrock Cockade', and by then the colour itself had acquired a political meaning."
Broadside LOCSinging as111750 is the basis for the description.
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "Rights of Man" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS
"Strongbow" is Richard de Clare (Richard FitzGilbert), one-time Earl of Pembroke (died 1176), who led the first English invasion of Ireland in 1170.
Tom Paine (1737-1809) published _The Rights of Man_ in 1791-1792, and it was an inspiration to the more intellectual of the 1798 rebels; most histories of the period contain multiple references to his writing. It's ironic to note that Ireland's French allies would imprison Paine for a time during the the quasi-war with the United States -- and even more ironic that Paine's last major work before the 1798 was _The Age of Reason_, which attacked several important Catholic doctrines.
For a discussion of this type of song as a example of the genre known as the "aisling," see the notes to "Granuaile."
There is, of course, a fiddle tune, "The Rights of Man." There is no reason to think the two have anything to do with each other. - RBW
File: BrdTRoM
===
NAME: Rigs of Rye, The: see Two Rigs of Rye [Laws O11] (File: LO11)
===
NAME: Rigs of the Times, The
DESCRIPTION: Chorus: "Honesty's all out of fashion; These are the rigs of the times...." Detailing all the sharp business practices of the day, e.g. the butcher who charges two shillings a pound "and thinks it no sin" -- while placing his thumb on the scale!
AUTHOR: unknown
EARLIEST_DATE: 1905 (Belden)
KEYWORDS: hardtimes poverty lie money landlord
FOUND_IN: Britain(England(Lond,South)) US(MA,MW,NW,SE,So) Canada(Newf) Australia
REFERENCES: (14 citations)
Kennedy 237, "The Rigs of the Time" (1 text, 1 tune)
Belden, pp. 433-434, "Song of the Times" (1 text)
BrownIII 332, "Hard Times" (2 texts plus a fragment and mention of 1 more)
Hudson 89, pp. 215-216, "Hard Times" (1 text)
Gardner/Chickering ,184 ""Hard Times (1 text, 1 tune)
Lomax-ABFS, pp. 332-334, "Hard Times" (1 text)
Fahey-Eureka, pp. 14-16, "The Rigs of the Times" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 206-208, "Hard, Hard Times" (1 text, 1 tune -- a Canadian adaptation created by William James Emberly in 1936 to describe conditions in the Great Depression)
Peacock, pp. 57-59, "Hard Times" (1 text, 2 tunes)
Fowke/MacMillan 17, "Hard, Hard Times" (1 text, 1 tune)
JHCox 183, "Hard Times" (1 text, the first six verses being "Courting the Widow's Daughter" and the last seven being a reduced version, minus the chorus, of "The Rigs of the Times")
Blondahl, pp. 13-14, "Hard, Hard Times" (1 text, 1 tune)
Doyle3, pp. 28-29, "Hard, Hard Times" (1 text, 1 tune)
DT, RIGSTIME*
Roud #876
RECORDINGS:
Omar Blondahl, "Hard, Hard Times" (on NFOBlondahl01,NFOBlondahl02)
Ken Peacock, "Hard Times" (on NFKPeacock)
J. W. "Charger" Salmons & friends: "The Rigs of the Time"  (on Lomax41, LomaxCD1741)
Pete Steele, "The Song of Hard Times" (on PSteele01)
CROSS_REFERENCES:
cf. "Don't Come to Michigan" (lyrics)
cf. "Old David Ward" (lyrics)
cf. "How Can A Poor Man Stand Such Times and Live?" (subject)
cf. "The Steam Doctor" (lyrics)
cf. "Fine Times in Camp Number Three" (lyrics)
NOTES: Most scholars (e.g. Belden, Cox, Kennedy) assume that "The Rigs of the Times" (with chorus "Singing, Honesty's all out of fashion, These are the rigs of the times, times, me boys, These are the rigs of the times") is the same as "Hard Times" (with a short chorus such as "these times, these (hard/queer) times").
Personally, I'm not convinced, as the two seem to fall into very distinct groups. But because the equation is so common, I've followed it in the index. - RBW
Blondahl: "This ... was sent in by Paul Emberly, who informs that the lines were written by his late father." - BS
File: K237
===
NAME: Riley
DESCRIPTION: "Riley, Riley, where are you, Wo, Riley! Wo, ma-an!" "Riley's gone to Liverpool... Riley's gone an' I'm goin too." "Wish I were Cap'n Riley's son... I'd lay around and drink good rum." "Thought I heard my cap'n say... Tomorrow is our sailin' day."
AUTHOR: unknown
EARLIEST_DATE: 1935
KEYWORDS: sailor ship work drink travel
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-FSNA 278, "Riley" (1 text, 1 tune)
NOTES: This is a pastiche of verses from various songs, e.g. "Leave Her, Johnny," "Ginny's Gone to Ohio" (which also has some resemblance in the tune), etc. Lomax related it to "Stormalong" (a connection I don't see). You can probably find other relatives if you look hard enough. - RBW
File: LoF278
===
NAME: Riley Luffsey
DESCRIPTION: "O'Donald and Luffsey (first names Frank and Riley) And Wannigan, known as Dutch..." were true friends and "never too bashful to shoot." "The Marquis de Mores... had recently come from France"; Luffsey dies in a shootout; de Mores is acquitted
AUTHOR: Clell G. Cannon ?
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: murder foreigner trial  accusation
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 238-239, "(Riley Luffsay)" (1 text)
NOTES: It's not as bad as that first line would make you think -- but it's close.
De Mores apparently was a French businessman who set up a cattle operation in North Dakota. It was a bit too big and bustling for the locals, who engaged in a certain amount of petty sabotage. De Mores perhaps fought back a little too vigorously. - RBW
File: Burt238
===
NAME: Riley to Ameriky: see Riley's Farewell (Riley to America; John Riley) [Laws M8] (File: LM08)
===
NAME: Riley's Farewell (Riley to America; John Riley) [Laws M8]
DESCRIPTION: Riley and his sweetheart are forbidden by her father to marry. Aided by the girl's mother, Riley goes to America and buys a plot of land. He comes back; the two set out for America. Their ship is wrecked on the way. Before dying the girl blames her father
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: courting love mother father exile wreck death
FOUND_IN: US(Ap,MW,SE) Canada(Mar,Newf) Ireland
REFERENCES: (19 citations)
Laws M8, "Riley's Farewell (Riley to America; John Riley)"
Warner 147, "John Reilly" (1 text, 1 tune)
SHenry H468, pp. 441-442, "John Reilly the Sailor Lad" (1 text, 1 tune)
OLochlainn-More 7, "Reilly the Fisherman" (1 text, 1 tune)
O'Conor, p. 49, "O'Reilly the Fisherman" (1 text)
LPound-ABS, 39, pp. 89-90, "Jack Riley" (1 text, containing only the beginning portion of the song)
Chappell-FSRA 37, "John Reilly" (1 text, 1 tune)
Huntington-Whalemen, pp. 105-108, "John Riley" (1 text, 1 tune)
Creighton/Senior, pp. 170-171, "Johnny Riley" (4 texts, 3 tunes)
Creighton-Maritime, pp. 102-103, "Young Riley" (1 text, 1 tune)
Creighton-SNewBrunswick 60, "Johnny Riley" (1 text, 1 tune)
Greenleaf/Mansfield 90, "Riley to Ameriky" (1 text)
Peacock, pp. 698-700, "O'Reilly the Fisherman" (1 text, 2 tunes)
Leach-Labrador 13, "John Riley" (1 text, 1 tune)
Karpeles-Newfoundland 45, "Reilly the Fisherman" (1 text, 1 tune)
Lehr/Best 84, "O'Reilly the Fisherman" (1 text, 1 tune)
Fowke/MacMillan 67, "Will O'Riley" (1 text, 1 tune)
Mackenzie 43, "Reilly's Farewell" (1 text)
DT 463, RILYFRWL JREILLY4*
Roud #270
RECORDINGS:
Michael Flanagan, "O'Reilly to America" (on IRClare01)
Mrs. Edward Gallagher, "Young Riley" (on MRHCreighton)
Sarah Anne O'Neill, "John Reilly" (on Voice04)
BROADSIDES:
Bodleian, Harding B 17(257b), "Riley the Fisherman," A. Ryle and Co. (London), 1845-1859; also Firth c.12(287), Firth b.26(209), Harding B 11(1864), Harding B 11(1865), Harding B 11(3286), "Riley the Fisherman"; 2806 c.16(201), "Riley's Farewell"
Murray, Mu23-y4:036, "John Riely," unknown, 19C
NLScotland, L.C.Fol.178.A.2(072), "John Reily," James Lindsay, Glasgow, c. 1870
CROSS_REFERENCES:
cf. "William and Harriet" [Laws M7]
ALTERNATE_TITLES:
Riley the Fisherman
NOTES: Not to be confused with the broken-token "John Riley." [Nor should the] "Young Riley" [versions] be confused with the "Young Riley" that's an alternate title to "O'Reilly from the County Leitrim." - PJS
File: LM08
===
NAME: Rineen Ambush, The
DESCRIPTION: The IRA ambush Black and Tan lorries in Rineen, County Clare. "The Black and Tans put up their hands and the peelers too likewise." "Gallant Irishmen together should unite ... And have another ambush soon to fight the Black and Tans!"
AUTHOR: unknown
EARLIEST_DATE: 1974 (Munnelly/Deasy-Lenihan)
KEYWORDS: rebellion battle patriotic IRA
HISTORICAL_REFERENCES: 1920-1921 - The Black and Tan War
Sep 22, 1920 - A partly successful ambush of Black and Tans by the Mid Clare Brigade of the IRA was followed by a successful retreat (source: Munnelly/Deasy-Lenihan).
FOUND_IN: Ireland
REFERENCES: (1 citation)
Munnelly/Deasy-Lenihan 26, "The Rineen Ambush" (1 text, 1 tune)
Roud #5222
RECORDINGS:
Tom Lenihan, "The Rineen Ambush" (on IRTLenihan01)
NOTES: Munnelly/Deasy-Lenihan: "A large monument now stands at Rineen Cross in memory of that day's events and their appalling aftermath [reprisals by RIC and Black and Tans] which are still embedded deeply in the memory of the people of Clare.
Sir Robert Peel established the Royal Irish Constabulary in 1812 and its success led, in 1829, to the Metropolitan Police Act for London. Originally the term "Peeler" applied to the London constabulary. (source: _Sir Robert "Bobby" Peel (1788-1850)_ at Historic UK site.)
In this song the term is applied to the RIC (Royal Irish Constabulary). - BS 
The Black and Tans (for which see "The Bold Black and Tan") were a special English constabulary recruited to quell Irish violence. They failed, and in fact contributed to the brutality.
For one song about the aftermath to this event, see the notes to "Mac and Shanahan." It will tell you something of the violence of the period that none of the six histories I checked (including three devoted specifically to this period, one of which is largely a catalog of atrocities) mentions any of these events. - RBW
File: RcRinAmb
===
NAME: Ring a Ring o' Roses: see Ring Around the Rosie (File: PHCF227a)
===
NAME: Ring Around o' Rosies: see Ring Around the Rosie (File: PHCF227a)
===
NAME: Ring Around the Rosie
DESCRIPTION: Singing game, with lyrics something like "Ring around the rosie, A pocket full of posies, Ashes, ashes, We all fall down."
AUTHOR: unknown
EARLIEST_DATE: 881 (Greenway's _Mother Goose_, according to Baring-Gould-MotherGoose)
KEYWORDS: nonballad playparty
FOUND_IN: US(MW,NE) Britain(England(All)) Ireland
REFERENCES: (5 citations)
Linscott, pp. 49-50, "Ring Around ' Rosies" (1 text, 1 tune)
Pankake-PHCFSB, p. 227, "Ring Around the Rosy" (1 text, tune referenced)
SHenry H48c, pp. 10-11, "Ring a Ring o' Roses" (1 text, 1 tune)
Opie-Oxford2 443, "Ring-a-ring o' roses" (4 texts)
Baring-Gould-MotherGoose #639, p. 253, "(Ring-a-ring-a-roses)"
ST PHCF227a (Full)
Roud #7925
RECORDINGS:
Pete Seeger, "Ring Around the Rosie" (on PeteSeeger33, PeteSeegerCD03)
NOTES: The words cited here are the ones I learned (I don't remember playing the game, but I've heard the song), and Pankake's text is almost identical. Presumably this is the form most common in the American Midwest. Newell, however, cites older (and presumably more original) forms, and Gomme offers a variety with quite diverse refrains.
Baring-Gould-MotherGoose notes that some have connected this to the Great Plague. But they also observe that this is a very weak link, denied by most who have seriously studied the matter. - RBW
File: PHCF227a
===
NAME: Ring My Mother Wore, The
DESCRIPTION: "This earth has many treasures rare In gems and golden ore, My heart hath one more treasure rare, The ring my mother wore." The child received it from the mother's dying hand, and will treasure it always
AUTHOR: Louis Della?
EARLIEST_DATE: 1927 (Randolph); copyrighted 1860
KEYWORDS: mother death ring
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 699, "The Ring My Mother Wore" (1 text, 1 tune)
Randolph/Cohen, pp. 474-475, "The Ring My Mother Wore" (1 text, 1 tune -- Randolph's 699)
Roud #7372
RECORDINGS:
[Roy Harvey and the] West Virginia Ramblers, "The Ring My Mother Wore" (Champion 16456, 1931)
File: R699
===
NAME: Ring the Bell, Watchman
DESCRIPTION: "High in the belfry the old sexton stands, Grasping the rope in his thin bony hands." He waits until he hears: "Ring the bell, watchman! ring! ring! ring! Yes, yes! the good news is now on the wing... Glorious and blessed tidings. Ring, ring the bell!"
AUTHOR: Henry Clay Work
EARLIEST_DATE: 1966
KEYWORDS: nonballad
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Covell/Brown, pp. 113-114, "Ring the Bell, Watchman" (1 text, 1 tune)
DT, RINGBELL*
Roud #13630
CROSS_REFERENCES:
cf. "Click Go the Shears" (tune)
SAME_TUNE:
Click Go the Shears (File: MA024)
Oh Molly Reilly (Meredith/Covell/Brown, p. 159)
Palmer's Suits (Meredith/Covell/Brown, p. 180)
NOTES: Like many Henry Clay Work songs, the lyrics to this were too vague to gain much hold in tradition, but the tune too good to ignore. There is a sailing parody, "Strike the Bell, Second Mate"; in Australia, it produced the well-known "Click Go the Shears." - RBW
File: DTringbe
===
NAME: Ring-a-ring o' Roses: see Ring Around the Rosie (File: PHCF227a)
===
NAME: Ring-Dang-Doo (I), The
DESCRIPTION: A young woman lets a lad ride her "ring dang doo," is kicked out of her house by her father for losing her maidenhead, and takes up prostitution. In some versions she gives her customers a social disease; in others her career ends when she dies of the pox
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous disease sex whore
FOUND_IN: Australia Canada Britain(England) US(Ap,MA,MW,Ro,So,SW), West Indies
REFERENCES: (2 citations)
Cray, pp. 182-186, "The Ring-Dang-Doo" (3 texts, 1 tune)
Randolph-Legman I, pp. 147-151, "The Rang-a-Tang-Too" (4 texts, 2 tunes)
Roud #1880
RECORDINGS:
Anonymous singers "The Ring-A-Rang-A-Roo" [fragment] (on Unexp1)
CROSS_REFERENCES:
cf. "Rackyman Doo (Ring-Dang-Doo (II))" (euphemism)
NOTES: The first version in Randolph-Legman I (p. 147) is to the unrecognized melody of "The Irish Washerwoman," the second to "The Arkansas Traveler." - EC
File: EM182A
===
NAME: Rinky Dinky Di-Lo
DESCRIPTION: A man loses his "leg," shot off by his mother-in-law; the doctor makes a wooden replacement; but the man cannot wear a spur on it; and things in the family go from bad to worse.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy injury doctor family
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 358-360, "Rinky Dinky Di-Lo" (1 text, 1 tune)
NOTES: This is one of a group of "mal-mariee" songs and ballads, Legman notes in Randolph-Legman I, similar to "I Wish I Was Single Again," "Devilish Mary," etc. - EC
File: RL358
===
NAME: Rinordine: see Reynardine [Laws P15] (File: LP15)
===
NAME: Rio Grande
DESCRIPTION: Shanty. Characteristic line: "[Heave] away, Rio... And we're bound for the Rio Grande." Most versions revolve about a sailor preparing to leave port, and the girl (or girls) he is about to leave behind (with or without regret)
AUTHOR: unknown
EARLIEST_DATE: 1906
KEYWORDS: shanty sailor parting
FOUND_IN: US(MA,NE) Canada(Mar) Britain(England)
REFERENCES: (14 citations)
Doerflinger, pp. 64-66, "Rio Grande" (2 texts, 2 tunes)
Bone, pp. 114-115, "The Rio Grande" (1 text, 1 tune)
Colcord, pp. 86-87, "Rio Grande" (1 text, 1 tune)
Harlow, pp. 111-112, "Rio Grande" (1 text, 1 tune)
Hugill, pp. 87-96, "Rio Grande" (8 texts plus several fragments, 2 tunes; the 5th text is a Norwegian version, "Opsang for 'Preciosa'") [AbEd, pp. 80-87]
Sharp-EFC, XXI, p.24, "Rio Grand" (1 text, 1 tune)
Linscott, pp. 146-148, "Rio Grande" (1 short text, 1 tune)
Shay-SeaSongs, pp. 21-23, "Away, Rio!" (1 text, 1 tune)
Lomax-ABFS, pp. 488-489, "The Rio Grande" (1 text+floating verses, 1 tune)
Smith/Hatt, p. 20, "Bound to Rio" (1 text)
Mackenzie 104, "The Rio Grande" (2 texts, 2 tunes); "I'm Bound For the Rio Grande" (1 text, 1 tune)
Silber-FSWB, p. 93, "Rio Grande" (1 text)
DT, RIOGRAN
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Rio Grande" is in Part 2, 7/21/1917.
Roud #317
RECORDINGS:
Almanac Singers, "Away, Rio" (General 5017A, 1941; on Almanac02, Almanac03, AlmanacCD1)
Fishermen's Group, Cadgwith, "Rio Grande" (on LastDays)
Joseph Hyson, "Rio Grande" (on NovaScotia1)
Minster Singers, "Rio Grande" [medley w. "Blow the Man Down"] (Victor 61148, n.d.; prob. c. 1903)
Capt. Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Away Rio" (AFS 4232 A, 1939; on LC27 as "Rio Grande"; in AMMEM/Cowell)
ALTERNATE_TITLES:
Away for Rio,
Bound for the Rio Grande
Oh, Aye, Rio
NOTES: The "Rio Grande" of this song is almost certainly not the river of southwestern North America, but rather the province Rio Grande do Sul of southern Brazil. - RBW
File: Doe064
===
NAME: Ripest Apple, The
DESCRIPTION: "The ripest apple the soonest rotted, The purest love the soonest cold, A young man's words are soon forgotten...." The singer asks that he speak her name kindly, recalls how they loved, says she will be true, and says she will never find his like
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: lover betrayal separation nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 165, "The Ripest Apple" (1 text)
Roud #6580
CROSS_REFERENCES:
cf. "I Will Put My Ship In Order" (floating lyrics)
File: BrII165
===
NAME: Ripest of Apples: see Wheel of Fortune (Dublin City, Spanish Lady) AND The Drowsy Sleeper [Laws M4] (File: E098)
===
NAME: Ripon Sword-Dance
DESCRIPTION: "Christmas time has now been approaching." The characters have come from far away. Room is made for each and each has his lines: General "Warrington" from Waterloo, Hieland laddie, Tom the tinker, Beelzebub, Big Head, St George and doctor.
AUTHOR: unknown
EARLIEST_DATE: 1980 (recording, The Ripon Sword Dancers)
KEYWORDS: Christmas humorous nonballad
FOUND_IN: Britain(England(North))
REFERENCES: (0 citations)
RECORDINGS:
The Ripon Sword Dancers, "Make Me a Room, For I Am A-Coming" (on Voice16)
NOTES: Hall, notes to Voice16: The Ripon Sword Dancers used this song in their Boxing Day mummers' play completed, in its entirety, in two minutes and fifty seconds. 
For two similar examples of Christmas song/sword-dance/drama see Robert Bell, editor, [The Project Gutenberg EBook (1996) of] Ancient Poems, Ballads and Songs of the Peasantry of England (1857), "The [Wharfdale] Sword-Dancers' Song" ("The first that enters on the floor") and "The [Durham] Sword-Dancers' Song and Interlude" ("Good gentlemen all, to our captain take heed"). - BS
I find myself wondering if this might not be a sort of inland equivalent of thing like the "Pace-Egging Song," which introduces Lord Nelson, Lord Collingwood, and the hands serving under them. Here, it is Wellington ("Warrington,") the land her of Waterloo, as Nelson was the naval hero of Trafalgar. - RBW
File: RcRiSwDa
===
NAME: Ripping Trip, A
DESCRIPTION: About the troubles of a sailing trip to San Francisco, each verse ending "Rip goes the --" (boiler, engine, your money, etc.). The trip features a defective engine, a savage captain, poor food, disease, and poverty
AUTHOR: unknown
EARLIEST_DATE: 1858 (Put's Golden Songster)
KEYWORDS: sea gold mining hardtimes
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 14, "A Ripping Trip" (1 text, 1 tune)
DT, RIPTRIP*
Roud #8059
RECORDINGS:
Logan English, "A Ripping Trip" (on LEnglish02)
CROSS_REFERENCES:
cf. "Pop Goes the Weasel" (tune) and references there
File: FCW014
===
NAME: Rise and Shine
DESCRIPTION: "God said to Noah, there's gonna be a floody, floody.... (So) Rise and shine and give God the glory, glory... Children of the Lord." Noah builds the ark; the animals arrive, including elephants and kangaroos; it rains; it dries up
AUTHOR: unknown
EARLIEST_DATE: 1955 (recording, Pete Seeger)
KEYWORDS: religious flood humorous
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 388, "Rise And Shine" (1 text)
DT, RISESHIN
Roud #11968
RECORDINGS:
Pete Seeger, "Children of the Lord" (on PeteSeeger11)
File: FSWB388A
===
NAME: Rise Me Up from Down Below
DESCRIPTION: Shanty, with chorus "Whiskey-oh, Johnny-oh! Oh, rise me up from down below, down below, oh, oh, oh oh! Up aloft this yard must go, John! Rise me up from down below!" The verses describe "the world down below," where the "fires do roar," etc.
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: shanty Hell
FOUND_IN: US(MA)
REFERENCES: (2 citations)
Doerflinger, p. 47, "Rise Me Up from Down Below" (1 text, 1 tune)
Hugill, pp. 281-282, "Rise Me Up From Down Below" (1 text, 1 tune) [AbEd, p. 207]
ST Doe047 (Partial)
Roud #9440
CROSS_REFERENCES:
cf. "Whiskey Johnny" (identical chorus, different verses celebrating whiskey)
File: Doe047
===
NAME: Rise Up Quickly and Let Me In (The Ghostly Lover)
DESCRIPTION: The singer arrives at his love's window and begs  to come in. She asks who is there. He identifies himself, and she allows him to enter. When he leaves, he rejoices, "For late last night I've been with my lass." In other versions, his ghost bids farewell.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: nightvisit courting
FOUND_IN: Britain(Scotland) Ireland Canada(Mar,Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 34, "The Ghostly Lover" (1 text, 1 tune)
Ord, p. 89, "Hearken, Ladies, and I Will Tell You, Or The Constant Lovers" (1 text)
Kennedy 159, "A Health to All True-Lovers" (1 text, 1 tune)
Creighton-Maritime, p. 63, "Here's a Health To All True Lovers" (1 text, 1 tune)
Roud #3135
RECORDINGS:
John Reilly, "Adieu Unto All True Lovers" (on Voice10)
Belle Stewart, "Here's a Health to all True Lovers" (on Voice06)
CROSS_REFERENCES:
cf. "I Will Put My Ship In Order" (lyrics, theme)
cf. "The Grey Cock, or, Saw You My Father" [Child 248] (plot)
cf. "Love Let Me In (Forty Long Miles; It Rains, It Hails)" (plot)
cf. "Let Me In This Ae Nicht" (plot)
cf. "Willy O!" (theme)
cf. "I'm a Rover and Seldom Sober" (two verses)
NOTES: This is a difficult conundrum, in that there are versions of this song with very similar words but plots with very different directions: One is a nightvisiting song, the other a ghost returning to his love after long absence.
In earlier versions of the Index, I split these two ballads, as "Rise Up Quickly" and "The Ghostly Lover" -- after all, the ghost is a pretty significant change; this was in contradiction to Roud, who lumped them.
Making things trickier still, one important text (Kennedy's) is "I Will Put My Ship In Order" without the first and last verses. It's not just the same plot; it's the same *words*. The two assuredly have a common origin, though in fact the songs have different endings. But fragments could file with other songs.
It is amazing that Kennedy, who is an impossible lumper and included at least one completely unrelated text from Sam Henry in his notes, failed to observe the connection to "I Will Put My Ship In Order." Kennedy's text is incredibly composite in its choruses, taking items from "I'm a Rover and Seldom Sober" and "Love is Teasing." But the Ord text implies that these are not an original part of the song. Many of the other versions have also picked up extraneous material.
The title I have assigned here is not based on any traditional version; I pulled it out of Kennedy's text because the extant titles were so unhelpful and inorganic to the texts.
Adding it all up, I wonder if this could possibly be a mix of "I Will Put My Ship In Order" and some lost Ghostly Lover song. Or is the "Ghostly Lover" version a mix of the nightvisiting version of this song with "The Grey Cock" or something of that type? In any case, it's a mess which admits of no easy solution. - RBW
Greenleaf/Mansfield names its text "The Ghostly Lover" though the ghost does not appear. "Although the words do not seem to bear out the title, the White girls insist this is a song about a lover who was drowned, but rose from his watery grave to see his sweetheart once again." Another ghostly example is John Reilly's "Adieu Unto All True Lovers" on "The Voice of the People, Vol 10: Who's That at my Bed Window?," Topic TSCD 660 (1998): here the text is clearly what we are calling "Rise Up Quickly and Let Me In" with the "where is the blushes" verse from "Willy O!" added to provide the ghost. The discussion of the Costello version in the notes to "The Grey Cock, or, Saw You My Father [Child 248]" give a similar example in which verses of both "Willy O!" and "Rise Up Quickly and Let Me In" are inserted unchanged into another ballad.
"Rise Up Quickly and Let Me In" has distinguishing lines that stand out when verses are imported into another ballad. For example,
... "Who's that at my bed window,
Disturbing me from from my long night's rest?"
"I am your lover; sure pray discover...."
"...I'm wet, love, unto the skin." [as opposed to "I've got wet through all my clothes" in "Love Let Me In (Forty Long Miles; It Rains, It Hails)"].
"I'll be guided without a stumble....
It may begin with a treacherous journey that might have led the traveller to stumble:
"Over hills and lofty mountains,
Oh dear! oh dear! I'm forced to go...."
"Let the night be dark as the very dungeon [or dunghill]..." - BS
File: Ord089
File: Ord089
===
NAME: Rise Up, Shepherd
DESCRIPTION: "There's a star in the east on Christmas morn, Rise up, Shepherd, and follow." The shepherd is advised to "Leave your sheep and leave your lambs" and follow the star to where Jesus is
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: Bible religious shepherd Christmas
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-FSNA 253, "Rise Up, Shepherd" (1 text, 1 tune)
Silber-FSWB, p. 373, "Rise Up, Shepherd, And Follow" (1 text)
Roud #15289
RECORDINGS:
Pete Seeger, "Rise Up, Shepherd, and Follow" (on PeteSeeger37, PeteSeeger42)
NOTES: Although everything mentioned here comes from the Gospels, there is no evidence that the shepherds behaved as described. The star is mentioned only in Matthew (2:2, 9-10), and it seems to have been visible only to the Magi ("Wise Men") -- at least, Herod and his advisors couldn't tell which star it was.
The shepherds who see Jesus, on the other hand, are found only in Luke (2:8-20). They are not guided by the star, but given explicit directions by an angel. - RBW
File: LoF253
===
NAME: Rise Up, Shepherd, and Follow: see Rise Up, Shepherd (File: LoF253)
===
NAME: Rise Ye Up: see Earl Brand [Child 7] (File: C007)
===
NAME: Rise, Ole Napper: see Napper (File: Br3123)
===
NAME: Rising in the North, The [Child 175]
DESCRIPTION: The Earls of Westmoreland and Northumberland, suspected of treason, go into rebellion, bringing in others such as Master Norton. They gather their forces, but are delayed in besieging a castle. Loyal forces defeat the rebels
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: nobility rebellion
HISTORICAL_REFERENCES: 1558-1603 - Reign of Elizabeth I
Nov 14, 1569 - Beginning of the northern rebellion
FOUND_IN: Britain
REFERENCES: (3 citations)
Child 175, "The Rising in the North" (1 text)
Percy/Wheatley I, pp. 266-278, "The Rising in the North" (2 texts, one being that in the Reliques and the other being the manuscript copy)
Leach, pp. 484-488, "The Rising in the North" (1 text)
Roud #4005
CROSS_REFERENCES:
cf. "Northumberland Betrayed by Douglas" [Child 176] (subject)
cf. "The Earl of Westmoreland" [Child 177] (subject)
cf. "Rookhope Ryde" [Child 179] (context)
NOTES: The Percies of Northumberland and the Nevilles of Westmoreland were the great lords of the English north; on those rare occasions they agreed on anything, they could usually take Northumbria with them.
The north was also conservative; Catholicism was strongest there. By 1569, Elizabeth was securely Protestant, and her heir Mary Queen of Scots was in her custody.
The "Rising in the North" did not actually begin in Northumbria; Thomas Howard, the Duke of Norfolk, first contacted the Spanish about giving the throne to Mary. His interest, however, was political (he resented the power of the Cecils); he quickly backed down. (Though he would rebel again in 1571 and be executed.)
With the Duke of Norfolk out of the picture, the northern earls took over. They did not actually demand Elizabeth's overthrow -- but wanted Mary back on the Scottish throne and a restoration of Catholicism in England. The threat to replace Elizabeth with Mary was obvious.
The northern Earls succeeded in raising the north (including even Yorkshire, led by its sheriff Richard Norton), but they did not capture Queen Mary and could not bring the rest of the country to their banner (Holinshed says they gathered about seven thousand men, but even this may be exaggerated; such reports often are).
However large the rebellion was, it was dispersed by the end of December, with the rebels in full flight. Leonard Dacre tried to fan the flames in 1570, but he was easily suppressed. Some eight hundred rebels were executed.
For the sequel to this, see "Northumberland Betrayed by Douglas" [Child 176] and "The Earl of Westmoreland" [Child 177]. - RBW
File: C175
===
NAME: Rising of the Moon, The
DESCRIPTION: "Oh! Then tell me, Sean O'Farrell, Tell me why you hurry so...." The singer is told that the "pikes must be together at the rising of the moon." The pikes gather, but are spotted and defeated. The listeners are told, "we will follow in their footsteps."
AUTHOR: Words: John Keegan Casey (1846-1870)
EARLIEST_DATE: 1867 (reference in _The Nation_, Feb 23, 1867, according to Zimmermann); c.1865 (Zimmermann)
KEYWORDS: rebellion Ireland
HISTORICAL_REFERENCES: 1798 - Irish Rebellion
FOUND_IN: Ireland
REFERENCES: (10 citations)
O'Conor, p. 111, "The Rising of the Moon" (1 text)
PGalvin, p. 35, "The Rising of the Moon" (1 text)
OLochlainn-More 67, "The Rising of the Moon" (1 text, 1 tune)
Zimmermann 69, "The Rising of the Moon" (1 text, 1 tune)
Moylan 117, "The Rising of the Moon" (1 text, 1 tune)
Silber-FSWB, p. 322, "The Rising Of The Moon" (1 text)
Healy-OISBv2, pp. 120-121, "The Rising of the Moon" (1 text, tune on p. 22)
DT, RISEMOON*
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 21-22, 497, "The Rising of the Moon"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 550-551, "The Rising of the Moon" (1 text)
Roud #9634
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Rising of the Moon" (on IRClancyMakem03)
BROADSIDES:
Bodleian, 2806 b.10(189), "The Rising of the Moon," unknown, n.d.; also 2806 b.10(205), "The Rising of the Moon"
CROSS_REFERENCES:
cf. "The Wearing of the Green (I)" (tune) and references there
cf. "Bannow's Bright Blue Bay" (tune)
NOTES: John Keegan Casey was a nineteenth century Irish patriot. He wrote this song in prison, where he died at the age of twenty-three. He was regarded as being very promising, but of course died very young; this is the only piece of his to have any wide circulation.
The reference to "pikes" accurately shows one of the problems of the 1798 rising. The rebels in Wicklow, for instance, had over ten thousand men enlisted to their cause -- and guns for only a thousand of them, and too little powder even for that thousand weapons.
Their alternative was the pike. These they had in sufficiency, since local blacksmiths could and did make them. And they also had the advantage of being easy to use: An illiterate farmer boys wouldn't know how to use a musket, but (in theory) anyone could figure out how to stick an enemy with a pike.
Of course, against real soldiers armed with firearms, they would have been quite useless. Pikes had been a genuine military weapon at the time of the last great battles in Ireland, the Boyne and Aughrim (see G.A. Hayes-McCoy, _Irish Battles: A Military History of Ireland_, pp. 219-220), but the ratio of musketeers to pikemen had been steadily rising; even at the Boyne, there were some regiments on the Williamite side with no pikes at all. And, by 1798, the bayonet had replaced the pike in all modern armies.
Still, the British were doing what they could to stop even pike production; Viceroy Camden was concerned about the way blacksmiths were turning them out (see Robert Kee, _The Most Distressful Country_, Volume 1 of _The Green Flag_, p. 68).
To add to the problems, the leadership of the United Irishmen were almost all in British custody by the time the of the 1798 uprising. The uprising was almost forced; the British were determined to root out all hints of rebellion; rather than be rounded up, the local cells went into revolt. But they no longer had leaders to coordinate their activities. - RBW
OLochlainn-More, pp. viii-ix: "John Keegan Casey's 'Rising of the Moon' had to be included for the spendid air my grandfather John Carr of Limerick had to it. (I hate to hear it sung to 'The Wearing of the Green' -- a tune which does not suit at all)." The OLochlainn-More tune is very much the tune as I remember Richard Dyer-Bennet singing it in the early 1950's (probably the one available on the 1957 LP Dyer-Bennet 4000). - BS
File: PGa035
===
NAME: Rising Sun, The: see The House of the Rising Sun (File: RL250)
===
NAME: Risselty, Rosselty, Now, Now, Now: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: River in the Pines, The: see The River through the Pines (File: LoF056)
===
NAME: River Lea, The
DESCRIPTION: Capstan shanty. One fine day in May sailor finds himself broke and ships aboard the (River Lea). He spends the rest of the song (and presumably rest of the voyage) singing of all things he won't do any more once this voyage is over.
AUTHOR: Sam Peck ?
EARLIEST_DATE: 1938 (Colcord)
KEYWORDS: shanty sailor ship
FOUND_IN: US Britain
REFERENCES: (2 citations)
Colcord, pp, 181-182, "The River Lea" (1 text, 1 tune)
Hugill, pp. 586-589, "The River Lea," "The Anglesey" (2 texts, 2 tunes -- the first being quoted from Colcord) [AbEd, pp. 406-409]
ST Hugi589 (Partial)
Roud #351
CROSS_REFERENCES:
cf. "Dixie Brown" [Laws D7] (similar story)
NOTES: Colcord says this was composed by a shantyman named Sam Peck. It obviously bears some relation to "Dixie Brown," though it has no mention of shanghaiing or robbery. Hugill also mentions (though does not corroborate) Colcord's claim, and states that it was quickly pulled into the popular shanty repertoire for use at the capstan. - SL
File: Hugi589
===
NAME: River of Jordan, The
DESCRIPTION: Jesus meets John the Baptist, is baptized. King Naaman, a leper, calls for Elijah, he is to dip in Jordan and "wash your spots away."  Jordan is far away, so the singer will find "an altar in an old-fashioned church/and my River of Jordan that will be"
AUTHOR: unknown
EARLIEST_DATE: 1963 (recording, Poplin Family)
KEYWORDS: disease Bible religious Jesus
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Poplin Family, "The River of Jordan" (on Poplin01)
NOTES: Probably recently-composed, but it may be entering the tradition. - PJS
It certainly has enough errors to be traditional. The story of Jesus meeting John the Baptist is found in Matthew 3, Mark 1, Luke 3; compare John 1.
Naaman's leprosy is found in 2 Kings 5. He was not a king but a general in the service of the King of Damascus. And he did not consult with Elijah but Elisha -- and Elisha volunteered to be consulted; Naaman had been sent to the King of Israel to be cured. - RBW
File: RcTroJor
===
NAME: River of Life
DESCRIPTION: "Soon we'll come to the end of life's journey, And perhaps we'll never meet anymore, Till we get to heaven's bright city, Far away on the beautiful shore." A description of the beauties of heaven, where the singer obviously expects to go
AUTHOR: unknown
EARLIEST_DATE: 1951 (Warner)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 85, "River of Life" (1 text, 1 tune)
ST Wa085 (Partial)
Roud #16394
RECORDINGS:
Buna Vista Hicks, "River of Life" (on USWarnerColl01)
File: Wa085
===
NAME: River Roe (I), The
DESCRIPTION: The singer wanders by the river, and comes by the Roe Mill, where Captain Moody and his workers are about their tasks. The singer must return home, but the Roe holds him entranced
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: rambling river nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H649, p. 171, "The River Roe (I)" (1 text, 1 tune)
Roud #13531
File: HHH649
===
NAME: River Roe (II), The
DESCRIPTION: The singer asks what place can "match the dark Roe." The singer recalls the history of Cooey na Gal and the church at Dungiven, then describes all the places along the Roe until the "tired" river flows into Loch Foyle.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: river nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H629, p. 171-172, "The River Roe (II)" (1 text, 1 tune)
Roud #13532
CROSS_REFERENCES:
cf. "The Banks of the Roe" (for Cooey-na-Gal) and references there
NOTES: For "Cooey-na-Gal" O'Cahan and Dungiven Priory, see the notes on "The Banks of the Roe." - RBW
File: HHH629
===
NAME: River Roe (III), The
DESCRIPTION: A nobleman's son meets a servant maid he won't name. "But her master's habitation is on the river Roe." He proposes. She promises to meet him the next day. They meet, she agrees, and they marry the next evening. "She has servants to attend her"
AUTHOR: unknown
EARLIEST_DATE: before 1863 (broadside, Bodleian Harding B 11(152))
KEYWORDS: courting marriage nobility servant river
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, pp. 47-48, "The River Roe" (1 text)
BROADSIDES:
Bodleian, Harding B 11(152), "The River Roe", H. Such (London), 1849-1862; also 2806 b.9(236), 2806 b.11(202), Harding B 19(79), 2806 c.15(78), Harding B 26(578), 2806 b.11(230), 2806 b.11(206), "The River Roe"
NOTES: A number of Bodleian broadsides have dropped the first two lines (something like "As I went out one evening all in the month of May, When Flora's flowering mantle had deck'd the meadow gay", or lines ending in "June" and "bloom") and start with the third line in O'Conor: "I espied a lovely fair one, and her did not know." - BS
File: OCon047
===
NAME: River through the Pines, The
DESCRIPTION: "O Mary was a maiden when the birds began to sing, She was sweeter than the blooming rose so early in the spring...." She loves (Charlie), a shanty boy; the two are married. But he dies at his work; they are buried together
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: love courting marriage separation work logger death burial
FOUND_IN: US(MW) Canada(Ont,Que)
REFERENCES: (3 citations)
Rickaby 30, "The River in the Pines" (1 text, 1 tune)
Lomax-FSNA 56, "The River in the Pines" (1 text, 1 tune)
Fowke-Lumbering #37, "The River through the Pine" (2 texts, 2 tunes)
ST LoF056 (Partial)
Roud #669
ALTERNATE_TITLES:
The Town of Brandywine
NOTES: As "The River in the Pines," this song is item dC33 in Laws's Appendix II. - RBW
File: LoF056
===
NAME: River-Driver's Lament, The (I Am a River Driver)
DESCRIPTION: I went lumbering at sixteen and courted a pretty girl who caused me to roam. "Sure I'm a river driver and I'm far away from home." "Now I'm old and feeble and in my sickness lie Just wrap me up in my shanty blankets and lie me down to die."
AUTHOR: unknown
EARLIEST_DATE: As an entity, 1959 (Peacock); Fowke's fragment dates to 1958
KEYWORDS: courting death lumbering drink rambling floatingverses logger
FOUND_IN: Canada(Newf,Ont)
REFERENCES: (2 citations)
Peacock, pp. 759-760, "The River Driver's Lament" (1 text, 1 tune)
Fowke-Lumbering #59, "I Am a River Driver" (1 fragment, 1 tune)
Roud #4564
NOTES: Floating verses include adaptations of "I'll eat when I'm hungry", "Build me a castle" and "I'm ... and a long way from home" and "wrap me up in my shanty blankets." - BS
Fowke's very short text ("I'll eat when I'm hungry and drink when I'm dry; If the water don't drown me I'll live till I die, If the water don't drown me while over it I roam, For I am a river driver and far away from home") could be just a lumberjack adaption of "Rye Whiskey," but it's close enough to Peacock to allow us to tentatively lump them. - RBW
File: FowL69
===
NAME: River's Up and Still A-Rising
DESCRIPTION: "River's up and still a-rising, Just got back from a negro baptizing." "Farewell, mourners (x2), Goodbye, I'se gwine to leave you behind." Most verses are about improbable dress: "Had an old hat, had no brim, Looked like a blue jay sitting on a limb."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: humorous river nonballad clothes bird
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 326, "River's Up and Still A-Rising" (1 text)
Roud #16840
File: Br3326
===
NAME: Riverhead La'nchin' on Jubilee Day, The
DESCRIPTION: Men come from all around St Mary's Bay and as far as St John's on Jubilee Day "for to help Uncle Steve get the craft under way." Once the ship was "out in Riverhead Arm... we cheered for the King." There are toasts all around.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Peacock)
KEYWORDS: ship moniker
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 882-883, "The Riverhead La'nchin' on Jubilee Day" (1 text, 1 tune)
Roud #9809
NOTES: This must be the Silver Jubilee Day for King George V, May 6, 1935. St Mary's Bay is on the southern shore of the Avalon Peninsula. - BS
File: Pea882
===
NAME: Riverhead Line: see The Bonavist Line (File: Pea768)
===
NAME: Rivers of Texas, The (The Brazos River)
DESCRIPTION: The singer lists the various rivers of Texas he has seen, noting that "Down by the Brazos I courted my dear." But now she has left him, and "I never will walk by the Brazos no more."
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: love courting separation river
FOUND_IN: US(MW,So)
REFERENCES: (2 citations)
Randolph 201, "The Brazos River" (1 text, 1 tune)
DT, RIVTEXAS*
Roud #4764
RECORDINGS:
Art Thieme, "Down by the Embarass" (on Thieme02) (on Thieme05)
ALTERNATE_TITLES:
Down by the Embarras (Illinois version)
The Rivers of Georgia
NOTES: Paul Stamler notes that there are "non-Texas" versions of this song (see the alternate titles), though I have never encountered them. I know that at least one modern "folk" composer has created a localized version; I suspect the traditional versions are of similar origin. Though I am not sure which is the original. - RBW
As far as I can tell, the Texas version was first. I also gather someone tried to rewrite it for Nebraska, but they didn't have enough rivers to finish a verse. - PJS
File: R201
===
NAME: Road to Dundee, The
DESCRIPTION: "Cauld wind was howling o'er moor and o'er mountain"  when the singer meets a girl asking her way to Dundee. He says he can't easily tell her, but will show her the way. As they approach the town, they exchange tokens and part. And no, they *don't* marry
AUTHOR: Mackay (per OLochlainn)
EARLIEST_DATE: 1913 (OLochlainn)
KEYWORDS: travel courting
FOUND_IN: Britain(Scotland) Ireland
REFERENCES: (3 citations)
Ord, pp. 152-153, "The Road to Dundee" (1 text, 1 tune)
OLochlainn 95, "Sweet Carnloch Bay" (1 text, 1 tune)
DT, ROADDUND* RDUND2
Roud #2300
File: Ord152
===
NAME: Road to Heaven, The
DESCRIPTION: "The road to heaven by Christ was made, With heavenly truth the rails are laid, From earth to heaven the line extends... I'm going home to die no more." The Christian life is compared to a railway: "The Bible is the engineer," "God's love the fire," etc.
AUTHOR: unknown
EARLIEST_DATE: 1854 (Chamber's Journal, according to Cohen)
KEYWORDS: railroading religious nonballad
FOUND_IN: US(So)
REFERENCES: (3 citations)
Cohen-LSRail, pp. 605-610, "I'm Going Home to Die No More/The Railway Spiritualized" (2 texts plus 2 broadside prints, 1 tune)
Belden, p. 468, "The Railroad to Heaven" (1 text)
Randolph 600, "The Road to Heaven" (1 text)
Roud #7940
RECORDINGS:
Blue Ridge Gospel Singers (Buell Kazee, Lester O'Keefe, and others), "I'm Going Home to Die No More" (Brunswick 152, 1927)
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(024), "The Spiritual Railway" ("The line to Heaven by Christ was made"), James Lindsay (Glasgow), c. 1855.
ALTERNATE_TITLES:
The Spiritual Railroad
File: R600
===
NAME: Road to the Isles, The
DESCRIPTION: The singer hears "a far croonin'" calling him back to the Hebrides. He lists the places he will visit on his way home, and says, "If it's thinkin' in your inner heart the braggart's in my step, You've never smelt the tangle o' the Isles."
AUTHOR: Words: Kenneth Macleod
EARLIEST_DATE: 1917 (Kennedy-Fraser)
KEYWORDS: home nonballad travel
FOUND_IN: 
REFERENCES: (2 citations)
Kennedy-Fraser II, pp. 240-241, "The Road to the Isles" (1 text, 1 tune)
DT, RDISLES*
NOTES: On its face, this is just another pseudo-folksong by Kenneth Macleod to a Hebridean tune, but my father seems to have learned it orally. I suppose it was from some radio program, but who can tell? When in doubt, we index -- and add apologetic notes like these. - RBW
File: KFrII240
===
NAME: Roast Beef of Old England, The
DESCRIPTION: "When mighty roast beef was the Englishman's food, It ennobled our hearts and strengthened our blood." The singer complains about the new-fangled French ragouts, and recalls the good old days of Queen Elizabeth, the Armada -- and beef
AUTHOR: Richard Leveridge (c. 1670-1758)
EARLIEST_DATE: 1855 (Chappell), but known to be in use at least a century before that
KEYWORDS: food royalty battle
HISTORICAL_REFERENCES: 1558-1603 - Reign of Elizabeth (I)
1588 - Voyage of the Spanish Armada
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Chappell/Wooldridge II, pp. 95-96, "The Roast Beef of Old England" (1 text, 1 tune)
NOTES: Not, as far as I can tell, an actual folk song -- but, prior to the adoption of "God Save the King," this was as close as England, and particularly the English navy, came to having an anthem. It probably belongs here on that basis. - RBW
File: ChWII095
===
NAME: Rob Roy [Child 225]
DESCRIPTION: Rob Roy comes to the lowlands and captures a wealthy lady. He orders her to marry him; she refuses. He prepares to kidnap her, and allows no delay. They are married without her consent. He describes his valor and bids her be content
AUTHOR: unknown
EARLIEST_DATE: 1803
KEYWORDS: marriage abduction rejection
HISTORICAL_REFERENCES: Dec 8-9, 1750 - Abduction of Jean Key by Robert MacGregor
FOUND_IN: Britain(Scotland(High)) US(NE)
REFERENCES: (5 citations)
Child 225, "Rob Roy" (12 texts)
Bronson 225, "Rob Roy" (3 versions)
BarryEckstormSmyth p. 296, "Rob Roy" (1 text, possiby derived from print)
Leach, pp. 583-585, "Rob Roy" (1 text)
DT 225, ROBROY
Roud #340
NOTES: This song is accurate enough as far as it goes, but far from complete. Rob Oig ("Young") was the fifth son of Walter Scott's Rob Roy, and a real desperado. In 1736 (when he was perhaps no older than twelve), he shot a trespasser and was outlawed when he refused to appear in court.
After spending time in the British army, he returned to England and married for the first time (despite still being outlawed). When this wife died, he and his brothers determined to marry him to Jean Key, a wealthy widow of nineteen. This rough wooing took place as described in the ballad.
In the sequel, the MacGregors were forced to release Jean Key (who died within a year), and both James MacGregor (who organized the plot) and Robert MacGregor were eventually brought to trial; James escaped, but Robert was executed in 1754. - RBW
File: C225
===
NAME: Robber Hood's Death: see Robin Hood's Death [Child 120] (File: C120)
===
NAME: Robber, The: see The Wild and Wicked Youth [Laws L12] (File: LL12)
===
NAME: Robbie Tampson's Smitty: see Robin Tamson's Smiddy [Laws O12] (File: LO12)
===
NAME: Robert Barnes Fellow Fine: see John Smith My Fellow Fine (File: SNR026)
===
NAME: Robert's Farm: see Down on Penny's Farm (File: LoF147)
===
NAME: Robin Adair
DESCRIPTION: "What's this dull town to me? Robin's not near." The singer laments her missing Robin Adair, who is her only source of joy and mirth, who "made this town heaven and earth."
AUTHOR: Words: Lady Caroline Keppel
EARLIEST_DATE: 1793 (Edinburgh Musical Miscellany)
KEYWORDS: love separation
FOUND_IN: Britain
REFERENCES: (2 citations)
Fuld-WFM, p. 468, "Robin Adair"
DT, ROBADAIR  (cf. EILAROO.NOT)
Roud #8918
RECORDINGS:
Inez Barbour, "Robin Adair" (Phono-Cut 5198, c. 1915)
CROSS_REFERENCES:
cf. "Eileen Aroon" (tune)
cf. "Sadly to Mine Heart Appealing" (portions of Stephen Foster's tune)
NOTES: This is perhaps not a folk song in its own right. But as it uses the same melody as "Eileen Aroon," which pretty definitely does belong, I thought it best to include it.
Lady Caroline Keppel fell in love with Robin Adair (a surgeon, and so presumably below her station) in the 1750s, and wrote this song in consequence. She was eventually permitted to marry him (only to die in 1769 at the age of 32), but at the time the song was written, she thought she would not be allowed to wed Robin. - RBW
File: DTrobada
===
NAME: Robin and John: see Robin Hood and Little John [Child 125] (File: C125)
===
NAME: Robin Hood and Allen a Dale [Child 138]
DESCRIPTION: Robin observes a young man cheery one day, downcast the next. He is Allen a Dale; his bride-to-be has been betrothed to another. Robin goes in disguise to the church on the wedding day, calls in his men, and ensures she marries Allen after all.
AUTHOR: unknown
EARLIEST_DATE: 1723
KEYWORDS: Robinhood disguise love marriage
FOUND_IN: 
REFERENCES: (8 citations)
Child 138, "Robin Hood and Allen a Dale" (1 text)
Bronson 138, comments only; cf. cf. Chappell/Wooldridge I, p. 173, "[Drive the cold winter away]"
Leach, pp. 397-400, "Robin Hood and Allen a Dale" (1 text)
OBB 121, "Robin Hood and Alan a Dale" (1 text)
PBB 68, "Robin Hood and Allen a Dale" (1 text)
DBuchan 51, "Robin Hood and Allen a Dale" (1 text)
BBI, RZN8, "Come listen to me, you gallants so free"
DT 138, RHALANAD
Roud #3298
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
This particular part of the Robin Hood story seems to have arisen in the seventeenth century. In the earliest versions of the legend (Sloane MS.), the betrayed lover is not Allen but Scarlock. But by the nineteenth century, Allen's name had become a regular part of the legend. - RBW
File: C138
===
NAME: Robin Hood and Arthur O'Bland: see Robin Hood and the Tanner [Child 126] (File: C126)
===
NAME: Robin Hood and Guy of Gisborne [Child 118]
DESCRIPTION: Little John and Robin separate; Little John is taken after trying to stop an invasion by the Sheriff. Meanwhile, Robin meets Guy; they fight, and Robin slays Guy. He then takes his clothes and horn and rescues John
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: Robinhood outlaw fight rescue
FOUND_IN: US(SE)?
REFERENCES: (9 citations)
Child 118, "Robin Hood and Guy of Gisborne" (1 text)
Bronson 118, comments only; cf. Chappell/Wooldridge I, p. 277, "The Chirping of the Lark" (1 tune)
Percy/Wheatley I, pp. 102-116, "Robin Hood and Guy of Gisborne" (1 text)
BrownII 32, "Robin Hood and Guy of Gisborne" (1 text, said in the Brown collection to "certainly derive" from this piece, but this is a stretch. It may be this, but it is only a disordered fragment, which looks to me to combine aspects of several Robin Hood ballads; the only real link with this is the reported title "Robin Hood and Guy of Gusborne")
Leach, pp. 334-340, "Robin Hood and Guy of Gisborne" (1 text)
OBB 116, "Robin Hood and Guy of Gisborne" (1 text)
Gummere, pp. 68-76+320-321, "Robin Hood and Guy of Gisborne" (1 text)
TBB 26, "Robin Hood and Guy of Gisborne" (1 text)
DT 118, RHGISBOR
Roud #3977
NOTES: This is considered by J. C. Holt (following Child and others), to be one of the five "basic" Robin Hood ballads. (The earliest known copy (from the Percy folio) is somewhat corrupt, but shows survivals of a much older text, and seems to be at least two centuries older than the manuscript. It is noteworthy that a fragment of the same story, in dramatic form, appears on the back of a slip of financial sheets from 1475/6 C.E. For more details on chronology see the notes on "A Gest of Robyn Hode" [Child 117]).
Bronson notes that Chappell associated a tune with this piece, but that the association was Chappell's own, on weak grounds, and therefore does not cite the melody. - RBW
File: C118
===
NAME: Robin Hood and Little John [Child 125]
DESCRIPTION: Robin Hood meets John Little on a bridge. They agree to fight until one falls into the brook. Robin is dunked. He blows his horn for his men and offers John a place among them. John accepts and is re-named Little John, though he is seven feet tall.
AUTHOR: unknown
EARLIEST_DATE: 1624 (Stationer's Register)
KEYWORDS: Robinhood outlaw fight
FOUND_IN: Britain(England(South),Scotland(Aber)) US(Ap,MW,SE) Canada(Mar)
REFERENCES: (9 citations)
Child 125, "Robin Hood and Little John" (1 text)
Bronson 125, "Robin Hood and Little John" (2 versions+ 1 in addenda)
Creighton/Senior, p. 67, "Robin Hood and Little John" (1 fragment)
Creighton-Maritime, pp. 19-20, "Robin Hood and Little John" (1 text, 1 tune)
Leach, pp. 366-372, "Robin Hood and Little John" (2 texts)
Friedman, p. 339, "Robin Hood and Little John" (1 text)
Niles 45, "Robin Hood and Little John" (1 text, 1 tune)
BBI, RZN22, "When Robin Hood was about twenty Years old"
DT 125, RHLITJON*
Roud #1322
RECORDINGS:
John Strachan, "Robin Hood and Little John" (on FSB5, FSBBAL2) {Bronson's #1}
BROADSIDES:
Bodleian, Douce Ballads 3(125a), "Robin Hood and Little John," C. Sheppard (London), 1791 [barely legible]
ALTERNATE_TITLES:
Robin and John
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle.
This is one of the few Robin Hood ballads with a genuinely traditional tune (two, in fact), though one of the texts may have been influenced by print. - RBW
File: C125
===
NAME: Robin Hood and Maid Marian [Child 150]
DESCRIPTION: Robin, while Earl of Huntingdon, woos Maid Marian. Then, outlawed, he keeps to the wood, disguised. She dresses as a page to seek him. They meet and fight, unrecognized, till both are wounded. He calls a halt, she knows his voice, they celebrate.
AUTHOR: unknown
EARLIEST_DATE: 1795 (Ritson)
KEYWORDS: Robinhood love courting fight disguise
FOUND_IN: 
REFERENCES: (4 citations)
Child 150, "Robin Hood and Maid Marian" (1 text)
Bronson 150, comments only
Leach, pp. 423-425, "Robin Hood and Maid Marian" (1 text)
BBI, RZN3, "A bonny fine maid of noble degree"
Roud #3992
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
It is noteworthy that Marion is not an original part of the Robin Hood legend. Where she came from must remain a matter of speculation.
J. C. Holt (_Robin Hood_, p. 160) believes that the story of Robin and Marian derives from Adam de la Halle's thirteenth century play "Robin et Marion." In this romance, Marian is a shepherdess whose fidelity to Robin causes her to fend off a lusty knight. This legend entered the French May Games, and was used by John Gower. At some point Marian became Queen of the May Games. With Robin also a character in the games, their union was almost inevitable.
In fact, things may not be that complex. Tauno F. Mustanoja, in "The Suggestive Use of Christian Names in Middle English Poetry" (published in Jerome Mandel and Bruce A. Rosenberg, eds., _Medieval Literature and Folklore Studies_) notes that Robin and Marion are typical names for rustic lovers in French and English romance. If Robin were to find a lover, the name Marion was almost to be expected.
The Broadside Index notes that this piece is "Smithson's parody of Robin Hood ballads."
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C150
===
NAME: Robin Hood and Queen Katherine [Child 145]
DESCRIPTION: The king proposes a wager with Queen Katherine, his archers against any she may choose. She sends for Robin and his men, giving them false names. They win and are revealed but the king has promised not to be angry with any in the queen's party.
AUTHOR: unknown
EARLIEST_DATE: 1656 (Stationer's Register)
KEYWORDS: Robinhood contest trick royalty
FOUND_IN: 
REFERENCES: (4 citations)
Child 145, "Robin Hood and Queen Katherine" (3 texts)
Bronson 145, (extensive) comments only
Leach, pp. 413-417, "Robin Hood and Queen Katherine" (1 text)
BBI, RZN10, "Gold tane from the Kings harbengers"
Roud #72
CROSS_REFERENCES:
cf. "Robin Hood's Chase [Child 146]"
NOTES: There is no historical "Queen Katherine"; the wife of King Stephen (1135-1154) was Matilda; the wife of Henry II (1154-1189, the first king usually associated with Robin Hood) was Eleanor of Aquitaine; Richard I (1189-1199) married Berengeria of Navarre; John (1199-1216) has as his primary wife Isabella of Angouleme; Henry III (1216-1272) married Eleanor of Provence; Edward I (1272-1307) married first Eleanor of Castile and then Margaret. By this time the longbow was established, and Robin Hood's exploits with the bow would no longer have been noteworthy. Leach speculates that one of Henry VIII's wives (either Catherine of Aragon or Catherine Howard) is meant!
The sequel to this story is told in Child 146, "Robin Hood's Chase."
For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C145
===
NAME: Robin Hood and the Beggar (I) [Child 133]
DESCRIPTION: Robin meets a beggar who asks charity. They fight. The beggar wins. Robin gives him his horse and clothes, goes on to Nottingham in the beggar's attire. There he finds three of his band are to be hanged. He blows his horn to summon his men who rescue them
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood begging execution rescue disguise
FOUND_IN: 
REFERENCES: (3 citations)
Child 133, "Robin Hood and the Beggar I" (1 text)
Bronson 133, comments only
Leach, pp. 385-388, "Robin Hood and the Beggar, I" (1 text)
Roud #3391
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C133
===
NAME: Robin Hood and the Beggar (II) [Child 134]
DESCRIPTION: Robin asks money of a beggar who answers disdainfully. They fight. The beggar wins and goes off. Robin is found by three of his men. He sends two to avenge his disgrace. They ambush the beggar, but he bribes and tricks them and gets away.
AUTHOR: unknown
EARLIEST_DATE: 1795
KEYWORDS: Robinhood fight rescue escape trick money
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Child 134, "Robin Hood and the Beggar II" (1 text)
Bronson 134, "Robin Hood and the Beggar II" (1 version)
Leach, pp. 388-397, "Robin Hood and the Beggar, II" (1 text)
Roud #3392
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C134
===
NAME: Robin Hood and the Bishop [Child 143]
DESCRIPTION: Robin sees a bishop with a large company and fears to be taken. He appeals to an old wife, trades clothes with her, returns to his men. She is taken for him, but they rescue her, take money from the bishop, make him say mass and ride away backwards.
AUTHOR: unknown
EARLIEST_DATE: 1656 (Stationer's Register)
KEYWORDS: Robinhood clergy disguise rescue
FOUND_IN: 
REFERENCES: (6 citations)
Child 143, "Robin Hood and the Bishop" (1 text)
Bronson 143, comments only
Flanders-Ancient3, p. 117, "Robin Hood and the Bishop" (1 fragment of a single line, identified as this seemingly by title; there is no real reason to think it is this ballad)
Leach, pp. 408-411, "Robin Hood and the Bishop" (1 text)
Niles 47, "Robin Hood Rescuing Three Squires" (2 texts, 2 tunes, of which only the second could be this ballad, and even it is mixed with Child 140)
BBI, RZN5, "Come gentlemen all, and listen a while"
Roud #3955
CROSS_REFERENCES:
cf. "Robin Hood and the Bishop of Hereford" (plot, lyrics)
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C143
===
NAME: Robin Hood and the Bishop of Hereford [Child 144]
DESCRIPTION: The Bishop of Hereford enters Barnsdale and finds Robin Hood killing a deer. He tries to convince Robin Hood to come before the king. Robin refuses, gives the Bishop dinner, and then extracts the price -- several hundred pounds, plus a dance or a mass
AUTHOR: unknown
EARLIEST_DATE: 1749
KEYWORDS: Robinhood hunting clergy money
FOUND_IN: Britain(England(South))
REFERENCES: (6 citations)
Child 144, "Robin Hood and the Bishop of Hereford" (2 texts)
Bronson 144, "Robin Hood and the Bishop of Hereford" (3 versions)
Leach, pp. 411-413, "Robin Hood and the Bishop of Hereford" (1 text)
OBB 120, "Robin Hood and the Bishop of Hereford" (1 text)
PBB 70, "Robin Hood and the Bishop of Hereford" (1 text)
DT 144, RHOODBSH*
Roud #2338
CROSS_REFERENCES:
cf. "Robin Hood and the Bishop" (plot, lyrics)
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C144
===
NAME: Robin Hood and the Butcher [Child 122]
DESCRIPTION: Robin goes to Nottingham in the guise of a young butcher who sells cheap and spends freely. The sheriff returns with him to the forest for bargain-priced cattle. He is shown deer, then captured and relieved of his gold. He is released for his wife's sake.
AUTHOR: unknown
EARLIEST_DATE: 1657 (Stationer's Register)
KEYWORDS: Robinhood trick commerce robbery
FOUND_IN: 
REFERENCES: (4 citations)
Child 122, "Robin Hood and the Butcher" (2 texts)
Bronson 122, comments only
OBB 119, "Robin Hood and the Butcher" (1 text)
BBI, RZN4, "Come all you brave gallants & listen a while"
Roud #3980
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C122
===
NAME: Robin Hood and the Curtal Friar [Child 123]
DESCRIPTION: Robin learns of a friar's prowess and seeks him out. Each submits once to carrying the other over water, then the friar dumps Robin in. They fight long, then Robin's men and the friar's dogs enter the fray. The friar is invited to join the band.
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood clergy fight outlaw
FOUND_IN: 
REFERENCES: (5 citations)
Child 123, "Robin Hood and the Curtal Friar" (2 texts)
Bronson 123, "Robin Hood and the Curtal Friar" (1 version)
Leach, pp. 361-365, "Robin and the Curtal Friar" (1 text)
OBB 118, "Robin Hood and the Curtal Friar" (1 text)
BBI, RZN13, "In summer time when leaves grow green"
Roud #1621
NOTES: This friar is otherwise known as Friar Tuck, so called because his frock is tucked up. Child says Curtal relates to the keeping of the "curtile", or vegetable garden, but acknowledges that others thought it meant he had a curtailed, or shortened, frock. - KK
For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
There is a record of a "Friar Tuck," though not in any way associated with Robin Hood. Two writs of 1417 mention a man of that name who had gathered a gang of outlaws in Surrey and Sussex. He remained at large in 1429 (though nothing was heard of him in the interval); his true name was reported to be Robert Stafford.
The association of Robin Hood and the Friar may have arisen from the May Games (in which both a Friar and Robin were characters), and the Friar may possibly have been associated with Friar Tuck because the latter was an outlaw.
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle.
Bronson has extensive notes on the dubious nature of the tune of this piece, which is from Rimbault based on an alleged handwritten copy no longer found in the book where Rimbault claimed to find it. - RBW
File: C123
===
NAME: Robin Hood and the Golden Arrow [Child 152]
DESCRIPTION: The sheriff of Nottingham plots to catch Robin by means of an archery competition. Robin and his men go, but dress differently and scatter in the crowd, so are not recognized. Robin wins. To gloat, he sends a letter to the sheriff, by arrow.
AUTHOR: unknown
EARLIEST_DATE: 1777
KEYWORDS: Robinhood contest disguise
FOUND_IN: 
REFERENCES: (1 citation)
Child 152, "Robin Hood and the Golden Arrow" (1 text)
Roud #3994
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C152
===
NAME: Robin Hood and the Monk [Child 119]
DESCRIPTION: Robin Hood decides to take mass in Nottingham. He quarrels with Little John after a shooting match, and proceeds alone. A monk betrays him to the sheriff. John and Much trick the king into giving them his seal; they go to the sheriff and rescue Robin
AUTHOR: unknown
EARLIEST_DATE: ms. Cambridge Ff. 5.48, c. 1450
KEYWORDS: Robinhood clergy captivity rescue
FOUND_IN: 
REFERENCES: (10 citations)
Child 119, "Robin Hood and the Monk" (1 text)
Bronson 119, comments only; cf. Chappell/Wooldridge II, pp. 53-54, "Oh, How They Frisk It, or, Leather Apron, or Under the Greenwood Tree"
Leach, pp. 340-349, "Robin Hood and the Monk" (1 text)
Friedman, p. 327, "Robin Hood and the Monk" (1 text)
OBB 117, "Robin Hood and the Monk" (1 text)
Niles 42, "Robin Hood and the Monk" (1 text, 1 tune -- another questionable JJN collection)
Gummere, pp. 77-89+321-322, "Robin Hood and the Monk" (1 text)
TBB 27, "Robin Hood and the Monk" (1 text)
Hodgart, p. 81, "Robin Hood and the Monk" (1 text)
ADDITIONAL: Iona & Peter Opie, The Oxford Book of Narrative Verse, pp. 22-32, "Robin Hood and the Monk" (1 text)
Roud #3978
ALTERNATE_TITLES:
Robin Hood and the Twenty Pounds of Gold
NOTES: In terms of the date of the manuscript, this is regarded as the oldest surviving Robin Hood piece (though in fact, except for John Jacob Niles's probable fake, it does not seem to survive outside the one manuscript). It is considered by J. C. Holt (following Child and others), to be one of the five "basic" Robin Hood ballads. (For more details on chronology see the notes on "A Gest of Robyn Hode" [Child 117]).
Bronson observes that Chappell associated a tune with this piece, but that the association was Chappell's own, on weak grounds, and therefore does not cite the melody. The Opies quote Dobson and Taylor to the effect that this was more likely recited than sung.
The Cambridge manuscript, again according to the Opies, is sort of a do-it-yourself minstrel kit: 135 pages not only of tales but also prayers and prophecies. - RBW
File: C119
===
NAME: Robin Hood and the Old Maid: see Robin Hood Rescuing Three Squires [Child 140] (File: C140)
===
NAME: Robin Hood and the Old Woman: see Robin Hood Rescuing Three Squires [Child 140] (File: C140)
===
NAME: Robin Hood and the Pedlar: see The Bold Pedlar and Robin Hood [Child 132] (File: C132)
===
NAME: Robin Hood and the Pedlars [Child 137]
DESCRIPTION: Robin Hood, Will Scarlett, and Little John try to stop three pedlars, succeeding only by sending an arrow into one of their packs. They fight. Robin appears to be slain. His antagonist administers a supposed healing balsam, making him puke on reviving.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Robinhood fight injury medicine trick
FOUND_IN: 
REFERENCES: (1 citation)
Child 137, "Robin Hood and the Pedlars" (1 text)
Roud #3987
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C137
===
NAME: Robin Hood and the Potter [Child 121]
DESCRIPTION: A potter defeats Robin. Robin disguises himself as the potter. He sells pots in Nottingham, giving some to the Sheriff's wife. She invites him home. He offers to take the Sheriff to Robin. Robin robs the Sheriff, sending him home with a horse for his wife
AUTHOR: unknown
EARLIEST_DATE: 1795 (Ritson)
KEYWORDS: Robinhood fight trick disguise gift
FOUND_IN: 
REFERENCES: (3 citations)
Child 121, "Robin Hood and the Potter" (1 text, with "The Playe of Robyn Hode" in an appendix)
Leach, pp. 352-360, "Robin Hood and the Potter" (1 text)
Niles 44, "Robin Hood and the Potter" (1 text, 1 tune -- as dubious as any other JJN Robin Hood ballad)
Roud #3979
ALTERNATE_TITLES:
The Potter and Robin Hood
NOTES: This is considered by J. C. Holt (following Child and others), to be one of the five "basic" Robin Hood ballads. (For more details on chronology see the notes on "A Gest of Robyn Hode" [Child 117]). 
Fully half the Robin Hood ballads in the Child collection (numbers (121), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150), with this one being the earliest) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle.
This is probably the earliest, and in many ways the best, example of this genre, though it is hardly typical (since it has a second part dealing with the trick played on the Sheriff). Paul Stamler offers the following only-mildly-exaggerated description of the typical ballad of this type:
"Robin Hood meets just about anyone and they quarrel about something really stupid. Robin picks a fight, and since the other person is always bigger, stronger, and a better fighter, he wins. Robin then makes nice with him and invites him to join all the other people who've beaten him up. Somewhere during all this, Robin raises an extremely symbolic horn to his lips. Privately, everyone in Robin's band agrees that Robin would do better if he stayed on his meds." - RBW
File: C121
===
NAME: Robin Hood and the Prince of Aragon [Child 129]
DESCRIPTION: Aragon has encircled London, demanding its princess, unless three champions defeat him and his two giants. Robin Hood, Little John, and Robin's nephew Will Scadlock do so, gaining pardon. Will gains the princess and is reunited with his father.
AUTHOR: unknown
EARLIEST_DATE: 1749
KEYWORDS: Robinhood fight royalty pardon
FOUND_IN: Canada(Mar)
REFERENCES: (4 citations)
Child 129, "Robin Hood and the Prince of Aragon" (1 text)
Bronson 129, "Robin Hood and the Prince of Aragon" (1 version)
BarryEckstormSmyth pp. 233-240, "Robin Hood and the Prince of Aragon" (1 text, 1 tune, which even the editors admit is full of absurdities and whose verses Bronson calls "rather deplorable") {Bronson's [#1]}
BBI, RZN18, "Now Robin Hood, Will Scadlock, and little John"
Roud #3983
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
This is an instance where oral tradition didn't do anything for a ballad; Child calls his text vapid, and the New Brunswick version from J. P. A. Nesbitt (found in Barry/Eckstorm/Smyth) could almost be held up as an example of "when ballads go bad."
It is probably obvious that there isn't a hint of history in this ballad; the attacker in the ballad is a Turk, but Aragon was a Christian state, centered around Barcelona. The Aragonese could not have have hoped to attack England until after the union with Spain.
The whole business might have been suggested by the bad  blood between Spain and England over the marriage of Henry VIII and Catherine of Aragon -- but that of course didn't end in invasion. - RBW
File: C129
===
NAME: Robin Hood and the Ranger [Child 131]
DESCRIPTION: Robin is stopped from killing a deer by a forester. They fight. Robin is bested and offers the other a place in his band. He blows his horn to summon his men, the forester joins them, and all celebrate.
AUTHOR: unknown
EARLIEST_DATE: 1777
KEYWORDS: Robinhood fight
FOUND_IN: Britain(England(North))
REFERENCES: (2 citations)
Child 131, "Robin Hood and the Ranger" (1 text)
Bronson 131, "Robin Hood and the Ranger" (2 versions)
Roud #933
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C131
===
NAME: Robin Hood and the Scotchman [Child 130]
DESCRIPTION: "Bold Robin Hood to the north he would go... with valour and mickle might... To fight and recover his right." Robin meets a Scotsman, and offers him a job providing he can pass a test of strength. The Scot pummels Robin and joins his band
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood fight
FOUND_IN: 
REFERENCES: (3 citations)
Child 130, "Robin Hood and the Scotchman" (2 texts)
Bronson 130, comments only
BBI, (no number given; should perhaps be ZRN24), "Then bold Robin Hood to the north"
Roud #3984
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C130
===
NAME: Robin Hood and the Shepherd [Child 135]
DESCRIPTION: Robin comes upon a shepherd and demands to know the contents of his bag and bottle. The shepherd defies him. They fight. The shepherd wins. Robin blows his horn. Little John answers the call but the shepherd thrashes him as well.
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood fight shepherd
FOUND_IN: 
REFERENCES: (4 citations)
Child 135, "Robin Hood and the Shepherd" (1 text)
Bronson 135, comments only
BarryEckstormSmyth p. 451, "Robin Hood and the Shepherd" (brief notes only)
BBI, RZN1, "All gentlemen and yeomen good"
Roud #3985
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C135
===
NAME: Robin Hood and the Sheriff: see Robin Hood Rescuing Three Squires [Child 140] (File: C140)
===
NAME: Robin Hood and the Tanner [Child 126]
DESCRIPTION: Robin Hood meets a tanner in the woods; they fight. After two hours Robin blows his horn. Little John comes running; Robin says the other has tanned his (Robin's) hide. Little John offers to continue the battle; Robin says no, praising the tanner's skill.
AUTHOR: unknown
EARLIEST_DATE: 1657 (Stationer's Register)
KEYWORDS: Robinhood fight
FOUND_IN: Britain(England(South)) US(SE)
REFERENCES: (8 citations)
Child 126, "Robin Hood and the Tanner" (1 text)
Bronson 126,  "Robin Hood and the Tanner" (3 versions+ 2 in addenda)
Davis-Ballads 31, "Robin Hood and the Tanner" (1 text, 1 tune entitled "Robin Hood and Arthur O'Bland") {Bronson's #3}
Leach, pp. 372-376, "Robin Hood and the Tanner" (1 text)
Sharp-100E 4, "Robin Hood and the Tanner" (1 text, 1 tune)
Lomax-FSNA 94, "Robin Hood and Arthur O'Bland" (1 text, 1 tune) {Bronson's #3}
BBI, RZN12, "In Nottingham there lived a jolly Tanner"
DT 126, RHOODTAN*
Roud #332
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle.
Bronson, in searching for the tunes of the Child Ballads, notes that many are the same tune, and that tune is most likely to be "Arthur A Bland." Which, if it is anything, is this. So this may be one of the "core" Robin Hood ballads. Except -- all this is based on a few tag lines, which are often unreliable. - RBW
File: C126
===
NAME: Robin Hood and the Tinker [Child 127]
DESCRIPTION: A Tinker asks help arresting Robin Hood for 100 pounds. Robin tricks him into drinking himself to sleep. On waking he learns his companion was Robin. He finds Robin; they fight. Robin yields, then blows his horn for reinforcements. The Tinker joins them.
AUTHOR: unknown
EARLIEST_DATE: 1777
KEYWORDS: Robinhood trick
FOUND_IN: 
REFERENCES: (4 citations)
Child 127, "Robin Hood and the Tinker" (1 text)
Bronson 127, comments only
Leach, pp. 376-380, "Robin Hood and the Tinker" (1 text)
BBI, RZN14, "In summer time when leaves grow green"
Roud #3982
NOTES: Child describes this as a "contemptible imitation of imitations." - KK
For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C127
===
NAME: Robin Hood and the Twenty Pounds of Gold: see Robin Hood and the Monk [Child 119] (File: C119)
===
NAME: Robin Hood and the Valiant Knight [Child 153]
DESCRIPTION: The king sends a knight with 100 to arrest Robin. The knight goes alone to Robin to request surrender. Robin refuses and battle ensues. The knight (retires/is killed) but Robin, wounded, sends for a monk whose bloodletting ends his life. The men scatter.
AUTHOR: unknown
EARLIEST_DATE: before 1741
KEYWORDS: Robinhood knight battle injury death clergy
FOUND_IN: 
REFERENCES: (2 citations)
Child 153, "Robin Hood and the Valiant Knight" (1 text)
Bronson 152, comments only
Roud #3995
CROSS_REFERENCES:
cf. "Robin Hood's Death" [Child 120] (subject)
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C153
===
NAME: Robin Hood and the Widow's Three Sons: see Robin Hood Rescuing Three Squires [Child 140] (File: C140)
===
NAME: Robin Hood Newly Revived [Child 128]
DESCRIPTION: Robin sees a young man skillfully kill a deer, offers him a place,  is answered disdainfully. They fight. Impressed, Robin asks the stranger who he is. He is Robin's sister's son, who has slain his father's steward. Robin makes him next under Little John
AUTHOR: unknown
EARLIEST_DATE: 1777
KEYWORDS: Robinhood fight family
FOUND_IN: 
REFERENCES: (5 citations)
Child 128, "Robin Hood Newly Revived" (1 text)
Bronson 128, comments only
Leach, pp. 380-383, "Robin Hood Newly Revived" (1 text)
BBI, RZN7, "Come listen a while you Gentlemen all"
DT 128, RHNEWREV
Roud #3956
CROSS_REFERENCES:
cf. "The Bold Pedlar and Robin Hood" [Child 132] (theme)
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C128
===
NAME: Robin Hood Rescuing Three Squires [Child 140]
DESCRIPTION: Robin learns from (a women/their mother) that three men are to be hanged for deer-killing. He meets a (palmer/beggar) who confirms this. Robin insists on trading clothes, goes disguised to Nottingham, blows his horn for his men, and rescues the three.
AUTHOR: unknown
EARLIEST_DATE: 1786
KEYWORDS: Robinhood execution disguise rescue
FOUND_IN: Britain(England(South,West),Scotland) US(NE,SE)
REFERENCES: (13 citations)
Child 140, "Robin Hood Rescuing Three Squires" (4 texts)
Bronson 140, "Robin Hood Rescuing Three Squires" (7 versions+2 in addenda)
BarryEckstormSmyth pp. 2420-242, "Robin Hood Rescuing Three Squires" (1 text)
Flanders/Olney, pp. 69-72, "Bold Robin Hood Rescuing the Three Squires" (1 text, 1 tune) {Bronson's #2}
Flanders-Ancient3, pp. 107-116, "Robin Hood Rescuing Three Squires" (3 texts, with A1 and A2 being variant versions from the same informant, 1 tune) {Bronson's #2, with some small variants}
BrownII 140, "Robin Hood Rescuing Three Squires" (1 text with variants from several performances by the same informant)
Friedman, p. 341, "Robin Hood Rescuing Three Squires" (1 text)
OBB 122, "Robin Hood and the Widow's Three Sons" (1 text)
PBB 69, "Robin Hood and the Sheriff" (1 text)
Niles 47, "Robin Hood Rescuing Three Squires" (2 texts, 2 tunes, the second perhaps being mixed with Child 143)
Chase, pp. 124-126, "Bold Robin Hood" (1 text, 1 tune, clearly this piece although it has many floating lyrics, e.g. from "The House Carpenter") {Bronson's #4}
Darling-NAS, pp. 87-90, "Robin Hood Rescuing Three Squires" (1 text)
DT 140, RH3SQUIR*
Roud #71
ALTERNATE_TITLES:
Robin Hood and the Old Maid
Robin Hood and the Old Woman
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C140
===
NAME: Robin Hood Rescuing Will Stutly [Child 141]
DESCRIPTION: One of Robin's men, Will Stutly, is to be hanged. Robin and his men swear to rescue him or die trying. At the gallows Little John leaps from a bush, unbinds Will, and gives him a sword. They fight back to back as the archers chase the sheriff and his men
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood execution rescue fight
FOUND_IN: US(SE)
REFERENCES: (6 citations)
Child 141, "Robin Hood Rescuing Will Stutly" (1 text)
Bronson 141, "Robin Hood Rescuing Will Stutly" (1 version)
Davis-Ballads 32, "Robin Hood Rescuing Will Stutly" (1 text, 1 tune entitled "The Rescue of Will Stutly") {Bronson's [#1]}
Leach, pp. 402-403, "Robin Hood Rescuing Will Stutly" (1 text)
BBI, RZN21, "When Robin Hood in the Green wood"
DT 141, ROBHDWST*
Roud #3957
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C141
===
NAME: Robin Hood Side: see Scarboro Sand (The Drowned Sailor) [Laws K18] (File: LK18)
===
NAME: Robin Hood Was a Forrester Bold
DESCRIPTION: "O Robin Hood was a forrester good As ever drew bow in a merry greenwood, And the wild deer will follow, will follow." "Little John with his arms so long, He conquered them all with his high ding dong, And the bugles did echo, did echo."
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cox)
KEYWORDS: Robinhood
FOUND_IN: US(Ap) Britain(England)
REFERENCES: (1 citation)
JHCox 34, "Robin Hood" ( text)
Roud #1303
NOTES: Cox's text is only a fragment of what was presumably a longer ballad (probably a late broadside, though I find no reference in the Broadside Ballad Index to this particular text). It doesn't look like any of the Child "Robin Hood" ballads, either. But it is traditional, so here it sits until someone figures out its ancestry. - RBW
File: JHCox034
===
NAME: Robin Hood's Birth, Breeding, Valor, and Marriage [Child 149]
DESCRIPTION: Robin and his mother visit her brother, who makes Robin his heir and gives him Little John as a page. Robin takes Little John to his band in the forest. He meets shepherd Clorinda who impresses by shooting a buck. They go to Titbury feast and are married.
AUTHOR: unknown
EARLIEST_DATE: 1716
KEYWORDS: Robinhood family mother brother servant outlaw marriage
FOUND_IN: 
REFERENCES: (2 citations)
Child 149, "Robin Hood's Birth, Breeding, Valor and Marriage" (1 text)
BBI, RZN17, "Kind gentlemen will you be patient awhile"
Roud #3991
NOTES: Child notes that this ballad has several elements at variance with the bulk of the Robin Hood tradition. - KK
For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C149
===
NAME: Robin Hood's Chase [Child 146]
DESCRIPTION: Robin leaves London after the feats of Child 145. The king, repenting of his pardon, goes after him. Robin leads a chase through many towns, back to London, then to Sherwood. The king returns to London to learn cunning Robin had sought him there.
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood royalty escape
FOUND_IN: 
REFERENCES: (4 citations)
Child 146, "Robin Hood's Chase" (1 text)
Bronson 146 comments only
Leach, pp. 418-420, "Robin Hood's Chase" (1 text)
BBI, RZN9, "Come you gallants all, to you I do call"
Roud #3989
NOTES: It should perhaps be noted that the wife of Henry II (the "King Henry" of most Robin Hood ballads; reigned 1154-1189) was named Eleanor. The first Henry to have a wife named Katherine was Henry V (reigned 1413-1422); Henry VIII (1513-1547) marred several Katherines. But both these kings are far too late for Robin Hood's era. For further details, see the entry on Child 145.
For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C146
===
NAME: Robin Hood's Death [Child 120]
DESCRIPTION: Robin Hood, feeling ill, travels to (Kirkly-hall) to be blooded. The prioress sets out to bleed him to death. Only as he nears death does Robin realize what is happening; he calls to Little John. It is too late to save Robin; he arranges for his burial
AUTHOR: unknown
EARLIEST_DATE: 1786
KEYWORDS: Robinhood death burial medicine betrayal
FOUND_IN: US(MW,SE)
REFERENCES: (11 citations)
Child 120, "Robin Hood's Death" (2 texts)
Bronson 120,  "Robin Hood's Death" (1 version)
Davis-Ballads 30, "Robin Hood's Death" (1 text, 1 tune entitled "The Death of Robin Hood") {Bronson's [#1]}
Leach, pp. 349-352, "Robin Hood's Death" (1 text)
Friedman, p. 345, "Robin Hood's Death" (1 text)
OBB 125, "The Death of Robin Hood" (1 text)
Niles 43, "Robin Hood's Death" (1 text, 1 tune)
Gummere, pp. 90-93+322-323, "Robin Hood's Death" (1 text)
Hodgart, p. 94, "Robin Hood's Death" (1 text)
BBI, (no number; perhaps should be ZRN23?), "When Robin Hood and Little John"
DT 120, ROBHDTH*
Roud #3299
RECORDINGS:
Art Thieme, "The Death of Robin Hood" (on Thieme02) (on Thieme06) [with introductory verses from other Robin Hood ballads]
CROSS_REFERENCES:
cf. "Robin Hood and the Valiant Knight" [Child 153] (subject)
ALTERNATE_TITLES:
Robber Hood's Death
NOTES: This is considered by J. C. Holt (following Child and others), to be one of the five "basic" Robin Hood ballads. (For more details on chronology see the notes on "A Gest of Robyn Hode" [Child 117]). The earliest known copy (from the Percy folio) is very defective, but seems to be at least two centuries older than the manuscript.
This perhaps the most popular of the basic Robin Hood ballads (note that it is one of only eight Robin Hood pieces for which we have an authentic tune); fragments have been found in America as recently as the twentieth century.
Unlike most Robin Hood tunes, this has an unquestionably legitimate tune, from Davis. - RBW
File: C120
===
NAME: Robin Hood's Delight [Child 136]
DESCRIPTION: Robin Hood, Little John, and Will Scarlock are met in the forest by three keepers. They fight. The keepers get the better of it. Robin asks to blow his horn but is refused. Robin invites them to compete at drinking sack instead. They become friends.
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood fight drink
FOUND_IN: 
REFERENCES: (3 citations)
Child 136, "Robin Hood's Delight" (1 text)
Bronson 135, comments only
BBI, RZN20, "There's some will talk of Lords and Knights"
Roud #3986
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C136
===
NAME: Robin Hood's Golden Prize [Child 147]
DESCRIPTION: Robin, disguised as a friar, asks alms of two priests in the wood. They claim that they were robbed and have nothing. Robin follows them and forces them to reveal the gold they are carrying. He makes them vow never to lie or cheat in the future
AUTHOR: unknown
EARLIEST_DATE: 1656 (Stationer's Register)
KEYWORDS: Robinhood money clergy lie
FOUND_IN: 
REFERENCES: (5 citations)
Child 147, "Robin Hood's Golden Prize" (1 text)
Bronson 147, comments only
Leach, pp. 420-422, "Robin Hood's Golden Prize" (1 text)
OBB 123, "Robin Hood's Golden Prize" (1 text)
BBI, RZN11, "I have heard talk of Robin Hood"
Roud #3990
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C147
===
NAME: Robin Hood's Progress to Nottingham [Child 139]
DESCRIPTION: Robin at age 15 falls in with 15 foresters in Nottingham. He intends to enter a shooting match. They taunt him with his youth. He wagers on his ability and wins by killing a hart, but they refuse to pay. He kills them all, escapes to the merry green wood.
AUTHOR: unknown
EARLIEST_DATE: 1656 (Stationer's Register)
KEYWORDS: Robinhood hunting contest escape money youth
FOUND_IN: Canada(Mar)
REFERENCES: (7 citations)
Child 139, "Robin Hood's Progress to Nottingham" (1 text)
Bronson 139, "Robin Hood's Progress to Nottingham" (2 versions)
Creighton/Senior, pp. 69-70, "Robin Hood's Progress to Nottingham" (1 text (composite from 2 singers), 1 tune) {Bronson's #2}
Creighton-NovaScotia 7, "Robin Hood's Progress to Nottingham" (1 fragment, 1 tune) {Bronson's #1}
Leach, pp. 400-402 "Robin Hood's Progress to Nottingham" (1 text)
BBI, RZN19, "Robin Hood he was a tall young man"
DT 139, RHPROGNT
Roud #1790
BROADSIDES:
Bodleian, Wood 402(14, 15), "Robin Hoods Progresse to Nottingham," F. Grove (London), 1623-1661; also Wood 401(37) [partly illegible], "Robin Hoods Progresse to Nottingham"; Douce Ballads 3(120a), "Robin Hood's progress to Nottingham" [subtitle "Shewing how he slew fifteen foresters"]
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
This, according to broadside Bodleian Douce Ballads 3(120a) and all other broadsides withi list a tune, is to be sung to the tune of "Bold Robin Hood." But Bronson notes that this song cannot be identified, and that several Robin Hood ballads use the same stanza form. - BS, RBW
File: C139
===
NAME: Robin Redbreast: see The Banks of the Gaspereaux [Laws C26] (File: LC26)
===
NAME: Robin Redbreast's Testament
DESCRIPTION: The singer asks the robin how long it has been there; it says twenty years, but now it's sick and would make its testament. He gives parts of his body to the Hamiltons, to serve them, and others to repair bridges. He scorns the wren who mourns for him
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd)
KEYWORDS: bird death lastwill farewell
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (3 citations)
SHenry H527, pp. 20-21, "Robin Redbreast's Testament" (1 text, 1 tune)
Montgomerie-ScottishNR 194, "(Robin Redbreast's Testament)" (1 text)
DT, ROBNTEST
Roud #3900
NOTES: In the time-honored tradition of folklorists assigning big meaning to small verse, I suspect this has a political undertone. (Probably someone has talked about this before, but I haven't seen it yet.) My first thought was of the period at the end of the reign of Mary Stuart and the beginning of James I in Scotland, when the Hamilton and Lennox factions were struggling over the regency. But the Hamiltons were not yet Dukes.
Testing additional versions, I think the likely time period is c. 1649 and the end of the reign of Charles I. The robin is said to be "e'en like a little king," which fits, and his reign of "mair than twenty year" fits Charles, who came to the throne in 1625 and was executed in 1649.
In that case, the Duke of Hamilton is James, First Duke of Hamilton (1606-1649). An indecisive and ineffective figure, he finally ended up leading royalist forces at Preston in 1648, where he was crushed by Cromwell. He was executed about a month after Charles himself. - RBW
File: HHH527
===
NAME: Robin Spraggon's Auld Grey Mare: see Pawkie Paiterson's Auld Grey Yaud (File: FVS311)
===
NAME: Robin Tamson's Smiddy [Laws O12]
DESCRIPTION: The singer has been sent to the smithy to have the mare shod. While there he woos the smith's daughter behind her father's back. The girl dislikes his poor clothes; he says she can mend them. She decides to run off with him rather than live an old maid
AUTHOR: Alexander Rodgers (Sandy Rodger)?
EARLIEST_DATE: 1842 (in Whistle-binkie, as "My Auld Breeks, air the Corn Clips")
KEYWORDS: clothes courting elopement horse
FOUND_IN: Britain(Scotland) US(MW) Canada(Mar)
REFERENCES: (6 citations)
Laws O12, "Robin Tamson's Smiddy"
Logan, pp. 365-367, "My Minnie Ment My Auld Breeks" (1 text)
Gardner/Chickering 67, "Robin Tamson's Smiddy" (1 text, 1 tune)
Creighton-Maritime, p. 39, "Robbie Tampson's Smitty" (1 text, 1 tune)
Creighton-SNewBrunswick 14, "Robbie Tampson's Smitty" (1 text, 1 tune)
DT 671, RTSMITTY
Roud #939
BROADSIDES:
Bodleian, Firth b.25(573), "Robin Thompson's Smiddy," J. Moore (Belfast), 1846-1852; also 2806 c.16(207), "Robin Thompson's Smiddy"; Harding B 11(2103), "Duddy Breeks" or "Robbin Thompson's Smiddy"; Firth b.26(528), "Robin Tamson"; Harding B 11(1018), Harding B 11(331), "Duddy Breeks"
NLScotland, L.C.Fol.70(42b), "Robin Tamson's Smiddy," Poet's Box (Dundee), c 1880-1900
File: LO12
===
NAME: Robyn and Gandeleyn [Child 115]
DESCRIPTION: Robyn hunts deer. Just after felling one he is himself slain by an arrow. His knave Gandeleyn seeks its source, finds Wrennok the Dane, challenges him, and avenges Robyn.
AUTHOR: unknown
EARLIEST_DATE: c. 1430 (British Museum -- Sloane MS. 2593); printed by Ritson 1790
KEYWORDS: hunting death fight revenge
FOUND_IN: 
REFERENCES: (4 citations)
Child 115, "Robyn and Gandeleyn" (1 text)
Leach, pp. 332-334, "Robin and Gandeleyn" (1 text)
OBB 112, "Robyn and Gandeleyn" (1 text)
DT 115, RHGANDYN
Roud #3976
NOTES: E. K. Chambers (_English Literature at the Close of the Middle Ages_, p. 131) thinks that this is a sort of proto-Robin Hood ballad. But Child dismisses this notion, and rightly I think (but see below)
Chambers also notes that the source (Sloane MS. 2593) contains many carols, and believes that this was intended to be sung at Christmas. This is basically bunk (it doesn't help that Chambers literally hasn't the sense to tell what is a carol, or even what is a traditional song).
Sloane MS 2593 *does* contain many religious works, including the well-known "Adam Lay Ybounden" and "I Sing of a Maiden That Is Makeless" and others -- but it has plenty of secular works as well, including "I Have a Yong Suster" (the earliest form of "I Gave My Love a Cherry"), some drinking lyrics, and at least a few riddles.
If this isn't a Robin Hood song, it may nonetheless have some very indirect connections with that corpus. As with several of the older Child ballads ("Hind Horn" [Child 17], "King Orfeo" [Child #19], "Blancheflour and Jellyflorice" [Child 300], this may connect with a Middle English romance.
The romance in this case is "Gamelyn." The plot in brief: Sir John of Boundys, dying, leaves his property to his sons John, Ote, and Gamelyn. Gamelyn is set aside. Placed in bondage by his brother, he is freed by Adam the Spencer; they take revenge and flee to the greenwood. The oldest brother, now sheriff, declares him an outlaw. Gamelyn comes to the court, is taken prisoner, but is set free when Ote stands his bail. Gamelyn attacks the court, gains his freedom, and is pardoned by the King.
The similarities of "Gamelyn" to the Robin Hood cycle are obvious, and it is possible that "Robyn and Gandelyn" is a worn down version of the romance; they are about as close as "Hind Horn" and "King Horn" (i.e. not very). But that doesn't make the ballad an ancestor of the Robin Hood corpus; rather, it is at best a cousin.
"Gamelyn" is one of the best-attested of the Middle English romances, though the reason is "bizarre" (Larry D. Benson, _The Riverside Chaucer_, p. 1125): It's included in many manuscripts of Chaucer! The Cook's Tale ends abruptly, and it appears that some scribes, feeling the need to supply a complete story, plugging in this account. (The dialect, it must be admitted, matches Chaucer, but the seven-stress lines don't.)
There are some 16 manuscripts in Manley and Rickert's "c" and "d" groups of _The Canterbury Tales_, which are associated with the inclusion of Gamelyn, though not all of these are complete; we also find it, e.g., in the well-known Harley 7334. Several critical editions have been published, but I have not studied the matter further. - RBW
File: C115
===
NAME: Rock 'N' Row Me Over: see One More Day (File: FSWB086B)
===
NAME: Rock About My Saro Jane
DESCRIPTION: The singer, despite "a wife and five little children," decides to "take a trip on the big Macmillan." The troublesome operations of the boat are described. Chorus: "Oh, there's nothing to do but sit down and sing And rock about my Saro Jane."
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Uncle Dave Macon)
KEYWORDS: ship river love work
FOUND_IN: US
REFERENCES: (5 citations)
Lomax-FSUSA 47, "Rock About My Saro Jane" (1 text, 1 tune)
Lomax- FSNA 277, "Rock About, My Saro Jane" (1 text, 1 tune)
Botkin-SoFolklr, p. 747, "Rock About, My Saro Jane" (1 text, 1 tune)
Silber-FSWB, p. 92, "Rock About My Saro Jane" (1 text)
DT, SAROJANE
Roud #10052
RECORDINGS:
Uncle Dave Macon, "Rock About My Saro Jane" (Vocalion 5151, 1927; also probably issued as Brunswick B-1024, 1929 and Brunswick 80091, n.d.; on TimesAint03)
New Lost City Ramblers, "Rock About My Saro Jane" (on NLCR14)
File: LxU047
===
NAME: Rock All Our Babies to Sleep: see Rocking the Cradle (and the Child Not His Own) (File: R393)
===
NAME: Rock Island Line (I), The
DESCRIPTION: "The Rock Island Line is a mighty good road, The Rock Island Line is the road to ride." About life in general, engineering on the Rock Island Line, and anything else that can be zipped into the song
AUTHOR: unknown (heavily adapted by Huddie Ledbetter)
EARLIEST_DATE: 1934 (recording, Kelly Pace et al)
KEYWORDS: railroading train nonballad floatingverses
FOUND_IN: US(So)
REFERENCES: (3 citations)
Cohen-LSRail, pp. 472-477, "The Rock Island Line" (3 texts, 1 tune)
Silber-FSWB, p. 102, "Rock Island Line" (1 text)
DT, ROCKISLL
Roud #15211
RECORDINGS:
Kelly Pace & group of prisoners, "Rock Island Line" (AFS 248 A1, 1934; on LC8, LCTreas)
NOTES: How much of this is genuinely "folk" is hard to tell. The earliest version collected [was] at Cummins Prison Farm (Arkansas) in 1934. The collection was made by John & Ruby Lomax; Lead Belly was their driver. Working from this and perhaps some floating material, Lead Belly created a song which he interspersed with patter about railroad work. The Weavers regularized this, and Alan Lomax added "new material"; one wonders if the prisoners would have recognized the result. - PJS, RBW
One of the verses found in revival versions is present [in the Pace recording on 1934], ("Jesus died to save me in all of my sin/Glory to God, we goin' to meet Him again"), as is the standard chorus. 
Mr. Pace's name is spelled "Kelly" throughout LC8, but,"Kelley" on LC10. I have no idea which is correct. - PJS
Cohen uses the spelling "Kelly Pace," but of course he may have had the same problem.
Cohen also documents the evolution of the song, which apparently began as an Arkansas work song. Lead Belly, as noted, probably learned it in 1934. When he recorded it for the Library of Congress in 1937, he used a subset of the Pace verses, with a line of patter about cutting trees; the song is still a work song.
When Lead Belly recorded it again in 1944 for Capitol, he had added a couple of verses not from Pace ("I may be right and I may be wrong"; "A-B-C double X-Y-Z") and had a new line of railroad patter. Soon after, he recorded it for Folkways, in what seems to have become the canonical version, ending with him telling the rainroad agent, "I fooled you."
It's unfortunate we don't have more information about how Lead Belly performed the song in concert in these years. It's quite a demonstration of "live fire" folk process, though. - RBW.
File: FSWB102
===
NAME: Rock Island Line (II), The: see Fox River Line, The (The Rock Island Line) [Laws C28] (File: LC28)
===
NAME: Rock of Ages (I)
DESCRIPTION: "Rock of Ages, Cleft for Me, Let me hide myself in thee." The singer admits to the inability to meet God's demands, and asks forgiveness and protection
AUTHOR: Words: Augustus Montague Toplady (1740-1778)/Music: Thomas Hastings (1784-1872)
EARLIEST_DATE: 1775 (first stanza; remainder of text 1776, both in "The Gospel Magazine"; music published 1832)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Silber-FSWB, p. 357, "Rock of Ages" (1 text)
Fuld-WFM, pp. 469-470, "Rock of Ages"
DT, ROCKAGES*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp. 120-121, "Rock of Ages" (1 text, 1 tune)
Roud #5429
RECORDINGS:
Henry Burr, "Rock of Ages" (Columbia 1781, 1904)
Peerless Quartet, "Rock of Ages" (Paramount 33010, 1919)
Hamlin Male Quartet, "Rock of Ages" (Supertone 9267, 1928)
CROSS_REFERENCES:
cf. "Rock of Ages (II -- Hide Me Over the Rock of Ages)"
NOTES: Augustus Montague Toplady is most famous for writing the words to this song. Charles Johnson's _One Hundred & One Famous Hymns_ gives a brief biography which seems to consist mostly of denomination-jumping. He is said to have been "always in frail health," which explains his early death.
He is credited with two volumes of religious lyrics. Nonetheless _Granger's Index to Poetry_ lists only seven of his works which made it into their voluminous database (and it appears that two of those are actually alternate names for this piece). This is of course the one most cited (twelve times under various titles). - RBW
File: FSWB357C
===
NAME: Rock of Ages (II -- Hide Me Over the Rock of Ages)
DESCRIPTION: "Way down yonder in the lonesome valley, clef' for me, clef' for me (x2), Way down yonder in the lonesome valley, Let God's bosom be my pillow. Hide me over the rock of ages, clef' for me, clef' for me." "What you gon' do when the world's on fire?"
AUTHOR: unknown
EARLIEST_DATE: 1921 (Brown)
KEYWORDS: religious nonballad floatingverses
FOUND_IN: US(Ap,SE)
REFERENCES: (2 citations)
BrownIII 547, "Rock of Ages" (1 text plus a fragment and mention of 1 more)
Fuson, p. 204, "Hide Thou Me" (1 text, probably a mix, with the form of "Rock of Ages (II -- Hide Me Over Rock of Ages" but verses from "Jacob's Ladder")
Roud #5429
RECORDINGS:
Lester McFarland & Robert Gardner, "Rock of Ages" (Brunswick 190, 1928)
CROSS_REFERENCES:
cf. "Rock of Ages (I)"
NOTES: The notes in Brown suggest that this is an "adaption" of the standard "Rock of Ages." Most likely, since the phrase "rock of ages" is assuredly not Biblical. But this is clearly a separate song. - RBW
File: Br3547
===
NAME: Rock to See the Turkey Run
DESCRIPTION: "Rock to see de turkey run, Run, run, run, run, run, run, Rock to see de turkey run, Run, run, run, run, run, run, Rock to see de turkey run, Run, run, run."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: bird nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 196, "Rock to See de Turkey Run" (1 short text)
File: ScaNF196
===
NAME: Rock-a My Soul
DESCRIPTION: "Rock-a my soul in the bosom of Abraham (x3), Oh, rock-a my soul," "When I went down to the valley to pray... My soul got happy and I stayed all day." "When I was a mourner just like you... I mourned and mourned till I come through."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen et al, Slave Songs of the United States)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 573, "Good Lordy, Rocky My Soul" (1 text)
Silber-FSWB, p. 357, "Rock-a My Soul" (1 text)
Roud #11892
RECORDINGS:
Golden Gate Jubilee Quartet, "Rock My Soul" (Bluebird B-7804/Montgomery Ward M-7596, 1938; RCA Victor 20-2921, 1948; on Babylon)
Taylor sisters, "Rock-a My Soul" (on HandMeDown2)
NOTES: The reference to Abraham's bosom alludes to the story of the Rich Man and Lazarus (Luke 16:19-31). In 16:22, Lazarus dies and is carries to Abraham's bosom. Although the phrase does not occur elsewhere, it came to have the sense of "heaven." - RBW
File: FSWB357B
===
NAME: Rock-A-By Ladies
DESCRIPTION: "Four little prisoners here in jail, here in jail, here in jail, Four little prisoners here in jail...." The four are charged with shooting "the old man instead of the son." The required "dollar and a half to set them free" is given and they are released
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: playparty trial freedom
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 579, "Rock-a-by Ladies" (1 text plus fragments from other sources)
Roud #502
CROSS_REFERENCES:
cf. "London Bridge Is Falling Down" (tune & meter)
File: R579
===
NAME: Rock-A-Bye Baby
DESCRIPTION: The nursery rhyme: "Rock-a-bye baby on the tree top, When the wind blows, the cradle will rock...." Folk versions often add more verses (or make changes to the first), e.g. about the farmer who goes hunting to feed the baby
AUTHOR: unknown
EARLIEST_DATE: text: 1784 (Gammar Gurton's Garland, according to Opie-Oxford2); tune: 1884 (see notes)
KEYWORDS: lullaby
FOUND_IN: US(SE) Ireland Canada(Mar)
REFERENCES: (8 citations)
Warner 190, "Rocky By Baby, By-O" (1 text, 1 tune)
SHenry H591a, p. 6, "Heezh Ba" (1 text, 1 tune)
BrownIII 113, "Rock-a-Bye Baby in the Tree-Top" (1 text with variants)
Creighton-SNewBrunswick 86, "Rockaby Baby" (1 text, 1 tune)
Opie-Oxford2 22, "Hush-a-bye, baby, on the tree top" (2 texts)
Baring-Gould-MotherGoose #550, p. 224, "(Hush a by Baby)"
Silber-FSWB, p. 408, "Rock-A-Bye, Baby" (1 text)
Fuld-WFM, pp. 468-469+, "Rock-a-Bye Baby"
ST Wa190 (Partial)
Roud #2768
CROSS_REFERENCES:
cf. "What'll I Do with the Baby-O" (words)
cf. "Tony Went Walking" (lyrics)
NOTES: The first reported printing of the words to this piece is from about 1765, in "Mother Goose's Melody." It does not seem to have become a song -- or at least to have adopted its current melody -- until 1872, when Effie I. Crockett (1857-1940) allegedly sang it to an infant she was babysitting. The result was published in 1884, with Crockett adopting the pseudonym "Effie I. Canning."
In the Sam Henry text, the song starts with the singer recalling being "airy and handsome" and going out partying; but "noo I am auld... fittin' for nae thin' but rockin' the cradle. Rockin' the cradle is nae work, ava," then breaks into the standard lyrics. It's probably a composite, but with only six lines of the original, most of which are similar to floating material, the other half is probably beyond identification; there are points of contact with "Rocking the Cradle (and the Child Not His Own)."
The Montgomeries (Montgomerie-ScottishNR #134) have a piece which looks vaguely related, beginning, "Hoolie, the bed'll fall! Who'll fall with it? Two eyes, two hands, And two bonnie feet."
According to folklore (or at least Katherine Elwes Thomas), this originally referred to the Old Pretender, James III son of James II of England, and the whole stanza refers to James II's deposition as a result of having a Catholic heir. Uh-huh. - RBW
There are examples on the Library of Congress American Memory site of other melodies for the song and other texts incorporating the tree top verse:
LOCSheet, sm1881 16221, "Lullaby Baby Upon the Tree Top," White, Smith & Co. (Chicago), 1881; also sm1881 14963, "Lullaby Baby Upon the Tree Top" (tune)
LOCSinging, sb10078a, "Dig, Dig, Dig" or "Hush-a-bye Baby," unknown, n.d.; also as102980, "Dig, Dig, Dig" or "Hush-a-bye Baby" - BS
File: Wa190
===
NAME: Rock-a-Bye Baby in the Tree-Top: see Rock-A-Bye Baby (File: Wa190)
===
NAME: Rock, Chariot, I Told You to Rock
DESCRIPTION: Biblical statements linked by the refrain "Judgement goin' to find me!" E.g., "Rock, Chariot, I Told You to Rock, Judgement goin'... Won't you rock, chariot, in the middle of the air... I wonder what chariot comin' after me...."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, Rich Amerson et al)
KEYWORDS: Bible religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, pp. 50-52, "(Rock, Chariot, I Told You to Rock)" (1 text); p. 227, "Rock Chariot" (1 tune, partial text)
Roud #10961
RECORDINGS:
Rich Amerson, Earthy Anne Coleman & Price Coleman, "Rock Chariot, I Told You to Rock" (on NFMAla2)
CROSS_REFERENCES:
cf. "Ezekiel Saw the Wheel" (subject)
NOTES: This is based on Ezekiel's vision in Ezekiel 1, but with hints of the Assumption of Elijah (2 Kings 2). - RBW
File: CNFM050
===
NAME: Rock'd in the Cradle of the Deep
DESCRIPTION: "Rock'd in the cradle of the deep, I lay me down in peace to sleep; Secure I rest upon the wave, For thou Oh! Lord, hast power to save." The singer reiterates a simple faith: God can save, the storms cannot harm me, I will sleep sound whatever happens
AUTHOR: Words: Emma Hart Willard / Music: Joseph Philip Knight
EARLIEST_DATE: Words: 1832 / Music: 1840
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
RJackson-19CPop, pp. 184-189, "Rock'd in the Cradle of the Deep" (1 text, 1 tune)
RECORDINGS:
James Cherry, "Rocked in the Cradle of the Deep" (Berliner 0964X, 1896)
Edison Quartet, "Rocked in the Cradle of the Deep" (CYL: Edison 2217, c. 1897)
William F. Hooley, "Rocked in the Cradle of the Deep" (Victor 3067, 1904)
J. W. Myers, "Rocked in the Cradle of the Deep" (Zonophone 322, 1905)
Original Bison City Quartette, "Rocked in the Cradle of the Deep") (CYL: Ohio Phonograph Co., no #, c. 1893)
Standard Quartette, "Rocked in the Cradle of the Deep" (CYL: Columbia 2247, rec. c. 1895)
Frank C. Stanley, "Rocked in the Cradle of the Deep" (Victor 4867, 1906)
CROSS_REFERENCES:
cf. "The Drover's Dream" (quoted in that song)
SAME_TUNE:
Locked in the Stable with the Sheep (cf. Spaeth, _A History of Popular Music in America_, p. 84)
File: RJ19184
===
NAME: Rocking the Baby to Sleep: see Rocking the Cradle (and the Child Not His Own) (File: R393)
===
NAME: Rocking the Cradle (and the Child Not His Own)
DESCRIPTION: The old man laments "about rocking the cradle and the child not his own." Though at the time he had been happy to marry a lighthearted lass, he now finds her out at parties all the time (or keeping company with other men)
AUTHOR: unknown
EARLIEST_DATE: before 1900 (broadside, Bodleian 2806 b.9(282))
KEYWORDS: marriage age wife husband children infidelity bastard
FOUND_IN: Ireland US(SE,So) Britain(Wales) Canada(Newf) Australia
REFERENCES: (8 citations)
Randolph 393, "Rock All Our Babies to Sleep" (1 text, 1 tune)
Warner 166, "Show Me the Man Who Never Done Wrong (or, Rocking the Baby to Sleep)" (1 text, 1 tune -- a curious version in which it appears at first that it is the woman, not the man, who is betrayed)
Meredith/Anderson, pp. 168-169, "The Wee One"; p. 266, "Rock All Our Babies" (2 texts, 2 tunes)
Kennedy 212, "Rocking the Cradle" (1 text, 1 tune)
Tunney-StoneFiddle, pp. 143-145, "Old Man Rocking the Cradle" (1 text, 1 tune)
Peacock, pp. 478-479, "The Milkman's Lament" (1 text, 1 tune)
Lomax-FSNA 192, "The Old Man's Lament" (1 text, 1 tune); also 190, "Run Along, You Little Dogies" (1 text, 1 tune, mostly "Get Along Little Dogies" but with a chorus partly from this piece!)
DT, ROCKCRAD ROCKCRA2
Roud #357
RECORDINGS:
Richard Hayward, "County Mayo Fragment" (Rex 15016A/matrix DR 11812-2, 1947)
A. L. Lloyd, "Rocking the Cradle" (on Lloyd2, Lloyd4)
Uncle Dave Macon, "Tossing the Baby So High" (Vocalion 5013, 1926)
Neil Morris, "Rock All the Babies to Sleep" (on LomaxCD1707)
Charlie & Bud Newman, "Rock All Our Babies to Sleep" (OKeh 45431, 1930; rec. 1928)
Riley Puckett, "Rock All Our Babies to Sleep" (Columbia 107-D, 1924)
George Reneau, "Rock All Our Babies to Sleep" (Vocalion 14997, 1925)
Jimmie Rodgers, "Rock All Our Babies to Sleep" (Victor 23721, 1932; Regal Zonophone [UK] MR-2200, 1936; rec. 1930)
Paddy Tunney, "The Old Man Rocking the Cradle" (on Voice01); "Rocking the Cradle" (on IRPTunney01)
Dave Turner [pseud. for Dick Parman], "Rock All Our Babies To Sleep" (Supertone 9374, 1929)
Fay & Jay Walker, "Rock All Our Babies to Sleep" (Broadway 8093, c. 1925)
BROADSIDES:
Bodleian, 2806 b.9(282), "Rocking the Cradle," J.F. Nugent & Co. (Dublin), 1850-1899; also Harding B 19(65), 2806 c.15(202), "Rocking the Cradle"
CROSS_REFERENCES:
cf. "Unhappy Jeremiah (The Brats of Jeremiah)" (plot)
cf. "Hush-a-Bye, Baby" (plot)
cf. "When I Was Single (II)"
ALTERNATE_TITLES:
Tossing the Baby So High (Uncle Dave Macon version)
NOTES: An Irish legend has it that the chorus, "Hi-ho, hi-ho, my laddie, lie easy, For perhaps your own daddy might never be known. I'm seein' and sighin' and rockin' the cradle, And nursing the baby that's none of my own," was sung by the Virgin Mary to the baby Jesus. In English, no doubt. - RBW
File: R393
===
NAME: Rockingham Cindy: see Jinny Go Round and Around (File: R272)
===
NAME: Rocks and Gravel
DESCRIPTION: "Rocks and gravel makes a solid road (x2), Takes a do-right woman to satisfy my soul." Unrelated verses, largely about the ways a man can go wrong (and, perhaps, abandon his woman)
AUTHOR: Alan Lomax & W. B. Richardson ?
EARLIEST_DATE: 1958 (copyright)
KEYWORDS: drugs gambling abandonment
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 77, "Rocks and Gravel" (1 text)
File: FSWB077A
===
NAME: Rocks In De Mountens: see Take This Hammer (File: FR383)
===
NAME: Rocks of Bawn, The
DESCRIPTION: Singer warns fellow-laborers not to hire with any master without knowing what the work will be. He describes his decrepit condition, and declares that even the British army would offer a better life (but he has not been invited to join)
AUTHOR: Martin Swiney ? (attribution by Dominic Behan, according to Munnelly/Deasy-Lenihan)
EARLIEST_DATE: 1926 (Collected by Sam Henry)
KEYWORDS: disability poverty farming work army boss worker
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H139, p. 42, "The Rocks of Bawn" (1 text, 1 tune)
OLochlainn 23, "The Rocks of Baun" (1 text, 1 tune)
Munnelly/Deasy-Lenihan 4, "The Rocks of Bawn" (1 text, 1 tune)
DT, ROCKBANN
Roud #3024
RECORDINGS:
Seamus Ennis, "The Rocks of Bawn" [incomplete] (on Lomax42, LomaxCD1742)
Joe Heaney, "The Rocks of Bawn" (on Pubs1, Voice05)
Tom Lenihan, "The Rocks of Bawn" (on IRTLenihan01)
NOTES: In the seventeeth century, Cromwell's army's drove the Irish "to Hell or to Connaught" -- to the submarginal lands of the western coast, where life was exceptionally hard. - PJS
Although it is quite true that the Irish were concentrated in the poorest lands, especially in the far west (note that almost all native speakers of Gaelic are in the west), Cromwell is hardly the only guilty party (though his guilt was extreme; see the notes to "The Wexford Massacre"). The British initially settled in the "Pale" around Dublin, and most later colonists also landed in the east. Thus there was a constant westward pressure on the native Irish -- especially those unwilling to accept British institutions such as the Anglican church. - RBW
File: DTrockba
===
NAME: Rocks of Gibraltar, The: see The Lowlands of Holland (File: R083)
===
NAME: Rocks of Scilly, The [Laws K8]
DESCRIPTION: The singer leaves his new wife to go to sea. Lonely, he fears a disaster -- and meets one when a storm runs his ship onto the Rocks of Scilly. Another singer tells how only four sailors survive, not including the first singer. His wife dies of sorrow
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(83))
KEYWORDS: sailor storm wife death
FOUND_IN: Canada(Mar) Britain(England(West))
REFERENCES: (5 citations)
Laws K8, "The Rocks of Scilly"
Creighton/Senior, pp. 200-201, "Rocks of Scilly" (1 text, 1 tune)
Creighton-SNewBrunswick 62, "The Rocks of Scilly" (1 text, 1 tune)
Mackenzie 50, "The Rocks of Scilly" (1 text)
DT 400, SCILLRCK
Roud #388
BROADSIDES:
Bodleian, Harding B 28(83), "Rocks of Scilly," W. Armstrong (Liverpool), 1820-1824; also Firth c.12(118), Harding B 17(261a), Harding B 16(231a), Harding B 11(3303), "[The] Rocks of Scilly"
CROSS_REFERENCES:
cf. "The Gentle Boy (Why Don't Father's Ship Come In)" (theme)
NOTES: "The Isles of Scilly -- 40 miles off the extreme western tip of England -- are a beautiful, sometimes wild, place where more ships have been wrecked than anywhere else in the world." (Source: _Tresco Times--The Last Piece of England_ quoted at the Tresco Isles of Scilly site) - BS
File: LK08
===
NAME: Rocky Banks of the Buffalo, The: see Babylon, or, The Bonnie Banks o Fordie [Child 14] (File: C014)
===
NAME: Rocky Brook: see Samuel Allen [Laws C10] (File: LC10)
===
NAME: Rocky By Baby, By-O: see Rock-A-Bye Baby (File: Wa190)
===
NAME: Rocky Mountain Side: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: Rocky Road (Green Green)
DESCRIPTION: Playparty, with several possible plots, but typical chorus "Green green, rocky road, Some (young) lady's green. Tell me who you love, tell me who you love...." In one game, a girl is called into a circle, calls a boy, and so forth
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, children of Lilly's Chapel School)
KEYWORDS: playparty courting
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, p. 154, "(Green, Green, Rocky Road)" (1 text); p. 277, "Green Green Rocky Road" (1 tune, partial text)
Roud #15657
RECORDINGS:
Children of Lilly's Chapel School, "Green Green Rocky Road" (on NFMAla6, RingGames1)
ALTERNATE_TITLES:
Green Green
Green Green Rocky Road
Red Green
Red Light Green Light
NOTES: This should not be confused with the shape-note hymn "Rocky Road," nor with the pop-folk song "Green, Green", both of which are separate songs.
The version of this song usually sung by revival singers was adapted by Len Chandler from the traditional song found in Courlander. The folk-revival version also incorporates lyrics from "Rosie, Darling Rosie," which was also collected and recorded by Courlander. - PJS
File: CNFM154
===
NAME: Rocky Road (II): see Rough, Rocky Road (Most Done Suffering) (File: Br3632)
===
NAME: Rocky Road to Dublin, The
DESCRIPTION: An emigrant from Tuam recounts his comical misadventures on the way to England. He is flirted with in Mullingar, robbed in Dublin, put with the pigs on board ship, and ends in a brawl with "the boys of Liverpool."
AUTHOR: unknown
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 11(3304))
KEYWORDS: emigration humorous Ireland
FOUND_IN: Ireland US
REFERENCES: (5 citations)
Hodgart, p. 207, "The Rocky Road to Dublin" (1 text)
SHenry H44, pp. 178-179, "The Rocky Road to Dublin" (1 text, 1 tune)
O'Conor, pp. 19-20, "Rocky Road to Dublin" (1 text)
OLochlainn 51, "The Rocky Road to Dublin" (1 text, 1 tune)
DT, RCKYDBLN*
Roud #3012
RECORDINGS:
American Quartet, "Along the Rocky Road to Dublin" (Victor 17900, 2926; rec. 1915)
Sam Ash, "Along the Rocky Road to Dublin" (Little Wonder 254, 1915)
Liam Clancy, "The Rocky Road to Dublin" (on IRLClancy01)
Marguerite Farrell, "Along the Rocky Road to Dublin" (Columbia A1920, 1916; rec. 1915)
Osey Helton, "Rocky Road to Dublin" (Broadway 5122A, c. 1931)
Edward Herborn & James Wheeler, "Rocky Road to Dublin" (Columbia A2217, 1917)
Bill McCune & his Orch. "Along the Rocky Road to Dublin" (Vocalion 04281, 1938)
Premier Quartet, "Along the Rocky Road to Dublin" (CYL: Edison [BA] 2817, n.d.)
Allen Sisson, "The Rocky Road to Dublin" [instrumental] (Edison 51559, 1925)
BROADSIDES:
Bodleian, Harding B 11(3304), "Rocky Road to Dublin," J. Harkness (Preston), 1840-1866; also Harding B 18(417), Johnson Ballads 2804 [same as LOCSinging as203070]; Harding B 11(454), "Rocky Road to Dublin"
LOCSinging, as203070, "The Rocky Road to Dublin," H. De Marsan (New York), 1864-1878 [same as Bodleian Harding B 18(417)]; also as111860, "The Rocky Road to Dublin"
NOTES: [Tune listed in broadsides LOCSinging as203070 and Bodleian Harding B 18(417) as "Irish Jig." True, but hardly helpful.... - RBW/BS]
Broadside LOCSinging as203070: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: Hodg207
===
NAME: Rocky Road to Georgia: see Rocky Road to Jordan (Long Summer Day) (File: R590)
===
NAME: Rocky Road to Jordan (Long Summer Day)
DESCRIPTION: "Out a sweetheart hunting, long a summer day." "Where shall I find her, long a summer day?" "Here is where I found her, Rocky road to (Jordan/Georgia)." "Walk and talk together...."
AUTHOR: unknown
EARLIEST_DATE: 1937 (Randolph)
KEYWORDS: courting playparty
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 590, "Rocky Road to Georgia" (1 text)
Roud #7650
File: R590
===
NAME: Roddy McCorley
DESCRIPTION: "Oh see the fleet-foot host of men..." who are hurrying to stage a rescue. "For young Roddy McCorley goes to die on the bridge of Toome today." They are too late. The song recalls McCorley's actions; he would not turn traitor even to save his life
AUTHOR: Words: Ethna Carberry (1866-1902)
EARLIEST_DATE: c.1798 (Zimmermann)
KEYWORDS: Ireland rebellion death execution
HISTORICAL_REFERENCES: February 28, 1800 - Rody McCorley hanged in Toome. (source: Moylan citing John Moulden)
FOUND_IN: Ireland
REFERENCES: (5 citations)
OLochlainn-More 100, "Rody MacCorley" (1 text, 1 tune)
Zimmermann 17, "Rody Mac Corly" (1 text, 1 tune)
Moylan 123, "Rody MacCorley" (1 text, 1 tune)
Silber-FSWB, p. 324, "Roddy McCorley" (1 text)
DT, RMCORLEY*
RECORDINGS:
The Clancy Brothers and Tommy Makem, "Roddy McCorley" (on IRClancyMakem02)
CROSS_REFERENCES:
cf. "Rody McCorley" (subject)
NOTES: The Fiddler's Companion site says "McCurley was a County Antrim rebel leader in the rising of 1798." 
The rebels [were] defeated at Antrim in June 1798. If any of [the details in the song "Rody McCorley are] accurate he might have been executed Good Friday, April 6, 1798 or, more likely, March 22, 1799
Zimmermann: "Rody McCorley was hanged c.1798." [But see Moylan's note.]
Moylan: .". by Ethna Carberry (Anna [Johnson] MacManus b. 1866), was written in the 1890s and may have been based on ["Rody McCorley"]. - BS
According to Hoagland, _1000 Years of Irish Poetry_, p. 775, the name was spelled "Carbery" (a spelling supported by _Granger's Index to Poetry_); her collected poems were published posthumously in _The Four Winds of Erin_. _Granger's_ cites six of her poems; this, interestingly, is not among them. - RBW..
File: FSWB324
===
NAME: Rodney's Glory
DESCRIPTION: "Good news to you I will unfold, 'Tis of brave Rodney's glory." In 1782 Rodney defeats De Grasse and the French fleet off Fort Royal. Five French ships are captured and thousands slain. "Now may prosperity attend Brave Rodney and his Irishmen"
AUTHOR: Eoghan Rua O Suilleabhain (Owen Roe O'Sullivan) (1748?-1784) (source: Hoagland; cf. Moylan)
EARLIEST_DATE: before 1845 (broadside, Bodleian Firth c.12(24))
KEYWORDS: battle navy death sea ship
HISTORICAL_REFERENCES: April 12, 1782 - Admiral George Brydges Rodney defeats French Admiral the Count De Grasse at the Battle of the Saintes in the Caribbean and brings the captured French ships into Fort Royal
FOUND_IN: 
REFERENCES: (2 citations)
Moylan 8, "Rodney's Glory" (1 text, 1 tune)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 349-351 "Rodney's Glory" (1 long text)
BROADSIDES:
Bodleian, Firth c.12(24), "Rodney's Glory," J. Pitts (London), 1819-1844
NLScotland, L.C.Fol.70(133a), "Rodney's Glory," unknown, c.1890
NOTES: Moylan: "Serving with Rodney was a thirty-three-year-old Irishman -- the Gaelic poet Eoghan Rua O Suilleabhain from Sliabh Luachria.... He took part in the engagement with De Grasse and composed this song ... as a way of ingratiating himself with his commander and thereby obtaining his discharge. The ploy was apparently unsuccessful...." - BS
According to Arthur Herman, _To Rule the Waves_, pp. 316-318, George Brydges Rodney (1718-1792) was anything but a good example: although he made captain at the astonishing age of 23, he "had an unquenchable greed for money that corrupted everything he touched. He stole from captured prizes... and cheated other officers out of prize money. He treated everyone with high-handed arrogance... He was also a degenerate gambler, and the outbreak of war found him in France, hiding from debtor's prison."
But he was known as a fighter, so he was pulled out of retirement to command the Leeward Islands station during the late stages of the American Revolution. (He was thoughtfully supplied with several officers to watch over his accounts and actions.) It was a rather desperate time for Britain; the navy was still recovering from severe budget cuts under the Prime Minister Grenville in the 1760s (see Don Cook, _The Long Fuse: How England Lost the American Colonies_, pp. 56, 114-115).
In 1780, at Cape Finisterre (the so-called "Midnight Battle"), he changed naval rules by attacking from the windward, making it impossible for a defeated enemy to simply flee.
But his great victory was the Battle of the Saintes. Britain had lost at Yorktown the year before, and de Grasse's fleet which has won the naval part of the Yorktown campaign threatened to destroy the British position in the Carribean as well. De Grasse, based at Fort Royal at Martinique, was supposed to rendezvous with the Spanish and attack Jamaica. Instead, Rodney caught him on April 12. According to Trevor N. Dupuy, Curt Johnson, and David L. Bongard, _The Harper Encyclopedia of Military Biography_, p. 637, he sank one ship and captured five (a sixth of the French fleet). Andrew Keegan and Andrew Wheatcroft, _Who's Who in Military History_, p. 265, however, says he captured nine ships then and after. Despite these discrepancies, every source seems to agree that his win at the Saintes allowed Britain to continue its mastery of the sea, allowing it to remain a great Colonial power. - RBW
File: Moyl008
===
NAME: Rody MacCorley: see Roddy McCorley (File: FSWB324)
===
NAME: Rody McCorley
DESCRIPTION: Rody McCorley is betrayed in Ballyscullion by Dufferin and McErlean. Testimony that he was "a foe unto the crown" leads to prison in Ballymena and hanging "upon Good Friday... Convenient to the Bridge of Toome"
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: rebellion betrayal execution prison trial Ireland patriotic
HISTORICAL_REFERENCES: February 28, 1800 - Rody McCorley hanged in Toome. (source: Moylan citing John Moulden)
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 21, "Rody McCorley" (1 text, 1 tune)
Moylan 122, "Rody McCorley" (1 text, 1 tune)
Roud #9756
CROSS_REFERENCES:
cf. "Roddy McCorley" (subject)
NOTES: OLochlainn-More: "This is the authentic 1798 ballad"
The Fiddler's Companion site says "McCurley was a County Antrim rebel leader in the rising of 1798." 
The rebels [were] defeated at Antrim in June 1798. If any of this is accurate he might have been executed Good Friday, April 6, 1798 or, more likely, March 22, 1799 [but see Moylan's note].
The ballad is recorded on two of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Roisin White, "Rody McCorley" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes)
Franke Harte and Donal Lunny, "Roddy McCorley" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS
File: OLcM021
===
NAME: Roger the Ploughboy
DESCRIPTION: Roger meets milk-maid Sue. He would take her to the fair to buy hair ribbons. She eventually agrees. In a grove "he gave her a ribbon to roll up her hair." She said it could not be bought at a fair. They marry. "Roger continues to roll up her hair"
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Harding B 11(2578))
KEYWORDS:  love marriage seduction
FOUND_IN: 
REFERENCES: (0 citations)
Roud #17772
RECORDINGS:
Paddy Tunney, "The Lark in the Morning" (on Voice05) [a mixture of "The Lark in the Morning" and "Roger the Ploughboy"]
BROADSIDES:
Bodleian, Harding B 11(2578), "Roger the Ploughboy" ("Young Roger the ploughboy was a crafty young swain"), H., Such (London), 1863-1885; also Firth b.34(258)[some words are illegible], "Roger the Ploughboy"; 2806 c.16(113), "Roger the Plow Boy"
NOTES: The description is based on broadside Bodleian Harding B 11(2578).
See recording Paddy Tunney, "The Lark in the Morning" (on Voice05). The first verse is a fragment of "The Lark in the Morning"; the second is a fragment of "Roger the Ploughboy." - BS
Is it just me, or does this sound like someone is trying to stick a happy ending on "Oh, Dear, What Can the Matter Be?"
File: BdRotPlo
===
NAME: Roger the Tinker Man: see Jolly Old Roger (File: R496)
===
NAME: Roger's Courtship
DESCRIPTION: Roger's father instructs the boy in how to find a wife. He should dress in his best and kiss each pretty girl he meets. He meets (Grace/Nell), and tries his procedure. She slaps him. He asks how she dare reject such a fine specimen as he, then goes home
AUTHOR: unknown
EARLIEST_DATE: 1939 (Sam Henry collection)
KEYWORDS: courting rejection father clothes
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H820, pp. 257-258, "Roger's Courtship" (1 text, 1 tune)
Roud #575
ALTERNATE_TITLES:
Jan's Courtship
Roger and Nell
Robin's Courtship
File: HHH520
===
NAME: Rogers The Miller: see The Gray Mare [Laws P8] (File: LP08)
===
NAME: Rogue, The
DESCRIPTION: The girl walks down the street "like a good girl should" followed by a rogue, a sailor, a knave or some such. She rather coyly seduces him. (He coyly gets her pregnant.)
AUTHOR: unknown
EARLIEST_DATE: 1620 (in Bishop Percy Folio Manuscript as the fragmentary "A Dainty Ducke")
KEYWORDS: bawdy sex seduction pregnancy
FOUND_IN: US(So) Britain(Scotland)
REFERENCES: (3 citations)
Kinloch-BBook XXVII, p. 82-83, "The Knave" (1 text)
Randolph-Legman I, pp. 187-190, "The Rogue" (2 texts, 1 tune)
DT, KNAVEKN NAVENAVE*
Roud #8156
ALTERNATE_TITLES:
A Gob Is a Gob
Knaves Will Be Knaves
File: RL187
===
NAME: Roisin Dubh (Dark Rosaleen)
DESCRIPTION: Gaelic. The singer laments being kept from his dark Rose. He warns that help is coming from the Pope but they will be apart. He would do anything if he could be with her. The end of the world will come before she would die.
AUTHOR: see notes
EARLIEST_DATE: 1963 (IRPTunney02)
KEYWORDS: foreignlanguage love war separation nonballad
FOUND_IN: Ireland
REFERENCES: (4 citations)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859 (reprint of 1855 London edition)), Vol II, pp. 19-21, "Dark Rosaleen" [translated by James Clarence Mangan (1803-1849)]
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 143-145, "Dark Rosaleen" [translated by James Clarence Mangan (1803-1849)]; pp. 145-146, "Roisin Dubh" [translated by Eleanor Hull];  pp. 146-148, "Roisin Dubh" [translated by Padraic Pearse]
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 134-135, 500, "Roisin Dubh" [translated by Thomas Furlong (1794-1827)]; pp. 136-139, 504, "Dark Rosaleen" [translated by James Clarence Mangan (1803-1849)]
Charles Sullivan, ed., Ireland in Poetry, p. 60, "Dark Rosaleen (1 text) [translated by James Clarence Mangan (1803-1849)]
RECORDINGS:
Paddy Tunney, "Roisin Dubh" (on IRPTunney02)
NOTES: Hayes: "This impassioned ballad, entitled in the original 'Roisin Dubh' (or The Black Little Rose), was written in the reign of Elizabeth by one of the poets of the celebrated Tirconnellian chieftain, Hugh the Red O'Donnell. It purports to be an allegorical address from Hugh to Ireland, on the subject of his love and struggles for her, and his resolve to raise her again to the glorious position she held as a nation before the irruption of the Saxon and Norman spoilers."
Sparling: "Mangan ... always maintained that it was in reality a love-song with an infusion, but no more, of allegorical meaning."
Sparling p. 136 states that "Furlong's version is much more literal but this [Mangan's version] conveys a better idea of the intense fire and passion of the original."
Paddy Tunney sings a Gaelic three verse version on IRPTunney02. The notes to that album have a translation by either Tunney or Peter Boyle. The published translation among ADDITIONAL references closest to that translation is Eleanor Hull's seven verse translation [Hoagland pp. 145-146], though parts of other translations are recognizable. The description is based on Eleanor Hull's and James Clarence Mangan's version. - BS
Hoagland attributes this to Owen Row Mac Ward, who presumably is the poet of Red Hugh O'Donnell mentioned by Hayes. (For Red Hugh, see the notes to "O'Donnell Aboo (The Clanconnell War Song)"). It seems reasonable to attribute the poem to the sixteenth century, given the references to religious persecution, but while that is surely the earliest possible date, there is nothing in the song to prevent a seventeenth century date, or even one from the early eighteenth, I think. (Sullivan attributes it to the nineteenth century, which seems improbable.)
The translations are so diverse that it is sometimes difficult to see them as from the same original. Some of this may be because the translators (notably Paidraic Pearse) had axes to grind. - RBW
File: RcRoiDub
===
NAME: Roll and Go
DESCRIPTION: Capstan shanty. "O Sally Brown she promised me, a long time ago. She promised for to marry me, Way-ay roll and go." Combination of "Sally Brown" and "A Long Time Ago" with an entirely different tune.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty sailor courting parting
FOUND_IN: Britain
REFERENCES: (2 citations)
Hugill, p. 167, "Roll and Go" (1 text, 1 tune -- quoted from Sharp-EFC) [AbEd, p. 134]
Sharp-EFC, X, p. 12, "Roll and Go" (1 text, 1 tune)
Roud #2628
CROSS_REFERENCES:
cf. "A Long Time Ago" (refrain)
cf. "Sally Brown" (verses)
NOTES: Sharp seems to be the only source for this. Hugill classed it as separate from it relatives ("Sally Brown" and "Long Time Ago") though if it had to be declared one or the other, I'd put it with "Sally Brown" as they are both usually used as capstan shanties. - SL
File: Hugi167
===
NAME: Roll Down Dem Bales o' Cotton
DESCRIPTION: "Roll down dem bales o' cotton (x3), I ain't got long to stay here now."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 243, "Roll Down Dem Bales o' Cotton" (1 short text)
File: Br3243
===
NAME: Roll Down the Line: see Buddy Won't You Roll Down the Line (File: ADR98)
===
NAME: Roll In My Sweet Baby's Arms
DESCRIPTION: Chorus: "Roll in my sweet baby's arms (2x)/Lay around the shack till the mail train comes back/Roll in my sweet baby's arms." Floating verses, e.g. "Ain't gonna work on the railroad/Ain't gonna work on the farm"; "Where was you last Friday night...."
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, Buster Carter & Preston Young)
KEYWORDS: humorous nonballad floatingverses separation
FOUND_IN: US(Ap,SE)
REFERENCES: (3 citations)
Cohen/Seeger/Wood, p. 178, "I'll Roll In My Sweet Baby's Arms" (1 text, 1 tune)
Silber-FSWB, p. 159, "Roll In My Sweet Baby's Arms" (1 text)
DT, ROLLBABY*
RECORDINGS:
Buster Carter & Preston Young, "I'll Roll In My Sweet Baby's Arms" (Columbia 15690-D, 1931)
Lester Flatt & Earl Scruggs, "Roll In My Sweet Baby's Arms" (Mercury 6372, c. 1951)
Monroe Brothers, "Roll In My Sweet Baby's Arms" (Bluebird B-6773, 1937)
New Lost City Ramblers, "I'll Roll In My Sweet Baby's Arms" (on NLCR03)
CROSS_REFERENCES:
cf. "Late Last Night When Willie Came Home" (words)
cf. "My God, How the Money Rolls In" (words)
NOTES: Paul Stamler lists this as a humorous song. I thought I should add that the versions I've heard have been done "straight," often with a blues feel. - RBW
File: CSW178
===
NAME: Roll Me Over
DESCRIPTION: The singer begins with number one, "when the fun has just begun," and progressing to number ten, when "it's time to start again."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy shanty humorous
FOUND_IN: Australia Britain(England) US(ubiquitous) New Zealand
REFERENCES: (2 citations)
Cray, pp. 325-327, "Roll Me Over" (2 texts, 1 tune)
Randolph-Legman I, pp. 389-392, "Roll Me Over" (4 texts, 1 tune)
Roud #10133
RECORDINGS:
Larry Vincent's Pearl Trio, "Roll Me Over" (Pearl 50, c. 1949)
CROSS_REFERENCES:
cf. "Yo Ho, Yo Ho"
cf. "Drive It On"
cf. "Put Your Shoulder Next to Mine and Pump Away" (tune)
cf. "Kissing Song (II -- She Just Kept Kissing On)" (form)
SAME_TUNE:
Put Yer Shoulder Next to Mine and Pump Away (File: Hugi508)
ALTERNATE_TITLES:
Roll Me Over in the Clover
NOTES: This is perhaps the most popular formula song in the English language. - EC
Hugill thinks this derived from the shanty "Put Yer Shoulder Next to Mine and Pump Away," with which it shares a tune. I wouldn't be surprised if the kinship goes the other way. Even more likely to be a descendant is "Kissing Song (II -- She Just Kept Kissing On)." - RBW
File: EM325
===
NAME: Roll Me Over in the Clover: see Roll Me Over (File: EM325)
===
NAME: Roll on the Ground (Big Ball's in Town)
DESCRIPTION: Floating verses: "Let's have a party, let's have a time/Let's have a party, I've only a dime"; "Work on the railroad, sleep on the ground/Eat soda crackers, ten cents a pound." Chorus: "Roll on the ground, boys, roll on the ground (x2)."
AUTHOR: unknown
EARLIEST_DATE: 1899 (recording, Billy Golden)
LONG_DESCRIPTION: Floating verses, mostly concerning high life: "Get on your big shoes, get on your gown/Shake off those sad blues, Big Ball's in town"; "Let's have a party, let's have a time/Let's have a party, I've only a dime"; "My love's in jail, boys, my love's in jail/My love's in jail, boys, who's going her bail?" And "Work on the railroad, sleep on the ground/Eat soda crackers, ten cents a pound." Chorus: "Big Ball's in Boston [Nashville], Big Ball's in town/Big Ball's in Boston, we'll dance around." Or, in the other common version, "Roll on the ground, boys, roll on the ground (x2)."
KEYWORDS: prison dancing drink humorous nonballad floatingverses dancetune
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
BrownIII 234, "Working on the Railroad" (1 text plus two unrelated fragments, the "B" and "C" fragments probably belong here; the "A" text is a jumble starting with "Working on the Railroad" but followed up by what is probably a "Song of All Songs" fragment)
Cohen/Seeger/Wood, p. 200, "Big Ball's In Town" (1 text, 1 tune)
Silber-FSWB, p. 199, "Roll On The Ground" (1 text)
DT, ROLLGRND*
Roud #12114 (and probably others)
RECORDINGS:
Warren Caplinger's Cumberland Mountain Entertainers, "Big Ball in Town" (Brunswick 241, 1928)
Georgia Yellow Hammers, "Big Ball in Memphis" (Victor V-40138, 1929)
Billy Golden, "Roll on the Ground" (Berliner 0539, c. 1900; Victor A-616, c. 1901; rec. 1899) (CYL Albany 1131 [as "Roll On de Ground"], n.d.) (CYL: Lambert 5077 [as "Roll on de Ground"], n.d. but c. 1900) (Victor 16804, 1911 [as "Roll on de Ground"]; rec. 1905)
Al Hopkins & his Buckle Busters, "Roll on the Ground" (Brunswick 186, 1927)
J. E. Mainer's Mountaineers, "Big Ball's in Town" (King 622, 1947)
Fate Norris & his Playboys, "Roll 'em on the Ground" (Columbia 15435-D, 1929)
Gid Tanner & His Skillet Lickers, "Big Ball In Town" (Columbia 15204-D, 1927)
Taylor-Griggs Louisiana Melody Makers, "Big Ball Up Town" (Victor 21768, 1928)
Thaddeus C. Willingham, "Roll on the Ground" (AFS, 1939; on LC02, LCTreas)
Unidentified artist [label reads "Negro Shout"], "Roll on the Ground" (Busy Bee 67, c. 1904)
ALTERNATE_TITLES:
Big Ball's in Boston
NOTES: Harry Oster has reported an anti-Semitic variant from Louisiana, "Hook Nose In Brooklyn." - PJS
Cohen/Seeger/Wood report "This tune is the sort that exists only for itself and its suitability on the banjo, the words being only very freely attached and often with reference to a drunken state." This seems to be true of most variants, except perhaps for the prejudiced version mentioned by Paul. - RBW
Maybe so; the piece, however, seems to have begun life as a "coon song" -- a popular minstrel piece. - PJS
File: CSW200
===
NAME: Roll On, Buddy (I): see Take This Hammer (File: FR383)
===
NAME: Roll On, Buddy (II) [Roll On, Buddy, Roll On]
DESCRIPTION: Assorted verses: "I'm going to the East, Karo" "You'd better quit your rowdy ways/You'll get killed some day" "My home's down in Tennessee." Cho: "Roll on, buddy, roll on...You wouldn't roll so slow/If you know what I know/Yes, roll on, my buddy, roll on"
AUTHOR: Lyrics: Charles Bowman/tune: traditional
EARLIEST_DATE: 1928 (recording, Charlie Bowman & his Brothers)
KEYWORDS: travel death floatingverses nonballad home wife homesickness
FOUND_IN: US(Ap,SE)
REFERENCES: (0 citations)
RECORDINGS:
Charlie Bowman & his Brothers "Roll On, Buddy" (Columbia 15357-D, 1929; rec. 1928)
Monroe Bros. "Roll On Buddy" (Bluebird B-6960, 1937)
Sam & Kirk McGee, "Roll On, Buddy"(on McGeeSmith1)
CROSS_REFERENCES:
cf. "Roll In My Sweet Baby's Arms"
cf. "Rock About My Saro Jane" (tune)
cf. "Take This Hammer" (chorus -- the "Roll On, Buddy" variant)
NOTES: This should not be confused with the "Roll On, Buddy" variant of "Take This Hammer"; although it was assembled by Charlie Bowman, who also was involved in assembling "Nine-Pound Hammer" as a delimited song when he was a member of Al Hopkins & his Buckle Busters, this is an entirely separate song. I use "floatingverses" as a keyword mostly because of the "rowdy ways" verse; the rest don't seem to have exact analogues elsewhere. - PJS
Further research shows that the author, Charlie Bowman, was not only familiar with the other "Roll On, Buddy," but held the copyright on that song, having assembled it from traditional fragments in collaboration with Al Hopkins. - PJS
File: RcROBRO2
===
NAME: Roll On, Columbia
DESCRIPTION: Tribute to the Columbia River, the development along it, and the Bonneville Power Administration that manages both: "Roll on Columbia, roll on (x2), Your power is turning our darkness to dawn, So roll on, Columbia, roll on."
AUTHOR: Woody Guthrie
EARLIEST_DATE: 1941
KEYWORDS: technology nonballad river
FOUND_IN: 
REFERENCES: (4 citations)
Scott-BoA, pp. 348-349, "Roll On, Columbia" (1 text, 1 tune)
Lomax-FSNA 233, "Roll On, Columbia" (1 text, 1 tune)
Arnett, pp. 166-167, "Roll On, Columbia" (1 text, 1 tune)
DT, ROLCOLUM
RECORDINGS:
Pete Seeger, "Roll On, Columbia" (on AmHist2) (on PeteSeeger41)
CROSS_REFERENCES:
cf. "Goodnight Irene" (tune)
NOTES: I've seen people claim that the tune Woody used was "Goodnight Irene"; others say it's "My Bonnie." I guess he managed to modify it enough to fool at least a few people.... - RBW
"My Bonnie"? Naah. This is "Goodnight Irene", almost unchanged. - PJS
Obviously true of the chorus. The verse has been altered to a greater degree. Not that it really matters. - RBW
File: SBoA348
===
NAME: Roll On, Little Dogies: see The Cowboy's Dream (File: R185)
===
NAME: Roll Over
DESCRIPTION: "There were ten in the bed, and the little one said, 'Roll over, roll over.' So they all rolled over and one fell out." "There were nine in the bed..." "There was one in the bed And the little one said, 'Good night.'"
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: nonballad humorous
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 386, "Roll Over" (1 text)
File: FSWB386C
===
NAME: Roll the Boat Ashore (Hog-eye I)
DESCRIPTION: Tales of sailing or mountain life, held together with a chorus such as "With a hog-eye! Roll the boat ashore and a hog-eye (x2). All she wants is a hog-eye man." Typical verse: "Who's been here since I been gone? (Someone) with his sea-boots on."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonballad shanty
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 186, "Row the Boat Ashore" (1 text, with all the verses changed to land pursuits)
Botkin-AmFolklr, p. 836, "The Hog-Eye Man" (1 text, 1 tune)
Sandburg, p. 380, "Hog-Eye" (1 fragment, seemingly a ruined version of the chorus, 1 tune)
ST San380 (Partial)
Roud #331
CROSS_REFERENCES:
cf. "Sally in the Garden" (many floating verses)
NOTES: Paul Stamler points out a connection between this and "Sally in the Garden," which often mentions Sally being involved with a hog-eye man. Given that both songs are rather amorphous, it can be difficult in the case of short or excerpted texts to tell which is which (and, indeed, Roud appears to lump them).
Nonetheless I would maintain that they are separate songs, based on form. This one is a shanty. Colcord's version is perhaps typical; it has a long (three and a half line) chorus, and the verses have more syllables than "Sally in the Garden." For an example, see the Supplemental Tradition.
Whall suggests that "hog-eye" in this case has nothing to do with the usual sexual meaning; a "hog-eye" reportedly was a California coastal barge, and the reference to the Gold Rush. - RBW
File: San380
===
NAME: Roll the Chariot: see We'll Roll the Old Chariot Along (File: Doe049)
===
NAME: Roll the Cotton Down
DESCRIPTION: Shanty. Characteristic line: "Roll the cotton down." The young man (from Alabama) joined the (Black Ball) line (and now looks back and describes the curious doings on a Black Ball vessel)
AUTHOR: unknown
EARLIEST_DATE: 1923
KEYWORDS: shanty sailor floatingverses
FOUND_IN: US(MA)
REFERENCES: (6 citations)
Doerflinger, pp. 33-34, "Roll the Cotton Down" (3 texts, 1 tune)
Bone, pp. 84-86, "Roll th' Cotton Down" (1 text, 1 tune)
Colcord, p. 62, "Roll the Cotton Down" (1 text, 1 tune)
Harlow, pp. 144-145, "Roll the Cotton Down" (1 text, 1 tune)
Hugill, pp. 152-158, "Roll the Cotton Down," "De Runer Von Hamborg (The Runners of Hamburg)" (9 texts-2 in German, 1 tune. The fifth version is basically "Paddy Works on the Railway," sixth is "A Long Time Ago." In the German versions the characteristic line "roll the cotton down" is frequently replaced with "Oh, come, a beer for me.") [AbEd, pp. 123-126]
DT, ROLLCTTN* ROLLCOTT2*
Roud #2627
RECORDINGS:
Capt. Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Roll the Cotton Down" (AFS 4232 B2, 1939; on LC27, in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "A Long Time Ago" (tune, floating lyrics)
cf. "Roll, Alabama, Roll" (tune)
cf. "Lower the Boat Down" (similar tune)
cf. "Run, Let the Bullgine Run" (tune)
File: Doe033
===
NAME: Roll the Old Chariot Along: see We'll Roll the Old Chariot Along (File: Doe049)
===
NAME: Roll the Tater (Rolly Rolly)
DESCRIPTION: "Don't you think he's a nice young man? Don't you think he's clever? Don't you think that him and me Would make a match forever? Rolly roll, rolly roll, Rolly roll the 'tater." The singer likes music/dancing so much that she wants to join the Shaker band
AUTHOR: unknown
EARLIEST_DATE: 1915 (JAFL 28)
KEYWORDS: courting dancing food
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 582, "Roll the 'Tater" (1 text)
Roud #7670
CROSS_REFERENCES:
cf. "Weevily Wheat" (floating lyrics, meter)
NOTES: Randolph believes this song completely unconnected to "Weevily Wheat." But my immediate reaction on reading the piece was to think of that song.  No wonder ballad indexing is so hard! - RBW
File: R582
===
NAME: Roll the Union On
DESCRIPTION: "We're going to roll, we're going to roll, we're going to roll the union on." Verse: "If the (boss, scabs, etc.) get(s) in the way, we're going to roll right over him (them)...we're going to roll the union on"
AUTHOR: Probably John Handcock/Handcox
EARLIEST_DATE: 1937 (recording, John Handcock)
KEYWORDS: labor-movement nonballad boss scab worker
FOUND_IN: US(SE)
REFERENCES: (1 citation)
DT, ROLUNION*
RECORDINGS:
John Handcock, "Going to Roll the Union On" (AFS 3237 A2, 1937)
Pete Seeger & Chorus, "Roll the Union On" (on PeteSeeger01)
NOTES: John Handcox (with an X) was a sharecropper and organizer; he apparently based the song on the hymn "Roll the Chariot On" (which seems to be not the same as "We'll Roll the Old Chariot Along" as found in Sandburg; they share a verse, but not the tune or meter). I have been unable to find a copy of "Roll the Chariot On". - PJS
File: DTroluni
===
NAME: Roll the Woodpile Down
DESCRIPTION: Pumping or capstan shanty. Verse lines end with "way down in Florida" and "an' we'll roll the woodpile down." Full chorus: "Rollin' rollin' rollin' the whole world round. That brown gal o' mine's down the Georgia Line, an' we'll roll the woodpile down."
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong
FOUND_IN: West Indies US
REFERENCES: (2 citations)
Hugill, pp. 160-161, "Roll the Woodpile Down" (1 text, 1 tune) [AbEd, p. 128]
DT, WOODPLDN*
Roud #4443
ALTERNATE_TITLES:
Haul the Woodpile Down
NOTES: Hugill states that this is the sea version of "Haul the Woodpile down." [Indexed as "Hold the Woodpile Down," which is a more Dave Macon-ish version of the title. - RBW] Probably originated in the West Indies of American south, and was popular at sea right up to the end, one of Hugill's sources remembers it sung on board as late as 1920. Technically this could have been entered under "Hold the Woodpile Down"; however that entry kept making references to "Roll the Woodpile Down" and there was no entry for that cross-reference so I decided to add one, especially since this is likely the original that Uncle Dave Macon's version came from. - SL
Since this song seems to predate "Roll the Woodpile Down," and is also more coherent, it seems reasonable to consider this the original. - RBW
File: Hugi160
===
NAME: Roll Them Simelons
DESCRIPTION: "O Miss Mary, I am so sorry, Bound for Texas, I am so sorry. Roll them simelons, roll 'em round, Keep them simerlons rollin' down. Roll them simelons, roll 'em down, All them pretty girls down town."
AUTHOR: unknown
EARLIEST_DATE: 1936 (Hudson)
KEYWORDS: playparty nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Hudson 157, p. 302, "Roll Them Simelons" (1 short text)
Roud #4511
File: Hud157
===
NAME: Roll Your Leg Over
DESCRIPTION: In this quatrain ballad, singers hypothecate that if the girls were ducks, rabbits, bricks, etc., they would be drakes, hares, masons, and euphemistically enjoy lustful pleasures.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous nonballad animal
FOUND_IN: Australia [from an American student] Canada US(MW,So,SW)
REFERENCES: (3 citations)
Cray, pp. 301-309, "Roll Your Leg Over" (5 texts, 1 tune)
Randolph-Legman II, pp. 643-647, "Roll Your Leg Over" (2 texts)
DT, ROLYRLEG
Roud #10410
CROSS_REFERENCES:
cf. "Hares on the Mountain"
cf. "Creepin' and Crawlin'"
cf. "The Twa Magicians" [Child 44]
NOTES: This more or less recently composed bawdy song -- the earliest text recovered dates from the second world war -- is ultimately descended from "The Twa Magicians" (Child 44). See Cray, pp. 306 ff. - EC
G. Legman offers extensive notes in Randolph-Legman II. - EC
Paul Stamler suggests that this is a strongly bawdy version of "Hares on the Mountain." The dependence, in lyrics and form, is obvious, but this text apparently has taken on a life of its own in army circles. I must admit that I question the connection with "The Twa Magicians." Cray concedes there are no intermediaries between "The Twa Magicians" and the "Hares on the Mountain/Sally My Dear" complex. - RBW
File: EM301
===
NAME: Roll, Alabama, Roll
DESCRIPTION: The Alabama is built in Birkenhead by Jonathan Laird. After a long career of commerce-raiding, the Kearsarge catches her off Cherbourg and sinks her
AUTHOR: unknown
EARLIEST_DATE: 1925
KEYWORDS: shanty battle navy Civilwar
HISTORICAL_REFERENCES: May 15, 1862 - Launching of the C.S.S. Alabama
June 19, 1864 - The Alabama sunk by the U.S.S. Kearsarge
FOUND_IN: US(MA) New Zealand
REFERENCES: (7 citations)
Doerflinger, pp. 35-37, "The Alabama" (2 texts, 1 tune)
Colcord, p. 65, "Roll, Alabama, Roll" (1 text, 1 tune)
Hugill, p. 159, "Roll, Alabama, Roll!" (1 text, 1 tune) [AbEd, pp. 126-127]
Scott-BoA, pp. 245-247, "Roll, Alabama, Roll" (1 text, 1 tune)
Darling-NAS, pp. 350-351, "The Alabama" (1 text)
Silber-CivWar, p. 70, "Roll, Alabama, Roll" (1 text, 1 tune)
DT, ROLLALAB*
Roud #4710
CROSS_REFERENCES:
cf. "Roll the Cotton Down" (tune)
NOTES: When the Civil War began, the Confederates had neither navy, nor merchant fleet, nor significant shipbuilding capability; all rested in the hands of the North. Facing economic strangulation, the South explored every avenue to build a fleet.
Early in the war, the British were willing to help the Confederates build a navy. One of the ships built for this purpose was the _Alabama_, a fast commerce-raider. Built by Jonathan Laird, Ltd. at Birkenhead near Liverpool, the Federals protested her building from first to last, but somehow the papers never quite came through in time.
After the completion of the hull in 1862, the _Alabama_ sailed for the Azores to pick up arms and her Captain, Raphael Semmes (brother of the Confederate General Paul Semmes, killed at Gettysburg).
Over the next two years, the _Alabama_ sank a total of 69 Union merchant vessels, formally valued at $6,547,609.
Although she once ran the blockade to enter the Confederate port at Galveston, the _Alabama_ was generally unable to stop at Confederate ports; when she needed repairs in 1864, she stopped at the French port of Cherbourg. An American got off word of her presence there, and the _Kearsarge_ was waiting when the _Alabama_ sailed. Soon after the _Alabama_ crossed the three mile limit, the _Kearsarge_ moved in; the Confederate ship sank some forty minutes later. Her crew was rescued by a British yacht.
According to Fletcher Pratt, _A Compact History of the United States Nacy_, pp. 151-152, there wasn't much difference in actual fighting power between the _Alabama_ and the _Kearsarge_. But the _Kearsarge_ was a well-drilled ship with properly-trained gunners. _Alabama_, which constantly had to change bases, could never lay in an adequate supply of powder and shot, so her gunners were much less accurate. And _Kearsarge_ had two very heavy 11-inch guns. As a result, Kearsarge was able to score many more damaging hits and destroy her opponent while taking very little damage.
The _Alabama_ was a great success, but few ships followed her. The Americans demands for reparation, known as the "Alabama Claims," caused the British to stop building ships for the Confederacy. (In fact the claims covered the damage done by eleven ships; the total bill was $19,021,000, largely due to the _Alabama_, the _Shenandoah_, $6,488,320; and the _Florida_, $3,698,609). The Americans were finally paid some $15.5 million in 1873. - RBW
For a broadside on the same subject see
LOCSinging, as112570, "The Sinking of the Pirate Alabama," J. Magee (Philadelphia), 1864; also hc00026b, "The Sinking of the Pirate Alabama"; cw103190, "Kearsarge and Alabama" 
attributed to Silas S. Steele, "Tune: 'Teddy the Tiler,' or 'Cannibal Islands.'"  - BS
File: Doe035
===
NAME: Roll, Boys, Roll
DESCRIPTION: Shanty. Oh Sally Brown she's the gal for me, boys Roll, boys roll boys roll. Sally Brown she's the gall for me boys, Way high Miss Sally Brown."
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty sailor
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, p. 170, "Roll, Boys, Roll!" (1 text, 1 tune) [AbEd, pp. 137-138]
NOTES: Hugill got this from his friend "Harding the Barbarian," a black sailor and shantyman from Barbados. Harding said it originated in the West Indies and was popular in ships which carried chequerboard crews. - SL
File: Hugi170
===
NAME: Roll, Jordan, Roll (I)
DESCRIPTION: "My brother sitting on the tree of life And he heard when Jordan roll, Roll, Jordan, Roll, Jordan, Roll, Jordan, Roll.""O preacher, you oughta been there."  "My sister sitting on the tree of life." "He comes, he comes, the Judge severe." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1867
KEYWORDS: river freedom religious nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
BrownIII 631, "Roll, Jordan, Roll" (2 short texts plus a fragment)
Scott-BoA, pp.195-196 , "Roll, Jordan, Roll" (1 text, 1 tune)
Lomax-FSNA 240, "Roll, Jordan, Roll"; 241, "Roll, Jordan, Roll" (2 texts, 2 tunes)
Silber-FSWB, p. 369, "Roll, Jordan, Roll" (1 text)
Roud #6697
RECORDINGS:
Elizabeth Bivens, "Roll, Jordan, Roll" (on HandMeDown2)
Fisk University Jubilee Quartet, "Roll Jordan Roll" (Victor 16453, 1910; rec. 1909); "Roll Jordon [sic] Roll" (CYL: Edison [Amb.] 980, rec. 1912)
Lt. Jim Europe's Singing Serenaders, "Roll Jordan Roll" (Pathe 22105, 1919) (Pathe 020851, 1923 [as Jim Europe's Singing Serenaders])
Tuskegee Institute Singers, "Roll, Jordan Roll" (Victor 18237, 1917; rec. 1915)
NOTES: The texts of this piece differ significantly; the verse lines quoted above are typical but by no means universal. There seem to have been adaptions for particular situations. The line "Roll, Jordan, Roll" is, of course, characteristic. - RBW
File: SBoA195
===
NAME: Roll, Jordan, Roll (II)
DESCRIPTION: Humorous verses for "Roll, Jordan, Roll," e.g. "Kate went a-fishing the other night, Roll sweet Jordan roll, She broke eleven hooks and never got a bite..." "[A chicken] sneezed so hard with the whooping cough It sneezed its head and tail both off."
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: humorous nonballad religious
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 303, "Roll, Jordan, Roll" (1 text)
BrownIII 469, "Way Down Yonder on Cedar Street" (1 short text)
Roud #6697
NOTES: Brown's six-line fragment is not in the same form as Randolph's song, and doesn't mention the Jordan. But they start with the same lines; in the absence of real data to classify the Brown text, I lump them. - RBW
File: R303
===
NAME: Roll, Julia, Roll: see The Liverpool Judies (Row, Bullies, Row; Roll, Julia, Roll) (File: Doe106)
===
NAME: Rolled the Stone Away
DESCRIPTION: "In ancient days, when Israel's host In darkest bondage lay, The mighty power of God was shown, He rolled the stone away. He rolled the sea away, He rolled the sea way. With Jesus ever near, No foe I have to fear. He rolls the sea away."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: Bible religious Jesus nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 630, "Rolled the Stone Away" (1 fragment)
Roud #11930
NOTES: The Brown text looks very composite (what exactly was rolled away -- the Red Sea or the stone closing Jesus's tomb?) -- but with so little text, we can hardly separate the components. - RBW
File: Br3630
===
NAME: Roller Bowler
DESCRIPTION: Shanty. Short refrain: "Hooray you roller bowler." Full refrain: Timme high-rig-a-jig and a ha ha ha, Good morning ladies all." Verses concern courting or at least chasing women.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty courting
FOUND_IN: Britain West Indies
REFERENCES: (2 citations)
Hugill, pp. 348-349, "Roller Bowler" (3 texts, 1 tune) [AbEd, pp. 260-263]
Sharp-EFC, XII, pp. 14-15, "Roller, Bowler" (1 text, 1 tune)
Roud #8283
ALTERNATE_TITLES:
Good Morning, Ladies All
File: Hugi348
===
NAME: Rollicking Bill the Sailor: see Bollochy Bill the Sailor (File: EM081)
===
NAME: Rollicking Boys Around Tandragee, The
DESCRIPTION: The song is about Tandragee, its "darling colleens" and "rollicking boys." Other places have their fine points but Tandragee has its wonderful dancers, bold men and rare singers. "The gem of oul' Ireland is Tandragee"
AUTHOR: unknown
EARLIEST_DATE: 1952 (IRTunneyFamily01)
KEYWORDS: dancing music Ireland nonballad home
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, pp. 91-92, "The Rollicking Boys Around Tandragee" (1 text)
Roud #3106
RECORDINGS:
Michael Gallagher, "The Rollicking Boys Around Tandaragee" (on IRTunneyFamily01)
CROSS_REFERENCES:
cf. "The Bunch of Green Rushes that Grew on the Brim" (tune, according to Tunney-StoneFiddle)
NOTES: This song strings together references to other songs: "The House That Jack Built," "The Praties They Grow Small," "Donnybrook Fair," "Irish Jaunting Car," "The Rakes of Kildare," ...; and famous men: Robert Emmet, Burke, Dan O'Connell and Thomas Moore.
Tunney-StoneFiddle: .".. a good-humoured swipe is made at quite a few sacred cows.... 'That', he [the singer] maintained, 'is the satire to slay all stage-Irishmen!'" - BS
File: TSF091
===
NAME: Rollin' Down the Line: see Buddy Won't You Roll Down the Line (File: ADR98)
===
NAME: Rollin' Home by the Silvery Moon
DESCRIPTION: Shanty. Chorus: "Rollin' home (x4) by the light of the silvery moon. Happy is the sailor who has shipped aboard a whaler, when she's rollin', rollin', rollin', rollin' home."
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
LONG_DESCRIPTION: Shanty. Chorus: "Rollin' home (x4) by the light of the silvery moon. Happy is the sailor who has shipped aboard a whaler, when she's rollin', rollin', rollin', rollin' home." Verses run "Here's to the good ol' beer (claret, rum, etc) mop it down" (also x4). The verses get more bawdy after finishing with the available beverages.
KEYWORDS: drink sailor shanty bawdy
FOUND_IN: US Britain
REFERENCES: (1 citation)
Hugill, pp. 180-81, "Rollin' Home by the Silvery Moon" (1 text, 1 tune)
File: Hugi 180
===
NAME: Rolling a-Rolling: see The Twa Sisters [Child 10] (File: C010)
===
NAME: Rolling Down to Old Maui (Mohee)
DESCRIPTION: The sailors, having spent many months in Kamchatka and the Bering Sea, are happy to flee the northern gales and return to temperate climes in Maui/Mohee. The look forward to seeing the girls
AUTHOR: unknown
EARLIEST_DATE: 1858 (Journal from the Atkins Adams)
KEYWORDS: whaler return sailor sea 
FOUND_IN: US
REFERENCES: (4 citations)
Huntington-Whalemen, pp. 27-28, "Rolling Down to Old Mohee" (1 text, 1 tune)
Colcord, pp. 197-198, "Rolling Down to Old Maui" (1 text, 1 tune)
Harlow, pp. 228-230, "Rolling Down to Old Maui" (1 text, 1 tune)
DT, MAUI1* MAUI2* MOHEE3*
Roud #2005
File: SWMS027
===
NAME: Rolling Home
DESCRIPTION: The sailors are "Rolling home, rolling home, rolling home across the sea, Rolling home (to wherever home is)." They describe they voyage, the girls or whatnot they have left behind, and the joys of returning to home (and sweethearts)
AUTHOR: unknown
EARLIEST_DATE: 1906
KEYWORDS: ship travel return reunion
FOUND_IN: US(MA,NE) Australia Canada(Mar,Newf)
REFERENCES: (10 citations)
Doerflinger, pp. 155-160, "Rolling Home" (2 texts, 2 tunes)
Harlow, pp. 133-136, "Rolling Home" (2 texts, 1 tune)
Hugill, pp. 182-191, "Rolling Home" (4 texts- 3 English, 1 German; 3 tunes) [AbEd, pp. 146-149]
Shay-SeaSongs, pp. 141-143, "(Rolling Home)" (1 text, 1 tune)
Fahey-Eureka, pp. 54-55, "Rolling Home" (1 text, 1 tune)
Meredith/Covell/Brown, p. 95, "Rolling Home" (1 text, 1 tune)
Smith/Hatt, p. 40, "Rolling Home to Merry England" (1 text)
Darling-NAS, pp. 320-321, "Rolling Home" (1 text)
Silber-FSWB, p. 96, "Rolling Home" (1 text)
DT, ROLLHOME ROLLHOM2 ROLLHOM3
Roud #4766
RECORDINGS:
Morris Houlihan, "Rolling Home" (on NFMLeach)
Capt. Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Rolling Home" (AFS 4230 A, 1939; on LC27; on LC27, in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "Kevin Barry" (tune)
cf. "Magelhan" (adaption of text)
NOTES: Silber credits this to Charles Mackay, but the variety of verses known to me (most of which do not occur in Silber) implies that this is a genuinely traditional song. - RBW
Hugill in _Shanties from the Seven Seas_ (Mystic Seaport,1994) p. 145 says "Its origin is a bit doubtful, but most collectors seem to think it is based on a poem of Charles Mackay, written on board ship in 1858.... No one has discovered as to whether it is mentioned in any books prior to 1858; if this was the case it would more or less prove that the shanty came first."
Mackay's chorus is "Rolling home, rolling home, rolling home, dear land to thee, Rolling home to merry England, rolling home across the sea" per Leach in notes to NFMLeach. Leach thinks "MacKay used the chantey refrain [rather] than that he contributed it. Certainly the Newfoundlanders think that this chantey is older than the middle of the [19th] century." - BS
File: Doe155
===
NAME: Rolling Home to Merry England: see Rolling Home (File: Doe155)
===
NAME: Rolling in the Dew (The Milkmaid)
DESCRIPTION: Boy: Where are you going? Girl: Milking. Boy: May I come? Girl: Why not? Boy: What if I lay you down? Girl: Then you'll help me up. Boy: What if you get pregnant? Girl: You'll be the father....
AUTHOR: unknown
EARLIEST_DATE: 1842 (Halliwell), according to Kennedy
KEYWORDS: dialog seduction
FOUND_IN: US(Ap,MW,So) Britain(England(Lond,South)) Canada(Mar)
REFERENCES: (16 citations)
Randolph 79, "The Milking Maid" (1 short text, 1 tune)
Eddy 52, "The Milkmaid" (1 text)
Hudson 132, pp. 277-278, "The Milkmaid" (1 text plus mention of "numerous" others)
Ford-Vagabond, pp. 137-138, "Where Are You Going, My Pretty Fair Maid?" (1 text)
Doerflinger, pp. 68-70, "Sacramento" (3 texts, 2 tunes, with the third text deriving its tune from this piece; the other two texts are independent)
Hugill, pp. 92, 210-211, "Rio Grande" (1 fragment, version "c" of "Rio Grande," with the text of this song and the chorus of "Rio Grande") [AbEd, p. 85]; "Blow the Man Down" (1 text, version "e" of "Blow the Man Down" sung to the that tune as well as those of "Rio Grande" and "Goodbye, Fare-ye-well") [AbEd, pp. 165-166]
Sharp-100E 44, "Dabbling in the Dew" (1 text, 1 tune)
Copper-SoBreeze, pp. 238-239, "Rolling in the Dew" (1 text, 1 tune)
Kennedy 189, "Rolling in the Dew" (1 text, 1 tune); also 94, "Pelea era why moaz, moes fettow teag? [Where Are You Going To, My Pretty Maid?" (1 text + Cornish translation, 1 tune)
Leather, p. 205, "The Milkmaid's song" (1 censored excerpt, 1 tune)
LPound-ABS, 112, pp. 228-229, "The Milkmaid"; p. 230, "The Pretty Milkmaid" (2 texts, neither of which recounts the seduction)
JHCox 125, "The Milkmaid" (2 texts)
Creighton-SNewBrunswick 46, "My Pretty Maid" (1 text, 1 tune)
Opie-Oxford2 317, "Where are you going to, my pretty maid?" (3 texts)
BBI, ZN242, "As I walked forth one summers day" ("Dreadful expansion of 'Where are you going my pretty maid, I'm going milking sir, she said'")
DT, DABBLDEW* MILKMDFR*
Roud #298
RECORDINGS:
George Maynard, "Rolling in the Dew" (on FSB2CD, Maynard1, Voice10)
BROADSIDES:
Bodleian, Firth b.26(348), "Where Are You Going My Pretty Maid?," H. Such (London), 1863-1885; also Firth b.34(275) View 2 of 2, "Where Are You Going My Pretty Maid"
LOCSheet, sm1882 21563, "O Where Are You Going, My Pretty Maid?," J. M. Russell (Boston), 1882 (tune)
CROSS_REFERENCES:
cf. "Seventeen Come Sunday" [Laws O17]
cf. "The New-Mown Hay"
ALTERNATE_TITLES:
Where Are You Going, My Pretty Fair Maid?
NOTES: A number of the versions of this piece, such as Pound's two, end seemingly BEFORE the seduction; the man asks the girl about her wealth, and she replies, "My face it is my fortune," whereupon he abandons her. I suspect, however, that these versions are bowdlerized, with the seduction eliminated from the middle.
In some cases this may be editors' bowdlerization, but it may have happened naturally in a few instances (note that Laura Ingalls Wilder actually quotes such a version in chapter 13 of _By the Shores of Silver Lake_!). - RBW
One of the reasons milkmaids were held in such romantic esteem was for their smooth, fair, and un-pockmarked skin, which came from their contact with cowpox and resultant immunity to smallpox -- thus the milkmaid's remark, "My face is my fortune."
Kennedy's Cornish words are a revivalist translation from the English. - PJS
There seem to be several pieces of this sort floating about. _Gammer Gurton's Garland_ and others have one running,
Little maid, pretty maid, whither goes thou?
Down in the (forest/meadow) to milk my cow.
Shall I go with thee? -- No, not now;
When I send for thee, then come thou.
(See Baring-Gould-MotherGoose #101, p. 90.) I suspect it is actually this, not "Rolling in the Dew," that Kennedy is citing for his date. - RBW
File: R079
===
NAME: Rolling King: see South Australia (File: Doe071)
===
NAME: Rolling Neuse, The
DESCRIPTION: "When Greene's horn blew a long, loud blast, At early day's bright dawning, In slumber my heart was pulsing fast. I was dreaming of the morning When Nancy would be my youthful bride." As he prepares to fight, he prays for her happiness
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: battle love courting dream
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 366, "The Rolling Neuse" (1 short text)
Roud #11746
CROSS_REFERENCES:
cf. "Wind That Shakes the Barley" (subject)
NOTES: Brown's informant listed this as a fragment, and so it appears to be. As it stands, it looks rather like "The Wind That Shakes the Barley," though whether that comparison would stand in a full-length version is not clear.
Greene is doubtless Nathaniel Green (1742-1786), who had a long career in the Continental (American Revolutionary) army. In October 1780 he was given command of what would now be called something like the southern theatre of the war. He successfully lead Cornwallis around by the nose, and despite minor setbacks, captured most southern cities by the end of 1781.
The Neuse River flows into Pamlico Sound in North Carolina, but this cannot be used to date the song more precisely; the soldier seemingly is not serving on the Neuse but thinking of his home near it. - RBW
File: Br3366
===
NAME: Rolling of the Stones, The: see The Twa Brothers [Child 49] (File: C049)
===
NAME: Rolling River: see Shenandoah (File: Doe077)
===
NAME: Rolling Stone, The [Laws B25]
DESCRIPTION: Hard times leave a husband wanting to move to (California); his wife wishes to stay at home. She wins the argument by pointing out that they might be killed by Indians on their way
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: poverty hardtimes travel settler
FOUND_IN: US(Ap,MA,So)
REFERENCES: (8 citations)
Laws B25, "The Rolling Stone"
Belden, pp. 351-352, "The Rolling Stone" (1 text plus mention of 1 more)
Randolph 194, "The Rolling Stone" (4 texts, 1 tune)
Randolph/Cohen, pp. 186-188, "The Rolling Stone" (1 text, 1 tune -- Randolph's 194A)
Fuson, p. 100, "The Stone that Is Rolling" (1 text)
FSCatskills 87, "The Rolling Stone" (1 text, 1 tune)
Scott-BoA, pp. 161-163, "The Wisconsin Emigrant" (1 text, 1 tune)
DT 387, ROLLNGST*
Roud #710
CROSS_REFERENCES:
cf. "The Husband's Departure" (form, lyrics)
File: LB25
===
NAME: Rolly Roll: see Roll the Tater (Rolly Rolly) (File: R582)
===
NAME: Rolly Trudam: see Lolly-Too-Dum (File: LxU012)
===
NAME: Rolly Trudum: see Lolly-Too-Dum (File: LxU012)
===
NAME: Romish Lady, The [Laws Q32]
DESCRIPTION: A young woman is a closet Protestant (she reads the Bible and refuses to worship angels). Her Catholic mother has her imprisoned. Tried before the Pope, she is burned at the stake. She pardons her tormentors while blaming her mother for her fate
AUTHOR: unknown
EARLIEST_DATE: 1586 (stationer's register)
KEYWORDS: religious death execution
FOUND_IN: Britain(England) US(MW,SE,So)
REFERENCES: (13 citations)
Laws Q32, "The Romish Lady"
Belden, pp. 450-455, "The Romish Lady" (5 texts; it appears that Laws omits version "C" from his list, but it is clearly the same piece)
Eddy 97, "The Romish Lady" (1 text)
Gardner/Chickering 149, "An Account of a Little Girl Who Was Burnt for Her Religion" (1 text)
Randolph 604, "The Death of a Romish Lady" (1 text, 1 tune)
BrownII 56, "The Romish Lady" (1 text with variant readings)
Hudson 28, pp. 137-139, "The Death of a Romish Lady" (1 text)
Scarborough-SongCatcher, pp. 175-178, "A Lady's Daughter of Paris," with local title "There Was a Romish Lady" (1 text; tune on p. 404)
Brewster 49, "The Death of a Romish Lady" (1 text plus a fragment)
McNeil-SFB2, pp. 94-97, "The Romish Lady" (1 text, 1 tune)
LPound-ABS, 25, pp. 63-66, "The Death of a Romish Lady" (1 text)
BBI, ZN1518, "It was a Ladies Daughter, of Paris properly"
DT 540, ROMSHLDY*
Roud #1920
NOTES: This song obviously dates to a time when Catholic-Protestant tensions were high, though it is not clear whether this dates it from before Henry VIII's break with Rome (1533), or during the reign of Mary I (1553-1558).
The song is known to have been in existence in the time of Charles II, 1660-1685, and a fragment is apparently found in John Fletcher and Francis Beaumont's 1611 play "The Knight of the Burning Pestle." (I say "apparently" because the reference is extremely brief. All that we have are the title -- "A Lady's Daughter of Paris, Properly" -- and
part of the first line -- "It was a lady's daughter..."; it is unusual in that it is a ballad *not* sung by Merrythought.)
Many of the charges leveled here are, sadly, true though overblown. The statute "De heretico comburendo"  was enacted in England in 1401 (it had passed earlier in most continental countries) -- but very few English martyrs other than Tyndale were burned.
The Catholic laity was long forbidden to read scriptures -- but Catholic translations of the Bible into English first appeared in 1582.
Most of the other implied charges (e.g. worship of idols, slavish adherence to priests) are traits shared with at least some Protestant churches.
Curiously, in a piece so clearly controversial, there are no direct scriptural quotations. The claim "I'll live by faith forever" obviously is based on Romans 1:17 and its host of parallels; the phrase "the pride of life" is an allusion to 1 John 2:16 (KJV; NRSV renders "pride in riches"); the injunction "shed not a tear for me" may hark back to Luke 23:28; the statement "while my poor body is burning, my soul the Lord shall see" is reminiscent of the last minutes of Stephen (Acts 7:55f.); her forgiveness of her persecutors also refers back to Stephen (Acts 7:60) as well as Jesus's pardon of his killers (Luke 23:34 in the KJV; many early Bible manuscripts omit this verse). - RBW
File: LQ32
===
NAME: Rookhope Ryde [Child 179]
DESCRIPTION: The singer curses those who raid Rookhope. Northern thieves descend upon Rookhope when most of the high officials were away. But the raiders are seen, pursued, and taken in battle. The singer praises those who repelled the raid
AUTHOR: unknown
EARLIEST_DATE: 1792 (Ritson, "The Bishopric Garland")
KEYWORDS: poaching robbery punishment
FOUND_IN: Britain
REFERENCES: (1 citation)
Child 179, "Rookhope Ryde" (1 text)
Roud #4008
NOTES: Child dates this "ryde" (raid) to the time of the Rising in the North (for background, see "The Rising in the North" [Child 175]), and this seems likely enough. However, neither the song itself nor outside sources give enough details to make this verifiable. The only other evidence is implicit: The Rising distracted or removed so many lords, sheriffs, and bailiffs that it made such a vast raid possible. - RBW
File: C179
===
NAME: Rookie's Lament
DESCRIPTION: "I ain't been long in this here army, Just a few days since I arrive." The new recruit complains about sergeants, drill, hiking, cavalry, cavalry horses, military medicine, military discipline, and anything else that springs to mind
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: army soldier hardtimes
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 548-551, "A Rookie's Lament" (1 text, 1 tune)
Roud #15543
NOTES: All this whining and he didn't even mention military food. - RBW
File: LxA548
===
NAME: Root, Abe, or Die: see Root, Hog, or Die (Confederate Version) (File: R248)
===
NAME: Root, Hog, or Die (Confederate Version)
DESCRIPTION: Various cracks about the incompetence or cowardice of the Yankees, ending by saying "We'll make the Dutch (or Old Abe, or any other tempting target) root hog or die." Also praises the confederate armies in extravagant terms
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: Civilwar parody patriotic
HISTORICAL_REFERENCES: Aug 10, 1861 - Battle of Wilson's Creek
FOUND_IN: US(So,SE)
REFERENCES: (4 citations)
Belden, pp. 361-362, "Root, Abe, or Die" (1 text)
Randolph 248, "Root Hog or Die" (1 text, with an element of "The Bonnie Blue Flag" mixed in)
BrownIII 372, "Root Hog or Die" (1 short text, perhaps mixed)
DT, ROOTHOG2*
Roud #7829
CROSS_REFERENCES:
cf. "Root, Hog, or Die" [Laws B21] and references there
cf. "The Jolly Union Boys" and references there (concerning Battle of Wilson's Creek)
NOTES: Randolph's version of this song is very specific to Missouri; see his notes.
Belden's version, at first glance, has almost nothing in common with Randolph's brief and mixed-up version. But both are from the Ozarks, and both involve the Missouri campaigns of Nathaniel Lyon and the Battle of Wilson's Creek. If they aren't the same piece, they are communal efforts on the same theme. Close enough.
Brown's short text is another matter; it seems more generically Confederate, and refers to Fort Sumter. But it's too short to file separately.
For the complex background to the Battle of Wilson's Creek, see the notes to songs in the cross-references, notably "The Jolly Union Boys" and "Joe Stiner." - RBW
File: R248
===
NAME: Root, Hog, or Die (V)
DESCRIPTION: Minstrel song? "Root, Hog, or Die," with some "Walkin' in the Parlor" verses: "The greatest ole nigger that I eva' did see, Looked like a sick monkey...." "I come from Alabama with a pocketful of news..." Cho: "Chief cook and bottle washer...."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Allsopp)
KEYWORDS: cook work nonballad floatingverses food
FOUND_IN: US(So)
REFERENCES: (1 citation)
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), p. 161, ("Root, Hog, or Die")
CROSS_REFERENCES:
cf. "Root, Hog, or Die" [Laws B21] and references there
cf. "Walkin' in the Parlor" (lyrics)
File: FWA161A
===
NAME: Root, Hog, or Die [Laws B21]
DESCRIPTION: The singer arrives in California broke and takes a job making hay. He soon gambles his pay away, gets drunk, and lands in jail. A friend pays his fine; he warns against the dangers of playing poker
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: poverty drink gambling prison reprieve
FOUND_IN: US(So)
REFERENCES: (5 citations)
Laws B21, "Root Hog or Die"
Randolph 422, "Root Hog or Die" (5 texts, mostly short and perhaps excerpted, 3 tunes)
Randolph/Cohen, pp. 347-349, "Root Hog or Die" (1 text, 1 tune -- Randolph's 422C)
Silber-FSWB, p. 57, "Root, Hog, Or Die" (1 text)
DT 598, ROOTHOG3
Roud #3242
CROSS_REFERENCES:
cf. "Root, Hog, or Die (II)"
cf. "Root, Hog, or Die (III)"
cf. "Root, Hog, or Die (IV)"
cf. "Root, Hog, or Die (V)"
cf. "Root, Hog, or Die (Confederate Version)"
File: LB21
===
NAME: Root, Hog, or Die! (II)
DESCRIPTION: A bull-whacker recalls good times in Salt Lake City when his Chinese whore could roll her hog eye, and he would root hog or die.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy whore foreigner
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph-Legman I, pp. 576-582, "Root, Hog or Die!" (4 texts, 1 tune)
Fife-Cowboy/West 11, "Root Hog or Die" (2 texts, 1 tune, with the "A" and "B" texts being different forms of the song. "A" appears to be a cleaned-up version of this form.)
CROSS_REFERENCES:
cf. "Root, Hog, or Die" [Laws B21] and references there
NOTES: The supplemental texts supplied by Legman in Randolph-Legman I are more interesting than the one stanza fragment that Randolph collected. - EC
[Note: Randolph actually collected five "clean" versions of this piece, but all -- except that listed as "Root Hog or Die (Confederate Version)" -- are quite fragmentary. - RBW]
I am not entirely sure that the Fife "A" text is a variant of this piece (though it starts in the same way). But if it isn't, it needs its own entry -- and I'm tired of the proliferation of "Root Hog or Die" versions.... - RBW
File: RL576
===
NAME: Root, Hog, or Die! (III -- The Bull-Whacker)
DESCRIPTION: A "Western" "Root Hog" version, with the singer herding cattle and keeping an eye out for local wildlife. He complains about the hard life and bad food, but also talks about the pretty girls
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: work travel animal whore
FOUND_IN: US
REFERENCES: (4 citations)
Lomax-FSNA 171, "Root, Hog, or Die" (1 text, 1 tune)
Lomax-ABFS, pp. 430-432, "The Bull-Whacker" (1 text)
Fife-Cowboy/West 11, "Root Hog or Die" (2 texts, 1 tune, of which the "B" text, "The Philosophical Cowboy," appears to belong here)
DT, ROOTHOG1*
Roud #4292
CROSS_REFERENCES:
cf. "Root, Hog, or Die" [Laws B21] and references there
ALTERNATE_TITLES:
The Philosophical Cowboy
NOTES: The final verses of this version resemble the bawdy text (Root, Hog, or Die II), and one wonders if this version might not have been cleaned up.  But the lead-in is completely different. - RBW
File: LoF171
===
NAME: Root, Hog, or Die! (IV)
DESCRIPTION: "I'll tell you all a story that happened long ago, When the English came to America... The Yankees boys made 'em sing 'Root hog or die.'" The singer describes various English defeats: the Tea Party, Bunker Hill, Yorktown, Baltimore, New Orleans
AUTHOR: unknown
EARLIEST_DATE: 1909 (a text reported by Belden to be this was found in the 1859 Dime Song Book)
KEYWORDS: battle patriotic
HISTORICAL_REFERENCES: Dec. 16, 1773 - Boston Tea Party. Americans protest the British tax on tea by dumping a shipload into Boston Harbor
June 17, 1775 - Battle of Bunker Hill (fought on Breed's Hill, and won by the British, though at heavy cost)
Oct 19, 1781 - Cornwallis surrenders at Yorktown (not really as a result of being defeated; his supply line had been cut by the French navy)
Aug 24, 1814 - A British force under Robert Ross captures Washington, D.C. after brushing aside the incompetent defenders. (Madison's administration had already fled). Two days later the British leave for Baltimore.
Sept 13, 1814 - Battle of Fort McHenry, which saves Baltimore from the British attack.
Jan 8, 1815 - Battle of New Orleans. Although a peace had already been signed, word had not yet reached Louisiana, which British General Pakenham sought to invade. Andrew Jackson's backwoodsmen easily repulse Pakenham.
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 334, "Root Hog or Die" (1 text)
Roud #4734
CROSS_REFERENCES:
cf. "Root, Hog, or Die" [Laws B21] and references there
File: Beld334
===
NAME: Rory O'Moore: see Rory O'More (File: OCon090)
===
NAME: Rory O'More
DESCRIPTION: "Young Rory O'More courted young Kathleen Bawn." He teases her. She says Mike loves her and dreams of hating Rory. Rory says "drames always go by contraries," After thrashing Dinny Grimes and Jim Duff he asks her to marry. They marry and retire to bed.
AUTHOR: Samuel Lover (1797-1868)
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(3313))
KEYWORDS: courting marriage fight dream
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 90, "Rory O'More" (1 text)
Roud #6125
BROADSIDES:
Bodleian, Harding B 11(3313), "Rory O'More", J. Catnach (London), 1813-1838; also Firth b.27(136), Harding B 11(1513), Firth c.17(129) [only partly legible], Harding B 11(2596), Harding B 25(72), 2806 b.11(243), Harding B 16(233c), Harding B 11(3312), Firth b.34(212) View 2 of 2, 2806 c.16(297), Johnson Ballads 342, 2806 c.15(328), "Rory O'More"
SAME_TUNE:
Too-Ril-Te-Too (The Robin and the Cat) (File: Lins293)
ALTERNATE_TITLES:
Rory O'Moore
NOTES: Since O'Conor omits the fourth(final) stanza broadside Bodleian Harding B 11(3313) was used for the Description. - BS
At least one source sub-titles this "Good Omens."
There was an Irish nationalist, Rory O'More, who was a leader of the 1641 rebellion (and a grandfather of Sarsfield, for whom see "After Aughrim's Great Disaster." It doesn't appear he is connected with this song, though. - RBW
File: OCon090
===
NAME: Rory of the Hill
DESCRIPTION: The bold Tip mountaineer" "Rory of the Hill" asks if Scully is dead." Rory tells how Scully and the agent turned him and his mother out. Since then he, like Michael Hayes, shot a landlord or agent. He fled to New York, but has returned to Ireland.
AUTHOR: Thomas Walsh (according to broadside Bodleian 2806 b.10(137)) or I. Walsh (according to broadsides Bodleian Firth b.26(102), Bodleian Firth c.26(154) and Bodleian 2806 c.8(278))
EARLIEST_DATE: 1868 (Zimmermann)
KEYWORDS: emigration return murder America Ireland
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 75, "Rory of the Hill" (1 text)
BROADSIDES:
Bodleian, Firth b.26(102), "Rory of the Hills" ("At Slievenamon the man who asked me was Scully dead?"), T. Pearson (Manchester), 1850-1899 ; also Firth c.26(154), "Rory of the Hills"; 2806 b.10(137), "Rory of the Hill"; 2806 c.8(278), "Roary of the Hill"
CROSS_REFERENCES:
cf. "The Whole Hog or None" (tune, per broadsides Bodleian 2806 b.10(137) and Bodleian 2806 c.8(278))
cf. "The Battle of Ballycohy" (subject: the shooting of Billy Scully)
cf. "The Gallant Farmers' Farewell to Ireland" (subject: Michael Hayes)
File: Zimm075
===
NAME: Rory of the Hills
DESCRIPTION: A son asks why a "rake up near the rafters" is not used to make hay. His father, Rory of the Hill, takes him to meet his old comrades and then reveals that the rake hides a sword. He does his soldier's drill and says "You'll be a Freeman yet, my boy"
AUTHOR: Charles J. Kickham (1828-1882) (See Notes)
EARLIEST_DATE: before 1885 (broadside, Bodleian Harding B 40(2) View 1 of 4)
KEYWORDS: rebellion patriotic father farming
FOUND_IN: 
REFERENCES: (4 citations)
O'Conor, pp. 74-75, "Rory of the Hills" (1 text)
Healy-OISBv2, pp. 128-130, "Rory of the Hill" (1 text)
DT, RORYOMOR*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 525-526, "Rory of the Hill" (1 text)
BROADSIDES:
Bodleian, Harding B 40(2) View 1 of 4, "Rory of the Hill" ("That rake up near the rafters"), J.F. Nugent and Co.? (Dublin?), 1877-1884
NOTES: Broadside Harding B 40(2) View 1 of 4 has the lines strangely rearranged and some of the text is missing. _Irish Minstrelsy_ by H. Halliday Sparling (London, 1888), pp. 28-30, 502, "Rory of the Hills" makes the attribution to Kickham. [Supported by Hoagland.  - RBW] - BS
For the career of Kickham, an Irish nationalist who helped organize the Irish Republican Brotherhood, see the notes to "Patrick Sheehan [Laws J11]."
Healy, pp. 130-131, has a second "Rory of the Hill" song. It appears related only by title. - RBW
File: OCon074
===
NAME: Rosa Becky Diner: see Lead Her Up and Down (Rosa Becky Diner, Old Betsy Lina) (File: R552)
===
NAME: Rosa Betsy Lina: see Lead Her Up and Down (Rosa Becky Diner, Old Betsy Lina) (File: R552)
===
NAME: Rosa Lee McFall
DESCRIPTION: Singer loves Rosa Lee McFall and sings her praises. He proposes to her; she accepts, but then dies. He vows to roam the world alone "'till God prepares my place in heaven With my Rosa Lee McFall"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: grief courting love death mourning travel
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Charlie Monroe & His Kentucky Pardners, "Rosa Lee McFall" (RCA Victor 21-0054, 1949)
New Lost City Ramblers, "Rosa Lee McFall" (on NLCR13)
NOTES: This plot shows up enough times that I have the sneaking suspicion "Rosa Lee McFall" is a variant of another song. Since I don't know which, however, I've indexed it on its own. - PJS
File: RcRLMcF
===
NAME: Rosabella Fredolin
DESCRIPTION: Sailor sings about his "greatest delight," a rope maker's daughter who betrayed him when he sailed away. She tore up his letters to use as hair curlers. When he hears of this he writes a farewell to her and adds mention of her drinking and smoking habits.
AUTHOR: unknown
EARLIEST_DATE: 1844
LONG_DESCRIPTION: Sailor sings about his "greatest delight," a rope maker's daughter who betrayed him when he sailed away. She tore up his letters to use as hair curlers. When he hears of this he writes a farewell to her and adds mention of her drinking and smoking habits. This was often sung to the tune of "Ane Madam," a Swedish version of "Blow the Man Down."
KEYWORDS: foreignlanguage sailor courting rejection farewell hair drink
FOUND_IN: Sweden
REFERENCES: (1 citation)
Hugill, pp. 216-219, "Rosabella Fredolin" (2 texts-English & Swedish, 1 tune)
CROSS_REFERENCES:
cf. "Ane Madam" (tune)
NOTES: Hugill took this from _Sang under Segel_ (1935) where the compiler (Sternvall) says that it came from a seaman's song-book dated 1844. - SL
File: Hugi216
===
NAME: Rosaleen Bawn
DESCRIPTION: The singer wishes Rosaleen Bawn to come away with him. He tells how the May moon is the perfect time to escape. He tells her she will soon forget her home, and that he will make her happy and, apparently, rich
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love courting nightvisit elopement
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H63, p. 247, "Rosaleen Bawn" (1 text, 1 tune)
Roud #13337
NOTES: It is by no means clear, from the song, whether the singer is rich, is handing the girl a line, or is just given to hyperbole. Sam Henry reports that the singer was courting the daughter of his employer, and had nothing to offer her. This doesn't really seem to suit the song. - RBW
File: HHH083
===
NAME: Rosalie: see Little Old Log Cabin by the Stream (Rosalie) (File: R710)
===
NAME: Rosamond's Downfall: see Fair Rosamond (File: Lins193)
===
NAME: Rosamund Clifford
DESCRIPTION: King Henry II loves Rosamund Clifford, and constructs a bower at Woodstock to guard her from Queen Eleanor's jealousy. The King and Rosamund talk at length. He departs for the wars. Queen Eleanor poisons Rosamund
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy) (Broadside registered 1656)
KEYWORDS: love separation death poison royalty
HISTORICAL_REFERENCES: 1154-1189 - Reign of Henry II
c. 1176 - Death of Rosamund Clifford
FOUND_IN: 
REFERENCES: (3 citations)
Percy/Wheatley II, pp. 154-164, "Fair Rosamund" (1 text)
BBI, ZN2820, "When as King Henry rul'd this Land/"; cf. BBI, ZN2442, "Sweet youthful charming ladies fair"
cf. Chappell/Wooldridge I, pp. 163-164, "Rosamund" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Queen Eleanor's Confession" [Child 156] (subject)
cf. "Fair Rosamond" (subject)
SAME_TUNE:
When Anne, a Princess of renown/The Glorius Warriour (BBI ZN2817)
NOTES: Romantic pieces based on the tale of Rosamund Clifford seem to have been fairly common, but I have lumped them all here, excerpt for "Fair Rosamund," on the grounds that few can be demonstrated to be traditional. 
The versions listed above seem to fall into two families; the Percy text goes with the broadside "When as King Henry Ruled this Land"; Chappell's version is a "Sweet Youthful Charming Ladies Fair" type of text.
There are traditional elements to the songs, however, as the folk accounts do not match the actual facts. This possibly justifies their inclusion here.
The facts are these: Henry II truly did marry Eleanor of Aquitaine, and he truly did have an affair with Rosamund Clifford. Rosamund seems to have been the true love of Henry's life.
Beyond this, all is conjecture. We do not have dates of Rosamund's romance with Henry, and the evidence conflicts. Geoffrey, Bishop of Lincoln, is said to have been their (second) son, born in 1159. But this conflicts with other evidence about Henry's amours. Also, Henry was still busily having children by Eleanor at that time. The last child of Henry and Eleanor was the future King John, born 1166/67. Henry was still a relatively young man of about 34, while Eleanor was about 45 and probably incapable of bearing further children.
Rosamund was the daughter of Walter FitzPonce, who took the surname Clifford upon gaining the title of Clifford Castle (by marriage) some time before 1138. The date of Rosamund's birth is uncertain. She died around 1176, but the death was the result of natural causes. Indeed, by the 1170s, Henry had Eleanor under virtual house arrest; even had she wanted to, she probably could not have arranged Rosamund's death. - RBW
File: Perc2154
===
NAME: Rosanna: see Farewell, Dear Rosanna [Laws M30] (File: LM30)
===
NAME: Rose and the Thyme, The: see The Rue and the Thyme (The Rose and the Thyme) (File: Ord187)
===
NAME: Rose Blanche, La (The White Rose)
DESCRIPTION: French: "Par un matin je me suis leve (x2), Plus mantin que ma tante (x2)." The singer enters a garden and is picking white roses when her lover approaches. She falls and "breaks her ankle." The "doctor" tells her to bathe it in water and white roses
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: love flowers courting injury foreignlanguage
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 118-119, "La Rose Blanche" (1 text, 1 tune)
File: FMB118
===
NAME: Rose Conley: see Rose Connoley [Laws F6] (File: LF06)
===
NAME: Rose Connoley [Laws F6]
DESCRIPTION: The singer kills Rose by drugging her (with "burglar's wine"), stabbing her, and throwing her in the river. He commits the crime on his father's assurance that "money would set [him] free," but the assurance was false; he is to be hanged
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cox)
KEYWORDS: murder drugs river execution wine
FOUND_IN: US(Ap,SE)
REFERENCES: (9 citations)
Laws F6, "Rose Connoley"
Warner 110, "Rose Connally" (1 text, 1 tune)
BrownII 249, "Rose Connally" (1 text plus excerpts from 1 more)
Lomax-FSUSA 83, "Down in the Willow Garden" (1 text, 1 tune)
Lomax-FSNA 137, "Rose Connelly" (1 text, 1 tune)
JHCox 91, "Rose Connoley" (2 texts)
Darling-NAS, pp. 202-203, "Willow Garden" (1 text)
Silber-FSWB, p. 223, "Down In The Willow Garden" (1 text)
DT (311), WLLWGRDN*
Roud #446
RECORDINGS:
Texas Gladden with Hobart Smith, "Down in the Willow Garden" (Disc 6081, 1940s)
[G. B.] Grayson & [Henry] Whitter, "Rose Conley" (Victor 21625, 1927; on GraysonWhitter01)
Charlie Higgins, Wade Ward & Dave Poe, "Willow Garden" [instrumental] (on LomaxCD1702)
J. E. Mainer's Mountaineers [or Wade Mainer & Zeke Morris], "Down in the Willow" (Bluebird B-7298/Montgomery Ward M-7307, 1937)
Charlie Monroe & His Kentucky Pardners, "Down in the Willow Garden" (Victor 20-2416, 1947)
New Lost City Ramblers, "Down in the Willow Garden" (on NLCR16)
Osborne Brothers & Red Allen, "Down in the Willow Garden" (MGM 12420, 1957)
NOTES: Almost every version of this song contains a crux: Just *what* did the killer cause Rose to drink? Burglar's wine? Burgundy wine? Something else (Texas Gladden sung either "virgin" or "Persian"; one of Cox's informants had something like "merkley").
Burgundy, frankly, makes no sense. The usual tune (as sung, e.g., by Grayson and Gladden) calls for two syllables, and burgundy isn't going to knock a girl out, either.
Problem is, no one knows what "burglar's wine" is. But that, of course, invites correction, perhaps to "burgundy." It makes no sense to assume that "burgundy" is original and corrected to "burglar's"; this produces a paradox. If "burglar's wine" is meaningless, a listener is not likely to  hear the song as to make nonsense (it might happen once, but not several times, and Cox and Grayson show "burglar's wine" to be widespread). And if "burglar's wine" does exist, then it could be an original reading.
Thus I do not doubt that "burglar's wine" is the earliest extant reading in the tradition. It may even be original; I seem to recall reading somewhere that it was a drugged wine. But I can't find the reference.
Lyle Lofgren, who has studied the piece, proposed an emendation which makes reasonable sense: "[Russell Bartlett's "Dictionary of Americanisms"] gave me a candidate:  'burgaloo,' a popular pear variety at the time, identified in the dictionary as a variant of  'virgelieu.'" - RBW
File: LF06
===
NAME: Rose in June
DESCRIPTION: "Was down in the valleys, the valleys so deep, To pick some plain roses to keep my love sweet, So let it come early, late or soon, I will enjoy my rose in June." "O, the roses are red, the violets blue." "O love, I will carry the sweet milking pail."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: love courting flowers lyric 
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Copper-SoBreeze, pp. 256-257, "Rose in June" (1 text, 1 tune)
Roud #1202
File: CoSB256
===
NAME: Rose in the Garden, The: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: Rose of Alabama, The
DESCRIPTION: "Away from Mississippi's vale, With my old hat there for a sail, I crossed upon a cotton bale To Rose of Alabama." The singer courts Rose. His banjo falls into the stream. "And every night... To hunt my banjo for an hour... I meet... my flower."
AUTHOR: Words: Silas S. Steele
EARLIEST_DATE: 1846
KEYWORDS: music courting love trick river
FOUND_IN: US
REFERENCES: (1 citation)
Scott-BoA, pp. 214-215, "The Rose of Alabama" (1 text, 1 tune)
File: SBoA214
===
NAME: Rose of Allandale, The
DESCRIPTION: "The sky was clear, the morn was fair, Not a breath came over the sea When Mary left her highland home And wandered forth with me." The singer recounts his travels and hardships, noting that the love of Mary, the Rose of Allandale, helped him through
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: love travel
FOUND_IN: 
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 257-260, "The Rose of Allendale" (1 text, 1 tune); also p. 260, "(Mary's Cot)" (1 text, with the first verse belonging here though the rest is from "Adieu Sweet Lovely Nancy")
DT, ALANDAL*
Roud #1218
BROADSIDES:
Murray, Mu23-y1:118, "The Rose of Allandale," unknown, 19C; also Mu23-y4:036, "The Rose of Allendale," unknown, 19C
ALTERNATE_TITLES:
Sweet Rose of Allandale
Sweet Rose of Allendale
File: SWMS257
===
NAME: Rose of Allendale, The: see The Rose of Allandale (File: SWMS257)
===
NAME: Rose of Britain's Isle, The [Laws N16]
DESCRIPTION: Jane falls in love with a servant, who is then sent to sea. She follows him in disguise and is wounded in battle. Her secret having been revealed, her lover marries her. They return home to find her father willing to forgive
AUTHOR: unknown
EARLIEST_DATE: 1883 (Smith/Hatt)
KEYWORDS: exile cross-dressing sea marriage father
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (8 citations)
Laws N16, "The Rose of Britain's Isle"
Greenleaf/Mansfield 29, "The Rose of Britain's Isle" (1 text, 1 tune)
Karpeles-Newfoundland 50, "The Rose of Britain's Isle" (1 text, 1 tune)
Smith/Hatt, pp. 61-63, "The Rose of Britain's Isle" (1 text)
Creighton-NovaScotia 48, "Rose of Britain's Isle" (1 text, 1 tune)
Mackenzie 37, "The Rose of Britain's Isle" (1 text)
Manny/Wilson 90, "The Rose of Britain's Isle" (1 text, 1 tune)
DT 447, ROSEBRIT
Roud #1796
File: LN16
===
NAME: Rose of England, The [Child 166]
DESCRIPTION: A rose springs up in England, but is rooted up by a boar. The rose returns via Milford Haven, gathers his forces, wins the field, becomes king, and receives great praise.
AUTHOR: unknown
EARLIEST_DATE: before 1750 (Percy folio)
KEYWORDS: royalty rebellion flowers political
HISTORICAL_REFERENCES: 1485 - Death of Richard III. Accession of Henry VII
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Child 166, "The Rose of England" (1 text)
Flanders/Olney, p. 91, "The Rose of England" (1 fragment, with lyrics somewhat resembling Child's but so short that it may not be the same song)
Flanders-Ancient3, pp. 149-150, "The Rose of England" (1 text, the same fragment as Flanders/Olney)
Roud #4001
NOTES: To tell the history of the Wars of the Roses in less than thirty thousand words is impossible (especially since it involves the story of Richard III, who is perhaps the most controversial figure in all of human history), but here goes anyway:
In 1399, King Richard II was deposed (with good reason; he was an inept despot).
The throne, however, did not pass to his heir (his great-grand-nephew, a Mortimer) but to his cousin Henry IV. This was acceptable as long as Henry IV and his son Henry V were alive. But in 1422, just after he had been declared heir to the kingdom of France, Henry V died, leaving as his only heir a nine month old boy, Henry VI.
Without a strong king, England soon lost control of France (the last possessions outside Calais were lost by 1453). To make matters worse, Henry VI was feeble-minded, and was married to a tremendously ambitious queen, Margaret of Anjou. Their inept government descended into chaos when Henry went mad.
Eventually a civil war arose between Henry's partisans and the partisans of Richard Duke of York (the legitimate heir of Richard II). Richard of York probably didn't really want the throne, but when Margaret had him killed, Richard's son Edward had no choice but to seize power (1461). It took Edward (IV) ten years to gain a firm grip on power (it is probably not coincidence that Edward gained firm control in 1471, when his brother Richard turned 18. Richard was Edward's chief support in the last years of his reign). Edward reigned for another twelve peaceful years. Then disaster struck. Edward died young in 1483, leaving as his heir a twelve year old boy (Edward V) who was in the hands of a rapacious faction. When a rumor arose that Edward V was illegitimate, Richard seized the throne. (The fact that his seizure cost a couple of people their heads should not conceal the fact that it was arguably legal and undoubtably the best thing for England.)
The Lancastrian faction (which had earlier supported Henry VI) managed to find a new candidate for the throne in Henry Tudor, a semi-illegitimate descendent of Henry IV's father John of Gaunt. By a minor miracle, Henry defeated Richard III at the Battle of Bosworth in 1485 and became king as Henry VII. (Despite the song, it should be noted that Richard III was far more legitimate than Henry VII, was probably a better soldier, gave every evidence of being a decent man when politics wasn't involved, and was *not* deformed. Henry, by contrast, was a cheap, rather ugly coward.) To firm up his claim, Henry also had to marry Edward IV's daughter Elizabeth.
It is ironic to note that Henry was often proclaimed as a gift from God designated to rescue England from Richard. But Henry's arrival corresponded to the arrival of the "Sweating Sickness," which apparently killed tens of thousands of people by the time of the last known outbreak in 1551. (According to _The Wordsworth Encyclopedia of Plague & Pestilence_, there were outbreaks in 1485, 1507-1508, 1516-1517, 1529, and 1551). Thus the sickness was virulent just about exactly as long as there were male Tudors on the throne. No, I don't think the facts actually related. But it's something for the "divine intervention" folks to consider.)
The title "The Rose of England" came from Henry's adopted token of the red rose -- and also from the white rose that was the token of the House of York (the family of Edward IV, Richard III, and Elizabeth). Whether Henry VII was an improvement over Richard III can be debated -- but certainly he was no rose. Perhaps the best evidence of this is the company he kept: The three men most responsible for making him king were
- Henry Percy, Earl of Northumberland, who was murdered by his own people for his behavior
- Sir William Stanley, a multiple turncoat who had been spared by Richard and who saved Henry's life -- but was executed by Henry half a dozen years later for treason! (Of which more below.)
- Lord Thomas Stanley, Sir William's brother and Henry's stepfather, another turncoat whom Richard had spared. He lived to become Earl of Derby, but Henry kicked him out of his government
Henry's Chancellor was John Morton, Bishop of Ely, whose chief accomplishment was his ability to extort money from Henry's subjects.
All in all, a man with very unpleasant associates. The best thing that can be said for Henry VII is that he was the grandfather of Elizabeth I -- but, of course, Edward IV was Elizabeth's great-grandfather, and Richard III her great-great-uncle.
The sundry references in this song include the following:
"A crowned king... ouer England, Ireland, and France": The kings of England had claimed the throne of France since the time of Edward III -- but in Henry VII's time, only Calais was still in Henry's hands, and the only use Henry made of the title was to use it to extort money for "invasions" he had no intention of carrying out. 
"Milford Hauen": Milford Haven, the town in Wales where Henry VII landed when he set out to attack Richard III.
"Sir Rice ap Thomas": Rhys ap Thomas was a Welsh chieftain who brought his forces over to Henry Tudor (in return for promises of high office).
"Erle Richmond": The closest thing Henry Tudor had to a legitimate title; his father had been appointed Earl of Richmond by Henry VI in 1452.
"Sir William Stanley": As noted above, Sir William Stanley was the brother of Lord Thomas Stanley (c. 1435-1504; second Lord Stanley and by this time first Earl of Derby), who was the third husband of Margaret Beaufort, Henry's mother. Thomas Stanley was a member of Richard's government, but (for obvious reasons) the Stanleys would have preferred the Tudor on the throne.
The Brothers Stanley, however, refused to show their colors; both brought forces to the Battle of Bosworth -- and then refused to fight! Only when Richard ordered his charge against Henry Tudor did William Stanley intervene; his forces killed Richard and probably saved Henry Tudor's life.
It surely says something about both William Stanley and Henry Tudor that, in 1495, Henry accused William Stanley of treasonable support for a pretender and had him executed. Henry's only sign of gratitute to the man who put him on the throne was to pay for Stanley's burial.
"The Erle of Oxford": John de Vere (c. 1443-1513), the (Lancastrial) Earl of Oxford, and a sort of a "yellow dog Lancastrian": He'd support a yellow dog for king as long as it wasn't a Yorkist.
"King Richard": Richard III. The reference in the song to a boar who rooted up the rose of England is probably an allusion to Richard's emblem of the White Boar.
The part about rooting up the Rose of England doubtless refers to the disappearance of Edward V. Shortly after being set aside as King, Edward and his brother Richard disappeared. Their fate was and is unknown (there are a couple of skeletons that might be theirs, but Elizabeth II has refused to allow genetic testing to find out for sure). It is likely that Richard killed them -- but even Henry VII couldn't offer any proof of that; there are those who think he killed Edward V himself, and if those unknown skeletons are really those of the Princes in the Tower, it's also possible that Edward V died of dental problems. It's a mystery that simply cannot be solved.
For additional details on Richard III's story, see the notes to "The Children in the Wood  (The Babes in the Woods) [Laws Q34]" and "The Vicar of Bray." - RBW
File: C166
===
NAME: Rose of Glenfin, The
DESCRIPTION: The singer loves Molly from Magherafin, "the Rose of Glenfin." She swears she would be his but marries another. He curses any young man "who'd shower on any woman too much affection"; when your money's gone she'll go "with some other man's son"
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: courting infidelity marriage
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 61, "The Rose of Glenfin" (1 text, 1 tune)
Roud #10365
CROSS_REFERENCES:
cf. "Handsome Molly" (floating lyrics)
NOTES: The verse that travels from "Handsome Molly" here takes the form
Don't you mind lovely Molly when you gave me your hand,
You swore on the bible that you would be mine.
But it's now you've gone and married and you broke all those vows,
I am sorry for to leave you, farewell a stor mo chroi.
McBride added two verses of his own but I think deleting them does not leave this song to be "Handsome Molly," "Went to Church Last Sunday" or any of their relatives.
Glenfin is in Donegal. - BS
File: McB1061
===
NAME: Rose of Glenshee, The: see The Lass of Glenshee [Laws O6] (File: LO06)
===
NAME: Rose of Killarney
DESCRIPTION:  "Oh! promise to meet me where twilight is falling." A love lyric to the "sweetest and fairest of Erin's fair daughters, Dear rose of Killarney, Mavourneen Asthore."
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: love lyric nonballad
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
Creighton-SNewBrunswick 18, "Sweet Rose of Killarney" (1 fragment, 1 tune)
O'Conor, p. 142, "Rose of Killarney" (1 text)
Roud #2788
File: CrSNB018
===
NAME: Rose of Tralee, The
DESCRIPTION: "The pale moon was rising above the green mountain." He describes his love's beauty. "Yet 'twas not her beauty alone that won me, Oh, no, 'twas the truth in her eyes Ever dawning, that made me love Mary, the Rose of Tralee."
AUTHOR: Words: C. Mordaunt Spencer/Music: Charles W. Glover ?
EARLIEST_DATE: 1883 (Smith/Hatt); originally published in London c. 1845
KEYWORDS: love lyric nonballad
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (5 citations)
O'Conor, p. 80, "The Rose of Tralee" (1 text)
Smith/Hatt, pp. 100-101, "The Rose of Tralee" (1 text)
Mackenzie 141, "The Rose of Tralee" (1 text)
DT, TRALEE*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 493, "The Rose of Tralee" (1 text)
Roud #1978
BROADSIDES:
Bodleian, Harding B.11(1290), "The Rose of Tralee" ("The pale moon was rising above the green mountain"), H. Such (London) , 1863-1885
LOCSheet, sm1850 660580, "Rose of Tralee," Peters, Webb and Co. (Louisville), 1850; also sm1850 482010, "Rose of Tralee" (tune)
NOTES: Source: Re author--"St Patricks Day--March 17, 2003" on the Eastern Illinois University site. - BS
The editors of _Granger's Index to Poetry_ lists two possible authors, the first possibility being William Pembroke Mulchinock (1820?-1864; this claim is supported, and perhaps derived from, Hoagland) and our listed author Spencer the second. Neither proposed author wrote anything else of the slightest note. - RBW
File: OCon080
===
NAME: Rose the Red and White Lily [Child 103]
DESCRIPTION: Rose and Lily are each loved by a son of their cruel stepmother, who attempts to part them. The girls disguise themselves as boys and go into service with their erstwhile loves. After much adventure they are revealed and reunited, each couple marrying.
AUTHOR: unknown
EARLIEST_DATE: 1783
KEYWORDS: love stepmother separation disguise cross-dressing reunion marriage
FOUND_IN: Britain(England,Scotland)
REFERENCES: (4 citations)
Child 103, "Rose the Red and White Lily" (3 texts)
Bronson 103, "Rose the Red and White Lily" (2 versions)
OBB 55, "Rose the Red and White Lily" (1 text)
DBuchan 21, "Rose the Red and White Lily" (1 text, 1 tune in appendix) {Bronson's #1}
Roud #3335
File: C103
===
NAME: Rose Tree, The: see The Juniper Tree (The Wicked Stepmother, The Rose Tree) (File: Cha047)
===
NAME: Rosebud in June
DESCRIPTION: Singer celebrates joys of spring, dancing on the green, and sheepshearing.
AUTHOR: unknown
EARLIEST_DATE: 1840
KEYWORDS: ritual dancing nonballad sheep
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
Sharp-100E 93, "It's a Rosebud in June" (1 text, 1 tune)
DT, ROSEBUDJ*
Roud #812
ALTERNATE_TITLES:
Here's the Rosebud in June
Rosebud in June
NOTES: This song, a simple pastoral on its face, has ritual overtones. Note the chorus: "We'll pipe and we'll sing, Love/We'll dance in a ring, Love/When each lad takes his lass/All on the green grass/And the lads and the lasses to sheep-shearing go." Ring-dancing was characteristic of rituals in pre-Christian Europe. Other verses have hints of sympathetic magic as well. -PJS
File: ShH93
===
NAME: Rosedale Shores: see Rosedale Waters (The Skeptic's Daughter) (File: R601)
===
NAME: Rosedale Waters (The Skeptic's Daughter)
DESCRIPTION: The skeptic's daughter sets out to refute the Christians. She is instead converted. Her father orders her to reject the faith. She refuses his order, and is cast from his home. But soon her parents come to her, begging her to return and convert them
AUTHOR: Music: F. T. Alexander?
EARLIEST_DATE: 1897 (manuscript known to Randolph)
KEYWORDS: religious rejection separation help father children
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 601, "The Skeptic's Daughter" (1 text plus an excerpt, 2 tunes)
Randolph/Cohen, pp. 418-422, "The Skeptic's Daughter" (1 text, 1 tune -- Randolph's 601A)
Roud #4644
ALTERNATE_TITLES:
Rosedale Shores
NOTES: This piece may have been used by Holy Rollers to try to convert souls, but all I can say is that its utter banality would be likely to convert me the other way.... - RBW
File: R601
===
NAME: Rosemary and Thyme: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Rosemary Fair: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Rosemary Lane [Laws K43]
DESCRIPTION: A sailor meets a girl at an inn, and induces her to go to bed with him. In the morning he gives her gold and says, "If it's a boy, he will (fight for the king/be a sailor); if a girl, she will wear a gold ring."
AUTHOR: unknown
EARLIEST_DATE: 1924 (Chappell)
KEYWORDS: seduction separation clothes floatingverses
FOUND_IN: Australia US(Ap,MA,NE,SE,So,SW) Canada(Queb) Britain(England)
REFERENCES: (13 citations)
Laws K43, "Home, Dearie, Home (Bell-Bottom Trousers)"
Cray, pp. 72-75, "Bell Bottom Trousers" (3 texts, 1 tune)
Randolph-Legman I, pp. 81-88, "Bell Bottom Trousers" (6 texts, 1 tune)
Chappell-FSRA 34, "The Boy Child" (1 short text, which Laws calls a "ribald fragment." Fragment it is, with only two of the regular verses, including "If it be a girl...." But I suspect the other two verses are a mixture from another, heavily bawdy, song, which we might title something like "eleven inches in")
Ohrlin-HBT 72, "Button Willow Tree" (1 text, 1 tune, with a cowpuncher as the visiting man!)
Gardner/Chickering ,165 "Jack, the Sailor Boy" (1 text)
MacSeegTrav 43, "Rosemary Lane" (1 text, 1 tune)
Silber-FSWB, p. 166, "Bell-Bottomed Trousers" (1 text)
Colcord, pp. 167-168, "Home, Dearie, Home" (1 text, 1 tune)
Hugill, p. 498, "Home, Dearie, Home" (1 text, 1 tune) [AbEd, p. 366]
Shay-SeaSongs, pp. 146, "Bell-Bottom Trousers" (1 text; this follows a text and tune of "Home, Dearie, Home," i.e. "Ambletown," plus a stanza of Henley's adaption and an alternate chorus)
Fuld-WFM, p.  139, "Bell Bottom Trousers"
DT 319, BELLBTTM* HOMEBOYS* RASPLANE RASPLAN2* ROSELANE*
Roud #269
RECORDINGS:
Anne Briggs, "Rosemary Lane" (on Briggs1, Briggs3)
Liam Clancy, "Home Boys Home" (on IRLClancy01)
Jerry Colonna, "Bell Bottom Trousers" (Capitol 204, 1945)
Chris Willett, "Once I Was a Servant" (on Voice11)
BROADSIDES:
Bodleian, Johnson Ballads 624, "The Servant of Rosemary Lane" ("When I was a servant in Rosemary-lane"), J. Jennings (London), 1790-1840; also Harding B 15(279a), Harding B 11(4221), "The Servant of Rosemary Lane"; Bodleian,  Harding B 17(130a), "Home, Dear Home" (with the "Home, Dear Home" chorus, several verses of this, and perhaps a rewritten ending)
CROSS_REFERENCES:
cf. "When I Was Young (Don't Never Trust a Sailor)" (plot, floating lyrics)
cf. "Ambletown" (floating lyrics, theme)
cf. "Pretty Little Miss" [Laws P18] (theme)
cf. "A North Country Maid"
ALTERNATE_TITLES:
Oak and the Ash, The
Drury Lane
Raspberry Lane
Once When I Was a Servant
NOTES: The history of this song is extremely complex and obscure. The extended family is listed in the Index under three titles: "Rosemary Lane," "Ambletown," and "When I Was Young (Don't Never Trust a Sailor)." However, these may represent as many as five songs, or perhaps only a single one.
The three basic plots are as follows:
* "Rosemary Lane" (a title selected because, unlike Laws's title "Home, Dearie, Home," it is unique to this version) is a British ballad of a servant who is seduced and then abandoned by a sailor. It exists under many titles, e.g. "Bell-Bottomed Trousers."
* "When I Was Young" has the same plot but in a very reduced form; what matters is not the method of the seduction but simply that it happens. This song frequently has a bawdier feel. It ends with a warning, "Don't ever trust (a sailor) an inch above the knee."
* "Ambletown" (another title chosen because it is unambiguous) involves a sailor who learns from a letter that he is a father, and desperately wants to return home to see the child.
The greatest difficulty concerns the relationship between "Rosemary Lane" and "Ambletown." In plot, they are quite distinct. A comparison of the lyrics, however, shows that as much as half the material in "Ambletown" occurs also in "Rosemary Lane" (which is longer, seemingly older, and much more common). As many as three stanzas regularly "cross": "If it be a boy, he will fight for the king"; "And it's home, dearie, home"; and "The oak and the ash and the bonnie birchen tree." (The latter two may be derived from yet another song, "A North Country Maid" ).
It should also be noted that "Ambletown" could function as an ending to "Rosemary Lane," particularly if the warning about not trusting a sailor is not the original ending. This has not, however, been observed in tradition.
Extensive examination of the texts of the songs could not finally resolve the question. The Ballad Index Board is tentatively of the opinion that "Rosemary Lane" and "Ambletown" now are separate songs, which have cross-fertilized heavily but remain distinct. It is quite possible, however, that one (probably "Ambletown") is an offshoot of the other, with a new (clean) plot built around the same verses.
In addition, "Rosemary Lane" has undergone extensive evolution *after* the cross-fertilization stage. Our guess is that it began with a relatively "clean" broadside of seduction (now seemingly lost). This likely contained the "If it be a boy" stanza, but probably not the others. Tradition then mixes in the other common stanzas, and set to work on the song, producing both clean and bawdy versions. - RBW, DGE, PJS
An addendum: Don Duncan brings to my attention the poem "O Falmouth Is a Fine Town," by William E. Henley (1878), which has the following first verse:
O Falmouth is a fine town with ships in the bay,
And I wish from my heart it's there I was to-day;
I wish from my heart I was far away from here,
Sitting in my parlor and talking to my dear.
For it's home, dearie home--it's home I want to be.
Our topsails are hoisted, and we'll away to sea.
O the oak and the ash and the bonnie birken tree,
They're all growing green in the old countrie.
Henley admitted that part of the song, including the chorus, was old. Duncan speculates that "Falmouth..." is the rewrite of "Rosemary Lane" we postulated above. This seems quite possible -- but if so, then Henley's poem has gone into oral tradition itself, and experienced a great deal of folk processing. Thus, the essential outline we described above seems to be accurate. - RBW
File: LK43
===
NAME: Rosenthal's Goat: see Bill Grogan's Goat (File: SRW141)
===
NAME: Rosewood Casket: see Little Rosewood Casket (File: R763)
===
NAME: Rosey Anderson: see Rosie Anderson (File: Log392)
===
NAME: Rosey Apple Lemon and Pear
DESCRIPTION: Singing came of courting. "(Mary Wilson), fresh and fair, A bunch of roses she shall wear, Gold and silver byher side, I know who is her bride." "Rose, apple, lemon, or pear." "Take her by the lily-white hand."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: playparty courting
FOUND_IN: Britain(England,Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 71, "Singing Game (1 text)
Roud #6492
NOTES: Some of the versions of this, such as the Montgomeries', appear to have mixed with "Weevily Wheat" or one of its relatives. With pieces like this, it's hard to tell. - RBW
File: MSNR071
===
NAME: Rosie
DESCRIPTION: "Be my woman, gall, I'll / be your man. Every Sunday's dollar / in your hand. Stick to the promise, gall, 'at / you made me. Weren't gonna marry till-a /I go free. Well Rosie / oh Lord gal, When she walk she reel and / rock behind..."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: prisoner love abandonment
FOUND_IN: US(So)
REFERENCES: (2 citations)
Courlander-NFM, p. 107, (no title) (1 text); pp. 262-263, "Rosie" (1 tune, partial text)
Lomax-ABFS, pp. 62-65, "Rosie" (1 text, 1 tune, probably composite)
Roud #15507
File: CNFM107A
===
NAME: Rosie Anderson
DESCRIPTION: Rosie marries Hay Marshall, but soon attracts the attention of Lord Elgin. Elgin dances with Rosie and takes her home. After more wantonness on her part, Marshall divorces Rosie. She is left to lament her fate (and court a soldier or become a prostitute)
AUTHOR: unknown
EARLIEST_DATE: 1869 (Logan)
KEYWORDS: marriage adultery nobility betrayal
FOUND_IN: Britain(Scotland)
REFERENCES: (4 citations)
Ford-Vagabond, pp. 184-187, "Rosey Anderson" (1 text, 1 tune)
Ord, pp. 91-92, "Rosey Anderson" (1 text)
Logan, pp. 392-395, "Rosey Anderson" (1 text)
DT, ROSANDER
ST Log392 (Full)
Roud #2169
BROADSIDES:
Murray, Mu23-y1:010, "Rosy Anderson," unknown (Glasgow), no date
CROSS_REFERENCES:
cf. "Peggy and the Soldier (The Lame Soldier)" [Laws P13] (plot)
cf. "The Brewer Laddie" (plot)
NOTES: Logan has many details about the facts behind this ballad (though providing few dates). Rosie reportedly married Thomas Hay Marshall at the age of 16, urged on more by her parents than her own desires. The divorce was rather more messy than the ballad shows, as Marshall had neglected his wife. Sadly, the affair ended with Rosie walking the streets of London.
The Lord Elgin mentioned in this ballad is also the one who walked off with the Grecian marbles. All in all, not the sort of person I'd want to let into the house. - RBW
File: Log392
===
NAME: Rosie Nell
DESCRIPTION: "How oft I dream of childhood days, Of tricks we used to play.... I'd rather be with Rosie Nell, a-swinging in the lane." But then "Aunt Jemima Brown" introduces Rosie to another fellow. The singer warns men against getting too involved with women
AUTHOR: unknown
EARLIEST_DATE: 1868 (The Champaign Charlie and Coal Oil Tommy Songster)
KEYWORDS: courting infidelity warning
FOUND_IN: US(Ap,So)
REFERENCES: (4 citations)
Fuson, p. 99, "Rosy Nell" (1 text)
Sandburg, pp. 114-116, "Rosie Nell" (1 text, 1 tune)
Randolph 871, "Swinging in the Lane" (1 text, 1 tune)
cf. Gardner/Chickering, p. 482, "Rosie Nell" (source notes only)
ST San114 (Partial)
Roud #2870
RECORDINGS:
Walter "Kid" Smith & Norman Woodlief with Posey Rorer, "I'd Rather Be with Rosy Nell" (Gennett 6858/Challenge 431, 1929)
The Virginia Dandies [alternate name for Walter "Kid" Smith & The Carolina Buddies], "Rosy Nell" (Crown, unissued, 1931)
File: San114
===
NAME: Rosie, Darling Rosie
DESCRIPTION: "Rosie, darling Rosie, Ha ha Rosie (x2)" "Way down yonder in Baltimore, Ha ha Rosie, Need no carpet on my floor." "Grab your partner and follow me..." "Some folks say preachers won't steal..." "Stop right still and study yourself..."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, children of Brown's Chapel School)
KEYWORDS: playparty courting nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, pp. 155-156, "(Rosie Darling Rosie)" (1 text, 1 tune)
Roud #11008
RECORDINGS:
Children of Brown's Chapel School, "Rosie, Darling Rosie" (on NFMAla6, RingGames1)
CROSS_REFERENCES:
cf. "Coney Isle" (floating lyrics)
cf. "Some Folks Say that a Preacher Won't Steal" (lyrics)
NOTES: Lyrics from this song made their way into the folk-revival version of "Rocky Road (Green Green)," but they don't share lyrics in their traditional versions. - PJS
File: CNFM155
===
NAME: Rosin Box, The
DESCRIPTION: A tinker comes to solder among the ladies with "his soldering-iron tool." An old woman asks that he solder her bones. "A country chap" takes the tinker's daughter but she is rescued. If a woman had been honest, she'd have "a baby belonging to me"
AUTHOR: unknown
EARLIEST_DATE: 1967 (recording, Johnny Reilly)
KEYWORDS: sex tinker
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #2501
RECORDINGS:
Johnny Reilly, "The Rosin Box" (on Voice07)
ALTERNATE_TITLES:
Rozzin Box
NOTES: I won't pretend to understand how "the tinker he was nasty and was looking for a swap When up steps a country chap took his daughter in a truck" ties into the rest of this. On the other hand the sexual coding seems clear in the chorus "with his rosin box and itchy pole, his hammer, knife and spoon, And his nipper-tipper handstick and his soldering iron tool." - BS
File: RcRozBox
===
NAME: Rosin the Beau
DESCRIPTION: "Old Rosin," who has travelled the whole country/world, is preparing to depart from this life. He hopes that future generations will emulate him, and asks to be remembered (usually with alcohol). Details vary widely
AUTHOR: unknown
EARLIEST_DATE: before 1860 (broadside, LOCSinging as110360)
KEYWORDS: drink death party burial
FOUND_IN: Britain(England(South),Scotland(Aber)) US(MA,Ro,SE,So,SW) Ireland
REFERENCES: (15 citations)
Belden, pp. 255-258, "Old Rosin the Beau" (2 texts)
Randolph 846, "Old Rosin the Bow" (2 short texts plus a fragment, 2 tunes)
Randolph/Cohen, pp. 386-387, "Old Rosin the Bow" (1 text, 1 tune -- Randolph's 846A)
Warner 159, "Old Rosin the Beau" (1 text, 1 tune)
BrownIII 32, "Old Rosin the Beau" (1 text)
Chappell-FSRA 64, "Old Rosin the Beau" (1 text)
Hudson 77, pp. 203-205, "Rosin the Bow" (2 texts)
RJackson-19CPop, pp. 171-175, "Old Rosin the Beau" (1 text, 1 tune)
Fife-Cowboy/West 5, "Old Rosin the Beau" (1 text, 1 tune)
Kennedy 281, "Rosin, the Beau" (1 text, 1 tune)
SHenry H698, p. 51, "Old Rosin the Bow" (1 text, 1 tune)
Spaeth-ReadWeep, pp.  37-39, "Old Rosin, the Beau" (1 text, 1 tune)
LPound-ABS, 100, pp.209-211, "Rosin the Bow" (1 text)
Silber-FSWB, p. 202, "Old Rosin The Beau" (1 text)
DT, ROSINBOW*
Roud #1192
RECORDINGS:
The Clancy Brothers and Tommy Makem, "Rosin the Bow" (on IRClancyMakem01)
BROADSIDES:
LOCSinging, as110360, "Old Rosin the Beau," J. Andrews (New York), 1853-1859; also sb40517a, "Old Rosin the Beau"
CROSS_REFERENCES:
cf. "Acres of Clams (The Old Settler's Song)" (tune)
cf. "Lincoln and Liberty" (tune)
cf. "Sherman's March to the Sea" (tune)
cf. "Henry Clay Songs" (tune)
cf. "The Men of the West" (tune)
cf. "Straight-Out Democrat" (tune)
cf. "A Hayseed Like Me" (tune)
cf. "Tippecanoe" (tune)
cf. "He's the Man for Me" (tune)
SAME_TUNE:
Acres of Clams (The Old Settler's Song) (File: LxU055)
Lincoln and Liberty (File: San167)
Sherman's March to the Sea (File: SBoA248)
Just Tread on the Tail of Me Coat (File: R474)
The Mill-Boy of the Slashes (Spaeth-ReadWeep, pp. 39-40; cf. "Henry Clay Songs," File: SRW039)
Old Hal o' the West (Spaeth-ReadWeep, pp. 39-40; cf. "Henry Clay Songs," File: SRW039)
Straight-Out Democrat (File: SRW043)
The Men of the West (File: PGa030)
A Hayseed Like Me (File: Grnw060)
Tippecanoe (File: Br3397)
He's the Man for Me (File: RcHtMfM)
NOTES: Although this song is only moderately popular, and has been heavily folk processed, songs which have borrowed its tune were very common, particularly in the nineteenth century (see, e.g. "Acres of Clams," "Lincoln and Liberty").
Cohen cites Dichter and Shapiro to the effect that sheet music of this song (author not listed) was published in 1838. Whether this is actually the origin of the song (especially the tune) is not clear. - RBW
Broadside LOCSinging as110360: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: R846
===
NAME: Rosin the Bow: see Rosin the Beau (File: R846)
===
NAME: Rossa's Farewell to Erin
DESCRIPTION: O'Donovan Rossa, on a ship, bids "Farewell to friends of Dublin." He will return sometime. He recalls joining the Fenian Brotherhood in 1864, curses "those traitors Who did our cause betray ... Nagle, Massey, Corydon, and Talbot" and sent him to jail.
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn); c.1865 (Zimmermann)
KEYWORDS: exile rebellion prison pardon Ireland patriotic
HISTORICAL_REFERENCES: Jan 5, 1871 - Jeremiah O'Donovan Rossa is freed from jail by amnesty on condition that he exile himself. He arrives in New York Jan. 19, 1871. (see Notes)
FOUND_IN: Ireland
REFERENCES: (3 citations)
OLochlainn 34, "Rossa's Farewell to Erin" (1 text, 1 tune)
Zimmermann 70, "O'Donovan Rossa's Farewell to Dublin" (2 texts, 1 tune)
Healy-OISBv2, pp. 136-137, "O'Donovan Rossa's Farewell (to Dublin)" (1 text)
ST OLoc034 (Partial)
Roud #3040
NOTES: (Source Ireland's Own site "Jeremiah O'Donovan Rossa (1831-1915)" from George Treanor, Irish Heritage Group): Formed the Phoenix Society of Skibbereen for the fight for independence. That organization joined the Irish Republican Brotherhood (IRB), or Fenians, which formed in 1858. Rossa was arrested in 1858 for association with the Fenians, and again in 1865 after the Fenian Rising. His sentence was for writing seditious articles. He was treated badly in jail, and released in 1871 by amnesty on condition that he go into exile. In New York Rossa continued writing in support of the Fenian movement and was involved in planning bombing attacks in England. He died in the United States.
Rossa and four others -- the "Cuba Five" -- arrive in New York on January 19, 1871 on board the steamer Cuba (Source: History Cooperative site; Irish Culture and Customs site) - BS
In Charles Sullivan's _Ireland in Poetry_, p. 101, there is a poem, "The Returned Picture," credited to Mary O'Donovan Rossa (and she was a poet, having published _Lyrical Poems_ in 1868). If this item is to be believed, Rossa's guards never let him see his wife, or the child still unborn when he was imprisoned, nor even let them see their picture. I cannot verify this. But certainly his was a difficult life; in addition to the above, Terry Golway, in _For the Cause of Liberty_, p. 113, his father was one of those who starved to death during the potato famine.
Not that his behavior was exactly above reproach; Golway on p. 148 reports that he was known for flinging the contents of his chamber pot at his jailors. In context, one can hardly blame them for tying his hands behind his back for a month (see also Robert Kee, _The Bold Fenian Men_, being Volume II of _The Green Flag_, p. 62).
In his life, Rossa wasn't a particularly effective figure, and he died senile in New York at the age of 84 -- but his body, shipped back to Ireland, proved a powerful rallying point for nationalists. (This even though Kee, p. 238, says that Rossa toward the end of his life inclined toward the moderate methods of John Redmond.) Padraig Pearse gave his funeral elegy, and used it to call for Irish independence -- even as thousands of Irish boys were volunteering to serve in the British army.
Rossa was another of those Irishmen (like, e.g. Cathal Brugha) who changed his name to make it more "Irish"; according to Kee (p. 4), he was born Jeremiah Donovan Rossa (not O'Donovan).
The informers mentioned in the song are a varied lot. Corydon was a Fenian courier who worked for the headstrong Captain McCafferty, who revealed a plan to attack the Chester Castle military storehouse (Kee, p. 36). Nagle was a worker at the _Irish People_ who was more spy than informant; he carried off correspondence coming through the paper's offices (Kee, p. 23). Thomas Talbot was a professional detective who infiltrated the Fenians under the name John Kelly (Kee, p. 25).
Gordon Massey was the most important but most equivocal; it's not sure if he turned informer before or after he was taken by the British (Kee, pp. 32-33). A Crimean veteran who had gone to America and changed his name several times; he was given high seniority in the Fenian movement based on his alleged command experience, but was betrayed by Corydon (Kee, p. 39). - RBW
File: OLoc034
===
NAME: Rosy Banks of Green, The
DESCRIPTION: Josephine and Charlie, a sailor, have been in love since they were in school. Her father shoots them. Josephine, dying, is glad she is going to meet her dead mother and Charlie. They "never shall be parted on the rosy banks of green"
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: murder courting love father sailor reunion
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Peacock, pp. 701-704, "The Rosy Banks of Green" (2 texts, 2 tunes)
Leach-Labrador 136, "Rosy Banks of Green" (1 text, 1 tune)
Roud #4437
ALTERNATE_TITLES:
The Rosy Banks So Green
File: Pea701
===
NAME: Rosy Nell: see Rosie Nell (File: San114)
===
NAME: Rothesay-O
DESCRIPTION: "Last Hogmanay, at the Glesga Fair, there were me, mysel', and several mair, We a' gaed aff tae hae a tair And spend the nicht in Rothesay-O." And a tear it truly was, as they drank, sang, fought, slept, and were bitten by bugs in Rothesay.
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: party drink humorous
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Kennedy 282, "Rothsay-O" (1 text, 1 tune)
Silber-FSWB, p. 205, "Rothesay, O" (1 text)
DT, ROTHSAY-O*
Roud #2142
RECORDINGS:
Louis Killen & Pete Seeger, "Rothesay-O" (on PeteSeeger47)
Davie Stewart, "Rothsay-O" (on FSB10)
CROSS_REFERENCES:
cf. "The Tinkler's Waddin (The Tinker's Wedding)" (tune)
SAME_TUNE:
The Tinkler's Waddin (The Tinker's Wedding) (File: RcTTWttw)
File: K282
===
NAME: Rothsay-O: see Rothesay-O (File: K282)
===
NAME: Rotten Potatoes, The
DESCRIPTION: Tenants are starving. At all costs save your corn and meal. Sell your cattle. The politicians will have a plan. The rents will be reduced. Food will be had "from Russia and Prussia and Americay." Potatoes have failed since '45. Things will improve.
AUTHOR: unknown
EARLIEST_DATE: 1847 (Zimmermann)
KEYWORDS: starvation Ireland nonballad food
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 58, "A New Song on the Rotten Potatoes" (1 text)
CROSS_REFERENCES:
cf. "Over There (I - The Praties They Grow Small)" (subject: The Potato Famines) and references there
NOTES: Although the singer hopes for help from the politicians, a change in government actually meant that Ireland was given *less* help as the famines stretched on.
The potatoes suffering from the blight didn't exactly rot. They just shrivelled away -- not that the difference made any difference. For details on the blight and its effects, see the notes to "Over There (I - The Praties They Grow Small)." - RBW
File: Zimm058
===
NAME: Rough Pavement
DESCRIPTION: The paved roads on the Island: "In springtime the potholes occur everywhere Oh that black roller-coaster will kill me." Mainland the roads are smooth. "My wife's not accustomed to such a smooth trip, So we pulled the car over and we followed the ditch!"
AUTHOR: Allan Rankin
EARLIEST_DATE: 1982 (Ives-DullCare)
KEYWORDS: humorous nonballad technology travel
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 221-223, 253, "Rough Pavement" (1 text, 1 tune)
Roud #13995
File: IvDC221
===
NAME: Rough, Rocky Road (Most Done Suffering)
DESCRIPTION: "It's a rough, rocky road, And I'm 'most done struggling/suffering (x3), I'm bound to carry my soul to the Lord. I'm bound to carry my soul to Jesus, I'm bound to carry my soul to the Lord." "My (father's/etc.) on the road, And he's 'most done...."
AUTHOR: J. C. Brown ?
EARLIEST_DATE: 1918 (recording, Tuskegee Institute Singers)
KEYWORDS: religious nonballad travel Jesus
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 632, "Rough, Rocky Road" (1 text plus mention of 2 more)
Scarborough-NegroFS, p. 25, "Most Done Ling'rin Here" (1 text, 1 tune, with a verse from "Run, Nigger, Run" plus the "If you get there before I do" floating verse and a chorus that might be this)
Roud #11832
RECORDINGS:
Alabama Sacred Harp Singers, "Rocky Road" (Columbia 15274-D, 1928; on AAFM2) 
Emmett Brand, "Most Done Traveling (Rocky Road)" (on MuSouth06)
Fisk University Jubilee Singers, "Most Done Travelling" (Columbia A2901, 1920)
Tuskegee Institute Singers, "Most Done Trabelling (sic)" (Victor 18447, 1918)
ALTERNATE_TITLES:
Most Done Suffering
File: Br3632
===
NAME: Round and Round the Levee: see Go In and Out the Window (File: R538)
===
NAME: Round and Round the Village: see Go In and Out the Window (File: R538)
===
NAME: Round It Up a Heap It Up
DESCRIPTION: Corn-husking song, "Round it up a heap it up a Round it up a corn, A joog-a-loa." "De big owl hoot and cry for his mate, My honey, my love! Oh, don't stay long, oh, don't stay late... It ain't so fur to de goodbye gate."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: food work
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 201, "Round It Up a Heap It Up" (1 text, plus a "Juba" fragment)
NOTES: The full stanza ("De big owl hoot....") is reported to come from Harris's _Uncle Remus and His Friends_. The relationship between that text and the traditional song is not clear. - RBW
File: Br3201
===
NAME: Round River Drive
DESCRIPTION: Recitation; multiple stories of Paul Bunyan
AUTHOR: Unknown; versified by Douglas Malloch
EARLIEST_DATE: 
KEYWORDS: lumbering talltale humorous logger work recitation
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 95, "Round River Drive" (1 text)
Roud #6523
CROSS_REFERENCES:
cf. "Paul Bunyan" (subject)
cf. "Paul Bunyan's Big Ox" (subject)
NOTES: This is an encyclopedic collection of Bunyan tales, which despite its length made it into oral tradition. Paul Bunyan is sometimes derided as a phony folk-hero, and he's certainly been heavily commercialized, but Beck makes clear that these were genuine folk tales.- PJS
File: Be095
===
NAME: Round Rye Bay for More
DESCRIPTION: "We'll go round Rye Bay for more, my tars, Round Rye Bay for more" South of the buoy at Rye Bay the singer lost his trawl where "Old Crusty he told me that I shouldn't stray." The singer will go back when our money's gone.
AUTHOR: unknown
EARLIEST_DATE: 1976 (recording, Johnny Doughty)
KEYWORDS: nonballad shanty sailor
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #8095
RECORDINGS:
Johnny Doughty, "Round Rye Bay for More" (on Voice02)
NOTES: On Voice02 Johnny Doughty sings the verse beginning "South of the buoy down Rye Bay way" as a parody of, and to the tune of, "South of the Border Down Mexico Way," by Jimmy Kennedy and Michael Carr, recorded by Frank Sinatra in the 1950's. - BS
File: RcRRBfM
===
NAME: Round the Bay of Mexico
DESCRIPTION: "Round the Bay of Mexico, Way, oh Susiana, Mexico is the place that I belong in...." The singer tells of courting girls "two at a time" and having them love him "because I don't tell everything that I know." He heads off to the fishing ground
AUTHOR: unknown
EARLIEST_DATE: 1935 (field recording, Henry Lundy & David Pryor)
KEYWORDS: sailor courting
FOUND_IN: Bahamas
REFERENCES: (1 citation)
Silber-FSWB, p. 83, "Round the Bay of Mexico (Bay of Mexico)" (1 text)
Roud #207
RECORDINGS:
Henry Lundy & David Pryor, "Round the Bay of Mexico" (AAFS 512 B2, 1935; on LC05, LomaxCD1822-2)
CROSS_REFERENCES:
cf. "Cape Cod Girls" (lyrics)
NOTES: This is listed as having "new lyrics" by Paul Campbell (the Weavers, collectively), and "music adaption" by Tom Geraci. I have seen relatively little of the material elsewhere; this looks more like a new song from traditional materials than a touched-up traditional song. - RBW
Nope -- the song as touched up by the Weavers and friends is still quite close to the field recording from the Bahamas in 1935. - PJS
File: FSWB083B
===
NAME: Round the Corner, Sally
DESCRIPTION: Short-haul or halyard shanty. "Round the corner we will go, round the corner Sally." Verses refer to women or places where women may be found.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty sailor whore
FOUND_IN: Britain US
REFERENCES: (4 citations)
Colcord, p. 45, "Round the Corner" (1 text, 1 tune)
Hugill, pp. 389-390, "Round the Corner, Sally" (2 texts, 1 tune) [AbEd, pp. 297-298]
Sharp-EFC, XLII, p. 47, "Round the Corner, Sally" (1 text, 1 tune)
DT, RNDCORNR*
Roud #4697
NOTES: According to Hugill "round-the-corner-sallies" are at least loose women and often full-fledged prostitutes. - SL
Dana's _Two Years Before the Mast_ lists a song "Round the Corner" as a favorite shanty in his sailing days. If it is this piece, it would provide an Earliest Date for the song -- but Colcord notes that there is no reason to identiry them. Indeed, she seems to think them distinct -- but her reason is that this song is "almost too slight" to have merited mention. This would be a stronger argument if her text didn't look rather bowdlerized. - RBW
File: Hugi389
===
NAME: Round-Up Cook, The: see Punchin' Dough (File: FCW037)
===
NAME: Rounding the Horn
DESCRIPTION: Sailor describes hard trip around Cape Horn (in the frigate "Amphitrite"), and the pleasures (mostly female) of shore-leave in Chile. The singer says that Spanish girls are superior to (English) women, who have no enthusiasm and steal your clothes
AUTHOR: unknown
EARLIEST_DATE: 1907
KEYWORDS: travel sea ship shore drink sailor whore clothes theft
FOUND_IN: Britain(England(North))
REFERENCES: (4 citations)
Vaughan Williams/Lloyd, p. 90, "Rounding the Horn" (1 text, 1 tune)
SHenry H539, pp. 97-98, "The Girls of Valparaiso" (1 text, 1 tune)
Colcord, pp. 177-178, "The Girls Around Cape Horn" (1 text, 1 tune)
DT, RNDHORN* RNDHORN2
Roud #301
RECORDINGS:
Ewan MacColl and Peggy Seeger, "Round Cape Horn" (on ENMacCollSeeger02)
CROSS_REFERENCES:
cf. "The Loss of the Amphitrite" [Laws K4] (subject)
cf "The Painful Plough" (tune)
cf. "Come All You Worthy Christian Men" (tune)
cf. "Van Dieman's Land (I)" [Laws L18] (tune)
NOTES: The brig _Amphitrite_ was built in 1820 and engaged in South American trade. A frigate of the same name was lost in 1833 while carrying female convicts to Australia (see "The Loss of the Amphitrite"). - PJS
Roud, in one of his stranger acts of lumping, combines this with "The Loss of the Amphitrite" [Laws K4]. They only common element I can see is the ship name. - RBW
File: VWL090
===
NAME: Roundup in the Spring
DESCRIPTION: A group of cowboys meet in a hotel and swap tales. An old man listens eagerly. He was a cowboy, too, and recalls the work. He concludes, "I'd like to be in Texas for the roundup in the spring."
AUTHOR: unknown
EARLIEST_DATE: 1926 (Recording, Vernon Dalhart)
KEYWORDS: cowboy age work
FOUND_IN: US
REFERENCES: (1 citation)
Ohrlin-HBT 20, "Roundup in the Spring" (1 text, 1 tune)
Roud #11309
RECORDINGS:
Leon Chappelear "I'd Like to Be In Texas (For the Roundup in the Spring)" (Champion 45068, c. 1935; Montgomery Ward M-4950, 1936)
Vernon Dalhart "I'd Like to Be In Texas" (Vocalion 5044, 1926)
Bradley Kincaid "I'd Like to Be In Texas" (Decca 12053, n.d.)
[Asa] Martin & [James] Roberts, "The Roundup in the Spring" (Perfect 12906/Melotone 12642 [as by Asa Martin], 1933; on WhenIWas1)
File: Ohr020
===
NAME: Rouse, Hibernians
DESCRIPTION: "Rouse, Hibernians, from your slumbers! ... Our French brethren are at hand." Erin's sons defeat the tyrants now. "Apostate Orange ... Sure you might know how Irish freemen Soon would put your Orange down" "Vive la, United heroes"
AUTHOR: unknown
EARLIEST_DATE: 1798 (Zimmermann)
KEYWORDS: rebellion Ireland nonballad patriotic
HISTORICAL_REFERENCES: Aug 22, 1798 - 1100 French troops under General Humbert land at Killala Bay in County Mayo. He would surrender on Sept. 8, and by May 23 the Mayo rising had been suppressed with some brutality
FOUND_IN: 
REFERENCES: (2 citations)
Zimmermann 18, "Rouse, Hibernians" (1 text, 1 tune)
Moylan 113, "Rouse Hibernians" (1 text)
CROSS_REFERENCES:
cf. "Viva La!" (tune)
cf. "Men of the West" (subject)
NOTES: Zimmermann quotes Musgrave: "This was found on the mother of Dougherty, a United Irishman who was killed by Woollaghan at Delgany, in the county of Wicklow in autumn 1798. She was seen to throw it out of her pocket, yet she swore she never saw it." - BS
This is rather a curious piece, since the 1798 rebellion in Wicklow and the east was already over by the time General Humbert made the first French landing in the west of Ireland. For details on that event, see the notes to "Men of the West." - RBW
File: Zimm018
===
NAME: Rousie's Song
DESCRIPTION: "They shore them wet on Monday, And they shore them wet again; How in the hell can a rousie live On twenty points of rain?"
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: work sheep
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, p. 278, "Rousie's Song" (1 text, 1 tune)
NOTES: Meredith et al explain that rouseabouts were paid by the week, and were allowed to "laze about" -- and get paid! -- if the shearers declared it too wet to work.
This doesn't make sense, though -- if rain lets workers get a paid vacation, why should they complain about it? And if it doesn't rain, they can always finish up and go elsewhere. So I have to suspect that this predates the work of the shearers' union, and comes from the days when the workers were paid only for work done. I'll admit that I don't know, though. - RBW
File: MCB278
===
NAME: Roustabout Holler
DESCRIPTION: "Oh, Po' roustabout don't have no home, Makes his livin' on his shoulder bone." The singer, loading sacks of cottonseed on the steamer Natchez, has no home and a sore shoulder, but does have a "little gal in big New Orleans."
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: work river
FOUND_IN: US(So)
REFERENCES: (1 citation)
Botkin-MRFolklr, p. 571, "Roustabout Holler" (1 text, 1 tune)
Roud #15599
CROSS_REFERENCES:
cf. "Levee Camp Holler"
cf. "Steel Laying Holler"
File: BMRF571
===
NAME: Roving Bachelor, The
DESCRIPTION: The bachelor comes to town determined to find a wife. Seeing a woman, he engages her in conversation and learns of her tastes and her fortune (as well as how she treats her family). (Since her wealth is enough and he suits her fancy, they get married)
AUTHOR: unknown
EARLIEST_DATE: 1911 (Grieg)
KEYWORDS: rambling courting marriage dialog bachelor
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (1 citation)
SHenry H650a+b, pp. 263-264, "The Roving Bachelor" (2 texts, 1 tune)
Roud #1649
ALTERNATE_TITLES:
Roving Journeyman, The
NOTES: This is recognized less by the details of the plot than by the constant repetition of the phrase, "The next question that I asked/axed her...."
Creighton has a fragment also titled "The Roving Journeyman," but it looks more like a version of "With My Swag All On My Shoulder."
Henry's second version asks "did her father deal in flax?" This appears to be a reference to the several periods in the eighteenth and nineteenth centuries when the Irish linen industry tried to build itself up. Typically the British would open the markets, the Irish would try to build an industry, and the British would reimpose the tarriff walls, crushing the Irish flax farmers. It's not clear from the song whether it takes place during the up or down points of the cycle. - RBW
File: HHH650
===
NAME: Roving Cowboy (I): see Jack Monroe (Jackie Frazer; The Wars of Germany) [Laws N7] (File: LN07)
===
NAME: Roving Cowboy, The: see Come All Ye Lonesome Cowboys (File: R189)
===
NAME: Roving Gambler Blues: see The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Roving Gambler, The (The Gambling Man) [Laws H4]
DESCRIPTION: The singer freely admits his addiction to gambling, cards, and a roving life. But he also has an eye for the ladies. In one town he meets with a "pretty little girl" who takes him home and then decides to follow him wherever he goes
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: gambling courting rambling floatingverses
FOUND_IN: US(Ap,MW,Ro,SE,So)
REFERENCES: (16 citations)
Laws H4, "The Roving Gambler (The Gambling Man)"
Belden, pp. 374-377, "The Guerrilla Boy" (4 texts, 1 tune, but only the first 2 texts are this piece)
Randolph 835, "The Guerilla Man" (3 texts, 1 tune)
Randolph/Cohen, pp. 323-325, "The Guerrilla Man" (1 text, 1 tune -- Randolph's 835A. Cohen notes that the printed melody fits only the first verse; there is probably an error in the transcription, causing a line to be omitted)
BrownIII 49, "The Journeyman" (3 text)
Brewster 87, "The Blue-Coat Man" (1 text, a curious version in which the gambler, upon seeing enemies, "willingly shot them down"; 1 tune)
Gardner/Chickering 75, "The Roaming Gambler" (1 text)
Fuson, p. 131, "The Gambling Man" (1 text, incorporating the "Pretty Little Foot")
Sandburg, pp. 312-313, "The Roving Gambler" (3 texts, 1 tune. The "A" and "C" texts, clearly go here; the "B" text is possibly distinct though mostly floating verses)
Lomax-ABFS, pp. 150-151, "The Roving Gambler" (1 text, 1 tune)
Botkin-AmFolklr, p. 889, "The Roving Gambler" (1 text, 1 tune)
Botkin-MRFolklr, p. 592, "The Wandering Steamboatman" (1 partial text)
Darling-NAS, pp. 226-227, "The Roving Gambler" (1 text)
Silber-FSWB, p. 54, "Rambling, Gambling Man" (1 text, with more than a little influence from the "I'm a Rambler, I'm a Gambler" texts of "The Wagoner's Lad"); p. 60, "Roving Gambler Blues" (1 text)
Thomas-Makin', p. 122, "The Rustlin' Gambler" (1 text, probably a mix of this with other gambler songs)
DT 645, ROVINGMB
Roud #498
RECORDINGS:
Frank Bode, "Roving Gambler" (on FBode1)
Crockett's Kentucky Mountaineers, "Roving Gambler" (Crown 3159, 1931; Paramount 3302, 1932; Varsity 5082, Montgomery Ward M-3025, Homestead 23041, Continental 3012 [as Pete Daley's Arkansas Fiddlers], n.d.)
Vernon Dalhart, "Rovin' Gambler" (Edison 51584, 1925) (CYL: Edison [BA] 5027 [as Vernon Dalhart & Co.], n.d.) (OKeh 40479 [as Tobe Little], 1925) (Columbia 15034 [as Al Craver], 1925) (Grey Gull/Radiex 4135 [as Jeff Calhoun], 1927)
Hobart Delp & band, "Roving Gambler" (on Persis1)
Kelly Harrell, "Rovin' Gambler" (Victor 19596, 1925; on KHarrell01) (Victor 20171, 1926; Montgomery Ward M-4367, 1933; on KHarrell01)
Claude Moye, "Roving Gambler" (Champion 16118 [as Asparagus Joe], Supertone 9712 [as Pie Plant Pete], 1930; Superior 2643 [as Jerry Wallace], 1931; Champion 45063, Melotone [Can.] 45063 [both as Pie Plant Pete; as "Rovin' Gambler"], 1935)
New Lost City Ramblers, "Roving Gambler" (on NLCR01)
George Reneau, "Rovin' Gambler" (Vocalion 15148, 1925; Vocalion 5077, 1926)
Gid Tanner & his Skillet Lickers, "The Roving Gambler" (Columbia 15447-D, 1929)
Welby Toomey, "Roving Gambler"  (Gennett 6005, Champion 15209 [as Herb Jennings], Silvertone 5006, Challenge 229 [as Clarence Adams], 1927; Silvertone 8151, Supertone 9252, 1928; Herwin 75532, n.d.; rec. 1926)
Doug Wallin, "The Roving Gambler" (on Wallins1)
CROSS_REFERENCES:
cf. "True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man)" (plot)
cf. "Hang Me, Oh Hang Me (Been All Around This World)" (floating lyrics)
cf. "Almost Done" (floating lyrics)
cf. "The Gambler" (theme, floating lyrics)
cf. "Sailing Out on the Ocean" (floating lyrics)
cf. "I Met a Handsome Lady" (lyrics)
File: LH04
===
NAME: Roving Irishman, The: see True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man) (File: MA062)
===
NAME: Roving Journeyman (I), The: see True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man) (File: MA062)
===
NAME: Roving Journeyman (II), The: see The Roving Bachelor (File: HHH650)
===
NAME: Roving Newfoundlanders (I), The
DESCRIPTION: The singer, musing at home, thinks about all the Newfoundlanders who have sailed and fished in all parts of the world. They have also taken part in historic world events (mostly confined to the 19th century) The singer tells us he is from Harbour Grace.
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: Canada patriotic bragging
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 183, "The Roving Newfoundlanders" (1 text, 1 tune)
Blondahl, p. 15, "Roving Newfoundlander" (1 text, 1 tune)
Doyle2, pp. 55, "The Roving Newfoundlanders" (1 text, 1 tune)
Doyle3, pp. 71, "The Roving Newfoundlanders" (1 text, 1 tune)
Roud #6362
RECORDINGS:
Omar Blondahl, "The Roving Newfoundlander" (on NFOBlondahl02,NFOBlondahl05)
CROSS_REFERENCES:
cf. "Captain Bob  Bartlett" (character) and references there.
NOTES: Judging by the historic events mentioned (the Boer War, the Spanish-American War of 1898 and going to the "Pole"), we can determine that the song is from the early twentieth century. Robert Abram Bartlett was born in Brigus, Conception Bay and began exploring the Arctic in 1897. He was with Admiral Robert Peary in 1909 when [the latter reportedly reached] the North Pole, being the commander of Peary's ship. - SH
For a good deal more on Captain Bob  Bartlett, see the notes to "Captain Bob  Bartlett"; also "Ballad of Captain Bob Bartlett, Arctic Explorer." For the quest for the Pole, see "Hurrah for Baffin's Bay." - RBW
File: Doy55
===
NAME: Roving Newfoundlanders (II), The
DESCRIPTION: "Ye roving boys of Newfoundland, come listen unto me." In 1863, Shea hires 55 men to work on the railway. They run away to Canada, work on a riverboat and are robbed, ship on the Morning Bloom which sinks on George's Bank; only seven reach St John's
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: death drowning commerce fishing river sea ship work ordeal storm wreck Canada sailor
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Greenleaf/Mansfield 150, "The Roving Newfoundlanders" (1 text)
Peacock, pp. 916-921, "George's Banks" (2 texts, 3 tunes)
Leach-Labrador 78, "George's Banks" (1 text, 1 tune)
Roud #17756
CROSS_REFERENCES:
The Shea Gang
You Roving Boys of Newfoundland
NOTES: This is a tough one to pin down.
This is surely not about the Newfoundland Railroad which was not begun until 1881.  The Windsor Branch Railway in Nova Scotia opened in 1856 and is at least possible as the railroad in question.
Peacock's versions of the song have the date as 1868 and he has "Shea's gang" building the Canadian Pacific Railway; but the Canadian Pacific Railway construction began in 1875 after scandals and false starts in the early Seventies.
As for the wreck of the Morning Bloom on George's Bank: I find no record of that[;] the Northern Shipwrecks Database 2002 lists well over 200 ships by name lost on George's Bank between 1822 and 1995.
A July 2002 note by Wilfred Allan at Nova-Scotia_Seafarers-L_ Archives site states "Georges Bank is at the edge of the Atlantic continental shelf between Cape Cod and Nova Scotia. Thus it straddles both the U.S and Canadian borders ... about 250 km by 150 km in area." - BS
We have four texts -- Greenleaf/Mansfield 150, Leach-Labrador 78, Peacock p916A and Peacock p919C -- and we're not likely to find more [Mercer :see bibliography at the end of this note]. This seems a good time to sum up.
In response to my query about railway history as it might relate to Peacock's version and comments, Dave Knowles, Librarian of the C. Robert Craig Memorial Library in Ontario -- established to collect, preserve and make available to the public materials that document the history of rail transportation in Canada -- was kind enough to join me in speculating about the railway and to suggest further paths to follow in researching this problem.
Mr Knowles's thoughts -- quoted by permission with the understanding that "so much of it is guesswork or gut instinct that it really doesn't qualify as research" -- follow and are interspersed among the comments on the railway section of this discussion. He writes, "On balance I suspect that the situation in the song is generic rather than specific. Given the song's length it probably developed over the years with consequent changes in names and facts in order to match the times, the tune, and perhaps even the audiences. In all probability many songs were melded together to create the epic."
While I don't go that far, I did become convinced that the ballad is a constructed "Odyssey" with episodes to work back to "Ithaca" rather than a retelling of an historic journey; why, for example, would even a storm-driven Gloucester fisherman work so hard to reach St John's rather than heading home?
As for the rest of the statement: certainly, the components were in the air for years and, as Greenleaf/Mansfield 183 illustrates, the idea of combining the different adventures of "The Roving Newfoundlanders" in a single song was not new (though Greenleaf/Mansfield 183 does not stitch them together into a single adventure). 
Songs about work fill the collections. There are a few songs about fishing on your own in the season: "Rowing in a Dory" where you are "the captain and the crew," "The Fisher Who Died in his Bed," "John Yetman," "Western Boat," .... There are a few more about trying to get through the hard times at home off season like "Brown Flour" and "Fish and Brevis." There are far more about leaving home for seasonal fishing: "The Herring Gibbers," "Taking Back Gear in the Night," "High Times in our Ship," not to count the many "The Wreck of ..." and "The Loss of ..." that end in disaster.
There are many about leaving home for seal hunting, logging, hauling cargo etc.: "Maurice Crotty," "The Sealer's Song," "Twin Lakes," "Jerry Ryan," "The Badger Drive," and some about spiking on railways: "The Boys at Ninety-Five," "The Bonavist Line," "Drill Ye Heroes, Drill." There are ballads about leaving the island for seasonal work: "Labrador," "The Girls of Newfoundland," "The Track to Knob Lake,."... There are ballads about leaving the island for years to earn a stake, like "The Green Shores of Fogo" and "My Dear, I'm Bound for Canady." Finally there are ballads about emigrating when hard times are too much to bear, like "The Emigrant from Newfoundland" and "The Low-Backed Car."
This ballad has five episodes and they cover some of this variety of situation.
(1) In 1863/1868/1872 they (maybe 55 or 62) leave Newfoundland to get work. 
My first problem was in taking this range of dates seriously. What was going on in those years? Is this is just meant to refer to "a ways back"?
(2) In three of the four versions, the first stop is to railway construction for Shea (maybe in "Canada"). The conditions being very bad, they run away.
Peacock puts this job at Crow's Nest Pass, and, in 1961, his seventy-seven year old informant reminisced about hearing the old-timers talk about that hard time. If Peacock was right then this episode referred to a Canadian Pacific Railway project in the winter of 1897-1898; Crow's Nest Pass -- or Crowsnest Pass -- is just east of the border between southern Alberta and British Columbia. 
Dave Knowles continues on the subject of what workers were likely to be found on railway construction gangs between 1860 and 1900. My original question to him involved the likelihood that Newfoundlanders were contracted as a group in 1863-1872. "The dates cited in the song were in the sixties. There were many different railways built in what is today's 'Canada' beginning in the 1830s. The first railway into Ottawa was 1854, and the Grand Trunk between Montreal and Toronto was 'abuilding' in the 1856-8 period. Most of these early railways were short and soon ended up in the three major systems of Grand Trunk, Canadian Pacific and Canadian Northern....
"As far as labour is concerned most of it was local, contracted and sub-contracted out. Stone bridges, stations etc would require skilled stone masons and carpenters who were a higher level of worker than needed for the roadbeds. The Grand Trunk (between Montreal and Toronto), in contrast, however, was built by British railway contractors Peto, Brassey, Bates and Jackson who imported a crew (estimated at 3000) of the famous 'navvies' from Britain. They returned to Britain at the end of construction. The western end of the CPR in the early 1880s used labourers imported from China!
"In the days before steam or diesel powered construction equipment the work was hard and I gather the attrition rates were pretty high. Consequently labourers were sought from wherever they could be found. Many contractors were involved. I suspect that there were many 'Sheas' among the contractors and sub-contractors as well as in the labour force. In the Ottawa area the Royal Engineers had used many Scots and Irish stone masons on the necessary works of the Rideau Canal, and there was a substantial colony of Irish immigrants located to the west and south of Ottawa." He goes on to recommend Fleming and Coleman as sources for further information, both of which were very useful.
I followed Dave Knowles's lead to look at sources of railway labor throughout the period. The ballad holds together best if the railway work is actually in the East, on the Intercolonial in the Maritimes. The original Intercolonial plan had considered Imperial Government orchestration of Irish emigration to alleviate both the famine and shortage of labour [Fleming, pp. 49-50] I could find no reference to the actual source after 1862 [Fleming, pp 55-64].
The work on the Grand Trunk before the 1860s required temporary contracting of 3000 navies from England because "there was no local labour worth speaking of" [Coleman, pp. 183-184]. English navies continued to be used. While "the navvy age" continued until about 1900 [Coleman, p. 20] the last "great work" in Britain was completed in 1875 [Coleman, p.192] and by 1888 "navvies from London were starving at Toronto" [Coleman, p. 191].
By 1880 use of Chinese labor had become a major issue in the west [Berton, p. 373]. While locals were against the competition, the railway builders preferred Chinese labor. Not only were wages low for Chinese labor but there was "little to fear" in regard to working condition monitoring from a government and public hostile to the Chinese [McKee and Klassen, p.21]. And, besides, in 1885, "Chapleau wrote that 'as a railway navvy, the Chinaman has no superior'" [Berton, p. 374]. Restriction of Chinese immigration by imposition of a $50 head tax, in 1885, reopened the labor market to Canadians [18thC] as the navvy source dried up. By 1887 there were sites employing no Chinese [Turner, pp. 17-18].
By the time of the Crow's Nest Pass project working conditions for white workers were an issue and the description of the situation is very much like that described by the ballad. Thirty-five hundred were employed in construction [Cousins, p 32]. "Complaints reached Ottawa, and in January 1898... a commission [was appointed] to inquire into the treatment of laborers in the Crowsnest construction crews. Its report, submitted in April, told a tale of poor accommodation, bad sanitary conditions, and low wages.... Cases of desertion and of nonpayment of wages by contractors were fairly frequent; there was some violence in the camps and occasionally a murder" [Lamb, p. 212]. 
Anyone in Ottawa, or near a Canadian library, wishing to investigate the Crow's Nest Pass project further might consider the following sources: _Report of Commissioner N.W.M.P. 1898 (Ottawa: King's Printer, 1898), and _Report of the Commission Inquiring into the Death of McDonald and Fraser of the Crow's Nest Railway_, R.C. Clute Commissione. 1899 Ottawa. Sessional Papers No. 70 Vol. 33 No. 14, may be included in Government of Canada Files at ArchiviaNet, at www.archives.ca/02/0202_e.html, Reference RG43, Railways and Canals, Series A-I-2, Volume 348, File 9080, Access code 90, File Title: Crow's Nest Pass Railway Co. - Labour Conditions. Keywords: Crow's Nest Pass Railway Co. Outside Dates: 1897-1907, File aiding number: 43-50. 
(3) In the two versions for which 55 run away, their next job is on a riverboat in Canada (maybe around Montreal); until their money is stolen.
I have seen no other Newfoundland references to river boating. That is hardly surprising since there were no Newfoundland river boats. However, the story is different for the rest of what is now Canada. The first commercial steamboat voyage on the St Lawrence -- between Montreal and Quebec -- took place in 1809, two years after Fulton's Clermont went into service on the Hudson [Croil, pp. 50, 312].
By the time of the years actually mentioned in the ballad commercial steam powered river boats were common in Quebec and Ontario [Croil, pp. 307-332]. At the time of the Crow's Nest Pass project "some of the finest river steamers in the Dominion" were on the Columbia River and Kootenay Lakes, about 160 miles away [Croil, pp. 338-339]. And while river boats may not have been in Newfoundland, steamers were. Steam service began in the 1840's and steamers were used in seal hunting in 1862 [Croil, pp. 354-355]. So Newfoundlanders were knowledgeable steamship hands throughout the period we are considering and steamships were used commercially where the events may be supposed to take place. Whether they actually took place in the context of the ballad is the question.
(4) They eventually go through Halifax to Boston (or Gloucester) and ship aboard the _Morning Bloom_ (or _Morning Glow_) for George's Banks. On November 22, in a bad storm, either their ship, or _Jubilee_, lose 22 men (but no ship is mentioned as sinking). 
There is no question about the dangers on George's Banks [cf. "Fifteen Ships on George's Banks" and "George's Bank" (II)]. However, there is no record of a severe storm on some November 22, or thereabouts, that I can find in the Northern Shipwrecks Database for the period in question. Part of the problem may be that no sunk ships are named in the ballad and that the database only records lost ships. However, if the date referred to a real storm I'd expect some ship to have been lost and reported.
(5) Having escaped that storm they continue fighting strong seas. Eventually they see the lighthouse at Cape Ray (built 1871) or Cape Race (starts operation 1856) or Sarne's Point and, of the remaining crew of 18, only 7 survive to reach Cape Spear (built 1835)and St John's.
There's nothing here that we can say is evidence of some one historic event.
>>*BIBLIOGRAPHY*<<
Berton [Pierre Berton, _The Impossible Railway. The Building of the Canadian Pacific_ (Knopf, 1983)]
Coleman [Terry Coleman, _The Railway Navvies: A History of the Men Who Made the Railways_ (BCA, 1972)]
Cousins [William James Cousins, _A History of the Crow's Nest Pass_ (Historic Trails Society of Alberta, 1981)]
Croil [James Croil, _Steam Navigation and Its Relation to the Commerce of Canada and the United States_ (William Briggs, 1898)]
Fleming [Sanford Fleming, _The Intercolonial. A Historical Sketch of the Inception, Location, Construction and Completion of the Line of Railway Uniting the Inland and Atlantic Provinces of the Dominion_ (Dawson Brothers, Montreal, 1876)]
Lamb [W. Kaye Lamb, _History of the Canadian Pacific Railway_ (MacMillan 1977)]
McKee and Klassen [Bukk McKee and Georgeen Klassen, = _Trail of Iron. The CPR and the Birth of the West, 1880-1930_ (Douglas & McIntyre, 1983)]
Mercer [Paul Mercer, _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-line Index_ (Newfoundland, Canada: Memorial University of Newfoundland Folklore and Language Publications, 1979)]
Turner [Robert D. Turner, _West of the Great Divide; an Illustrated History of the Canadian Pacific Railway in British Columbia 1880-1986_ (Sono Nis Press, Victoria, 1987)]
18thC [18th Century History site: CHAPTER V. THE YEARS OF FULFILMENT] - BS
File: GrMa150
===
NAME: Roving Ploughboy, The
DESCRIPTION: The singer asks that her horse be saddled so she can follow the ploughboy.  After sleeping last night "on a fine feather bed," she will sleep tonight in a barn in his arms. She says none can compare with him, and bids her home farewell
AUTHOR: unknown
EARLIEST_DATE: 1953 (Kennedy)
KEYWORDS: love elopement worker farming farewell
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Kennedy 260, "The Roving Ploughboy-O" (1 text, 1 tune)
Roud #2138
RECORDINGS:
John MacDonald, "The Roving Ploughboy-O" (on FSB3)
CROSS_REFERENCES:
cf. "The Gypsy Laddie" [Child 200] (theme, lyrics, tune)
NOTES: Paul Stamler suggests that this is a version (or, perhaps more correctly, a fragment) of "The Gypsy Laddie," and it's true that about half the lyrics appear in that song, and the general theme is the same, and there are similarities in the tune as well.
But the song seems to have circulated independently, and the key element of "The Gypsy Laddie" is missing: there is no sign of the wife abandoning her husband, or of him pursuing. Allowing the strong possibility that this is a fragment of the longer ballad, I still incline to split them.
Kennedy associates this with Ord's "The Collier Laddie." That strikes me as much more of a stretch. - RBW
File: K260
===
NAME: Roving Ranger, The: see Texas Rangers, The [Laws A8] (File: LA08)
===
NAME: Roving Shantyboy, The
DESCRIPTION: "Come all you tru-born shantyboys wherever you may be." The singer describes how he met a pretty girl and took her on my knee. The song shifts to the girl's viewpoint as she laments that "he was away by the first of may." She laments with her child
AUTHOR: unknown
EARLIEST_DATE: 1965 (Fowke)
KEYWORDS: courting rambling pregnancy logger baby
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #57, "The Roving Shantyboy" (1 text, 1 tune)
Roud #4359
CROSS_REFERENCES:
cf. "Oh No Not I" (plot)
cf. "Rambleaway" (plot)
NOTES: Fowke considers this to be "adapted from an older British song, but here the original has proved harder to identify." It appears to me *very* similar to "Rambleaway," including that song's shift in viewpoint: The man describes the seduction, the woman the consequences. Though the lyrics have points of contact with "The Foggy Dew" and others. - RBW
File: FowL56
===
NAME: Row After Row
DESCRIPTION: "I'm a-thinkin of you, honey, Thinkin' 'case I love you so... As I hoe down row after row." "Row after row, my baby (x3)... When I think of her the rows get shorter...." "So I keep on a-hoein' an a-hoein', Thinkin' of Miss Lindy Lou."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: worksong farming love
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 211-212, "Row After Row" (1 text, 1 tune)
File: ScaNF211
===
NAME: Row Boat (Ride About)
DESCRIPTION: "Row boat (or: "Ride About"), row, where shall I row?" The young man comes to Miss Mary's door and asks if she is in. She is, and the wedding is set for (the next day)
AUTHOR: unknown
EARLIEST_DATE: 1903 (Newell)
KEYWORDS: love courting marriage playparty
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 678, "Ride About, Ride About" (1 text plus a fragment, 1 tune)
BrownIII 73, "Row the Boat, Row the Boat" (2 texts plus a fragment)
Roud #13080
CROSS_REFERENCES:
cf. "Wallflowers" (form, floating lyrics)
NOTES: The editors of Brown claim that their texts are remnants of "Wallflowers." This is one of those unprovable things; what similarities they have are all floating elements. The "B" text in Brown, "Tommy Jones," has clearly been conflated with something else to make it  a true, if somewhat incoherent, ballad -- but what that something else is I cannot tell. - RBW
File: R678
===
NAME: Row the Boat Ashore: see Roll the Boat Ashore (Hog-eye I) (File: San380)
===
NAME: Row the Boat, Row the Boat: see Row Boat (Ride About) (File: R678)
===
NAME: Row Us Over the Tide
DESCRIPTION: Two children come up to a boatman, asking him to "row us over the tide." The report that their mother is dead and their father has abandoned them; they have no home.
AUTHOR: E. C. Avis?
EARLIEST_DATE: 1927 (recordings, Kelly Harrell, Bela Lam); Avis is said to have published the song in 1888
KEYWORDS: mother father orphan death separation
FOUND_IN: US
REFERENCES: (1 citation)
DT, ROWTIDE*
Roud #9132
RECORDINGS:
The Blue Sky Boys, "Row Us Over the Tide" (Bluebird B-6567, 1936)
Clarence & Claude Ganus, "Row Us Over the Tide" (Vocalion 5312, 1929)
Kelly Harrell, "Row Us Over the Tide" (Victor 20935, 1927; on KHarrell02)
Bela Lam & His Green County Singers, "Row Us Over The Tide" (Okeh 45126, 1927)
Lulu Belle & Scottie (Okeh/unissued, 1940)
Mr. & Mrs. E. C. Mills, "Row Us Over the Tide" (Brunswick/unissued, 1929)
CROSS_REFERENCES:
cf. "Orphan's Lament (Two Little Children, Left Jim and I Alone)" (subject)
cf. "I Saw the Pale Moon Shining on Mother's White Tombstone" (subject)
NOTES: As far as I know, no version of this song reveals *why* the children want to cross the water. (Of course, the versions of the song aren't particularly coherent.) One suspects that, in the original, they interpreted crossing the tide as going to heaven.
Joan Sprung knew a report connecting this with the 1878 yellow fever epidemic (in which at least 20,000 people died, mostly along the Mississippi river between New Orleans and Memphis).
The Blue Sky Boys recording put a very different twist on this song, ending with a chorus about Jesus taking the children away to heaven. This is clearly a rewrite to give a potential tragedy a preudo-happy ending. - RBW
File: DTrowtid
===
NAME: Row-Dow-Dow
DESCRIPTION: Singer, Clarkie, and two others go out poaching pheasants; keepers arrive, and the singer and Clarkie are captured. They are taken to Wandsworth Gaol. Released on Christmas eve, he has a drink and rejoices, but Clarkie doesn't get out until mid-January
AUTHOR: Words: Possibly Fred Holman
EARLIEST_DATE: 1956 (recorded from George Maynard); tune is older
LONG_DESCRIPTION: Singer, his friend Clarkie and two others go out poaching pheasants; keepers arrive, the two other men leave, and the singer and Clarkie are captured and charged before the magistrate. Convicted, he asks to be fined but is sentenced to six weeks; his friend gets two months. They are taken to Wandsworth Gaol; he sneaks his tobacco in past the guards. He is put to work pumping water and grinding flour. Released on Christmas eve, he has a drink and rejoices, but Clarkie doesn't get out until mid-January
KEYWORDS: captivity fight poaching prison punishment trial freedom hunting drink friend prisoner
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 354, "Row-Dow-Dow" (1 text, 1 tune)
DT, ROWDOWDW
Roud #902
RECORDINGS:
George Maynard, "Shooting Goshen's Cocks Up" (on Maynard1)
CROSS_REFERENCES:
cf. "Bow Wow Wow" (tune) and references there
NOTES: According to Kennedy, Goshen was either a local placename or the owner of a game preserve. The tune, variously known as "The Barking Barber" or "Bow Wow Wow," is said to date from the time of George II; Chappell published it in 1858. - PJS
File: K354
===
NAME: Row, Bullies, Row: see The Liverpool Judies (Row, Bullies, Row; Roll, Julia, Roll) (File: Doe106)
===
NAME: Row, Molly, Row (Molly Was a Good Gal)
DESCRIPTION: "Molly was a good gal and a bad gal, too, Oh, Molly, row, gal." The captain and pilot make brief appearances: "I'll row dis boar and I'll row no more...." "Captain on the biler deck a-heaving of the lead... Calling to the pilot to give "turn ahead...."
AUTHOR: unknown
EARLIEST_DATE: 1924
KEYWORDS: river nonballad ship work
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Botkin-MRFolklr, p. 590, [no title] (1 text)
Courlander-NFM, p. 120, "Molly Was a Good Gal" (1 text)
File: BMRF590A
===
NAME: Row, Row, Row Your Boat
DESCRIPTION: "Row, row, row your boat, Gently down the stream, Merrily, merrily, merrily, merrily, Life is but a dream."
AUTHOR: unknown
EARLIEST_DATE: 1852 (broadside, LOCSheet sm1852 511180)
KEYWORDS: nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 412, "Row, Row, Row Your Boat" (1 text)
Fuld-WFM, pp. 475-476, "Row, Row, Row Your Boat"
BROADSIDES:
LOCSheet, sm1852 511180, "The Old Log Hut" or "Row, Row Your Boat," Firth, Pond and Co. (New York), 1852; also sm1853 710040, sm1853 531440, "Row, Row Your Boat" or "The Old Log Hut" (tune)
SAME_TUNE:
Row, Row, Row Your Boat (Throw Your Teacher Overboard) (Pankake-PHCFSB, p. 93)
Propel, Propel, Propel Your Craft (Pankake-PHCFSB, p. 208)
Glub, Glub, Glub Your Boat (Pankake-PHCFSB, p. 213)
NOTES: Fuld reports that this text, with a different tune, was published in sheet music form in 1852; this version had music by R. Sinclair, but the words were unattributed (said to be sung by "Master Adams of Kunkels Nightingale Opera Troupe").
Another melody was published in 1854; the common melody was first published in 1881, with a credit (not necessarily of authorship) to E. O. Lyte. - RBW
File: FSWB412C
===
NAME: Rowan County Crew (Trouble, or Tragedy), The [Laws E20]
DESCRIPTION: An account of the Tolliver-Martin feud, which the legal system is powerless to end. Casualties of the fighting include John Martin, Floyd Tolliver, Sol Bradley (an innocent bystander), and Deputy Sheriff Baumgartner; even this does not end the feud
AUTHOR: James W. Day ("Jilson Setters")
EARLIEST_DATE: 1918 (Cox)
KEYWORDS: feud death fight injury
HISTORICAL_REFERENCES: 1884 - Date of the Tolliver-Martin shootings
FOUND_IN: US(Ap,SE,So,SW)
REFERENCES: (9 citations)
Laws E20, "The Rowan County Crew (Trouble, or Tragedy)"
Thomas-Makin', pp. 5-9, "Rowan County Troubles" (1 text, 1 tune)
Randolph 169, "The Rowan County Crew" (1 text, 1 tune)
Combs/Wilgus 61, pp. 161-162, "The Tolliver Song" (1 text)
JHCox 39, "A Tolliver-Martin Feud Song" (1 text)
JHCoxIIB, #1A-C, pp. 111-118, "The Rowan County Crew" (2 texts plus a fragment, 2 tunes)
Botkin-AmFolklr, pp. 891-892, "Rowan County Troubles" (1 text, 1 tune)
Darling-NAS, pp. 194-195, "The Rowan County Crew" (1 text)
DT 703, ROWANCRW
Roud #465
RECORDINGS:
Dock Boggs, "Rowan County Crew" (on Boggs1, BoggsCD1)
Ted Chestnut, "The Rowan County Feud" (Champion 15524, 1928)
CROSS_REFERENCES:
cf. "A West Virginia Feud Song" (theme, lyrics, metre)
cf. "Death of Samuel Adams" (lyrics)
NOTES: Jean Thomas, who knew both James W. Day (who had been in the area when the feud started) and Lucy (Mrs. John) Martin, has extensive notes about the arguments which led to this feud.
Interestingly, Thomas attributes this song to James W. Day, not "Jilson Setters," even though she always calls him "Setters" elsewhere. I can't even find a hint in Thomas that the two were the same. - RBW
File: LE20
===
NAME: Rowdy Soul
DESCRIPTION: "I'm a rowdy soul (x2), Don't care whether I work or not." The singer raised no crop last year; he blames the poor soil. He hopes to build a better house, safe from yellowjackets.  He describes his partying lifestyle
AUTHOR: unknown
EARLIEST_DATE: 1933 (recording, Janie Scott Kincey)
KEYWORDS: work home hardtimes party floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, pp. 93-94, "Rowdy Soul" (1 text, 1 tune)
Roud #10034
RECORDINGS:
Janie Scott Kincey, "Sometimes I Ride an Old Grey Mare (I'm a Rowdy Old Soul)" (AFS CYL-23-3, 1933)
Will Starks, "I'm a Rowdy Soul" (AFS 6653 B3, 1942)
CROSS_REFERENCES:
cf. "Whoa Back, Buck" (floating lyrics)
File: MWhee093
===
NAME: Rownd Yr Horn (Round the Horn)
DESCRIPTION: Welsh shanty. Describes a voyage round the horn. Ch. translates: "Come Welshmen all and listen to my tale, How we sailed our packet round the Horn! Twas the third day of the seek boys, When dawn was just abreakin', we passed the rocky shores of Anglesey!"
AUTHOR: Music: R.J. Tomas ?
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: foreignlanguage shanty ship travel
FOUND_IN: Wales
REFERENCES: (1 citation)
Hugill, pp. 563-564, "Rownd Yr Horn" (2 texts-Welsh & English, 1 tune)
NOTES: This is the only sea shanty I've ever heard recorded with harp accompaniment (!) -- by Ar Log on "Ar Log II." According to their liner notes, R. J. Tomas (a Welshman living in America) wrote the tune unde the title "Annie Deg o'r Glen." The words were provided by "Dick Common Sense." - RBW
File: Hugi563
===
NAME: Roxie Ann
DESCRIPTION: "Roxie Ann's a foolin' gal, She fools me all the while, She's been a long time foolin', foolin', She's been a long time foolin' me." "She fools me in the mornin', She fools me in the night..." "I'm goin' to tell my maw on you, I'm goin' to tell my paw..."
AUTHOR: unknown
EARLIEST_DATE: 1914 (JAFL 27)
KEYWORDS: playparty courting trick
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 539, "Roxie Ann" (1 text, 1 tune)
Roud #7647
File: R539
===
NAME: Roy Bean
DESCRIPTION: "Cowboys, come and hear the story of Roy Bean in all his glory. 'The law west of the Pecos' read his sign." Bean runs most of the businesses in his part of the world, and uses them to enhance his power and increase his fortune
AUTHOR: unknown
EARLIEST_DATE: 1934 (Lomax)
KEYWORDS: cowboy lawyer robbery
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-ABFS, pp. 413-415, "Roy Bean" (1 text)
DT, ROYBEAN
Roud #4629
RECORDINGS:
Marc Williams, "Roy Bean" (Decca 5010, 1934)
File: LxA413
===
NAME: Roy Neal: see Dublin Bay (Roy Neal) (File: R691)
===
NAME: Roy Neil and His Fair Young Bride: see Dublin Bay (Roy Neal) (File: R691)
===
NAME: Roy's Wife of Aldivalloch
DESCRIPTION: "Roy's wife of Aldivalloch (x2), Wat ye how she cheated me As I came owre the Braes o' Balloch?" Singer complains that Roy's wife has cheated him; she has sworn she loves him and will be his, but instead she has robbed him and left him
AUTHOR: unknown
EARLIEST_DATE: 1791 (Herd)
KEYWORDS: adultery infidelity marriage betrayal bawdy wife
FOUND_IN: Britain(Scotland) US(SE)
REFERENCES: (1 citation)
BrownII 125, "Roy's Wife of Aldivalloch" (1 text, with dialect retained; one suspects print influence)
Roud #5137
RECORDINGS:
Ewan MacColl, "Roy's Wife of Aldivalloch" (on Lomax43, LomaxCD1743)
SAME_TUNE:
Know Ye Not That Lovely River (by Gerald Griffin) (Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 422)
NOTES: According to Lomax, this was originally a bawdy song in folk tradition; the words were sanitized by, "Mrs. Grant of Carron" [in the eighteenth century], and the song then drifted back into tradition. - PJS
According to the notes in MacColl, _Folk Songs and Ballads of Scotland_, "John Roy of Aldivalloch was married to Isabel Stewart [on February 21, 1727). Roy was considerably older than his wife [who ran away with] David Gordon of Kirktown. She was pursued by Roy and brought back after a chase over the Braes of Balloch....
"Margaret Roy... said that the song had been made by a shoemaker living in the neighbourhood of Aldivalloch. The tune was first pubished in Walsh's 'Twenty-Four Country Dances' (1724) as Lady Frances Wemy's Reel, but is almost certainly considerably older." - RBW
File: RcRWOA
===
NAME: Royal Blackbird, The: see The Blackbird (I -- Jacobite) (File: R116)
===
NAME: Royal Eagle, The
DESCRIPTION: "A royal lady bewail'd her sad fate" near Vienna. "My Eagle, she cried, now lies in St Helena." She recalls how he left her, and his exploits and says she will look for help to rescue him. "If I cannot find him, I'll fly to old Erin."
AUTHOR: unknown
EARLIEST_DATE: c.1830 (Zimmermann)
KEYWORDS: Napoleon love political
HISTORICAL_REFERENCES: 1815 - Defeat at the Battle of Waterloo forces Napoleon into exile
1821 - Death of Napoleon
FOUND_IN: 
REFERENCES: (2 citations)
Zimmermann 31, "The Royal Eagle" (1 text, 1 tune)
Moylan 203, "The Royal Eagle" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Green Linnet" (theme: Napoleon)
cf. "Saint Helena (Boney on the Isle of St. Helena)" (theme: Marie Louise's grief for Napoleon)
cf. "The New Bunch of Loughero" (theme: Marie Louise's grief for Napoleon)
cf. "The Removal of Napoleon's Ashes" (theme: Marie Louise's grief for Napoleon)
NOTES: Marie Louise of Austria (1791-1847) is Napoleon's second wife and mother of Napoleon II. She returned to Vienna in 1814 when Napoleon is defeated. (source: "Marie Louise of Austria" at Answres.com site) - BS
This song shares with "Saint Helena (Boney on the Isle of St. Helena)" and "The New Bunch of Loughero" the theme of Marie Louisa's grief for her husband. This is romantic, but false; she refused to go into exile with him to Elba, let alone St. Helena.
In fact, even before Napoleon went to Elba, she is reported to have taken General Adam Adelbert Neipperg as a lover. When he came back during the Hundred Days, she not only refused to join him, she wouldn't even allow him to see his son. By the time Napoleon died, Louisa had borne two children to other fathers. - RBW
File: Zimm031
===
NAME: Royal Fisherman, The: see The Bold Fisherman [Laws O24] (File: LO24)
===
NAME: Royal George, The: see The Mermaid [Child 289] (File: C289)
===
NAME: Royal Oak, The
DESCRIPTION: While sailing on the "Royal Oak", the singer and his fellows spy ten Turkish men-of-war. They sink three, burn three, drive three off, and capture the last, which they drag into Portsmouth harbor. The singer praises their skipper, Capt. Wellfounder.
AUTHOR: unknown
EARLIEST_DATE: 1912
KEYWORDS: fight navy sailor foreigner
FOUND_IN: Britain(England(South)) Canada(Newf)
REFERENCES: (4 citations)
Vaughan Williams/Lloyd, p. 91, "The Royal Oak" (1 text, 1 tune)
Greenleaf/Mansfield 42, "Turkish Men-o'-War" (1 text)
Leach-Labrador 56, "The Marigold" (1 text, 1 tune)
DT, ROYALOAK*
Roud #951
ALTERNATE_TITLES:
Turkish Men of War
NOTES: [Lloyd repeats's Firth's suggestion that] the song is based on "Kempthorne's repulse of the seven Algerine ships, December 29, 1669." - PJS
Just for the record: I know of no instance of Turkish warships getting close enough to England to be hauled to Portsmouth. - RBW
While Leach-Labrador calls this "The Marigold," its ship's name is the Martha Jane, with "Captain White from fair Bristow" - BS
File: VWL091
===
NAME: Rub-a-dub-a-dub: see The Limejuice Tub (File: MA140)
===
NAME: Rub-a-dub-dub
DESCRIPTION: "Rub-a-dub-dub, Three men in a tub." They are the butcher, the baker, and the candlestick maker. They may have gone to the fair, or "jumped out of a rotten potato."
AUTHOR: unknown
EARLIEST_DATE: before 1797 (cf. Baring-Gould-MotherGoose)
KEYWORDS: worker
FOUND_IN: 
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #133, p. 106, "(Rub-a-dub-dub)"
Roud #12983
ALTERNATE_TITLES:
Rub a Dub Dub
File: BGMG133
===
NAME: Ruby Were Her Lips: see The Irish Girl (File: HHH711)
===
NAME: Rude and Rambling Boy, A: see The Butcher Boy [Laws P24] (File: LP24)
===
NAME: Rue: see Garners Gay (Rue; The Sprig of Thyme) (File: FSWB163)
===
NAME: Rue and the Thyme, The (The Rose and the Thyme)
DESCRIPTION: Told mostly in floating lyrics: "I'm sorry, I'm sorry that my fortune's  been so bad, Since I've fa'en in love wi' a young sailor lad." They exchange letters and flowers; she says he may keep his rose and she will keep her thyme.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting rejection virginity floatingverses
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 187, "The Rose and the Thyme" (1 text)
Roud #858
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (lyrics)
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (lyrics)
cf. "Garners Gay (Rue; The Sprig of Thyme)" (theme, symbols, lyrics)
File: Ord187
===
NAME: Rue and Thyme: see Garners Gay (Rue; The Sprig of Thyme) and related songs (File: FSWB163)
===
NAME: Rue the Day: see My Husband's Got No Courage in Him (File: K213)
===
NAME: Rufus Mitchell: see I Picked My Banjo Too (File: Br3594)
===
NAME: Rufus's Mare
DESCRIPTION: Rufus sadly walks to town after his mare is stolen by Tozer. He tells his story: Tozer had given him a lame mare, which he cured, whereupon Tozer requisitioned the animal back. Rufus expects Tozer to end in Hell.
AUTHOR: George Calhoun
EARLIEST_DATE: 1971
KEYWORDS: horse poverty injury hardtimes gift theft
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 264-265, "Rufus's Mare" (1 text, 1 tune)
Roud #4167
NOTES: According to Doerflinger, this is a true story. Rufus Woodcock had lost his horse and was too poor to buy another. A nearby preacher, Reverend Tozier, had a lame horse that he could not cure. Rather than keep feeding the animal, Tozier gave it to Woodcock. Woodcock cured the horse, whereupon Tozier "borrowed" it back and never returned it. Rufus managed to reclaim the horse, but then Tozier came and again reclaimed it by force.
This song is item dH50 in Laws's Appendix II. - RBW
File: Doe264
===
NAME: Rugby Song, The
DESCRIPTION: A formula song in which the singer -- were she of a mind to marry -- asserts that the kind of man she would wed would play a succession of positions on a rugby team.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous marriage sports
FOUND_IN: Australia Canada US(MW,SW) New Zealand
REFERENCES: (1 citation)
Cray, pp. 365-368, "The Rugby Song" (2 texts, 1 tune)
Roud #10142
ALTERNATE_TITLES:
If I Were the Marrying Kind
File: EM365
===
NAME: Ruggleton's Daughter of Iero: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Rule, Britannia
DESCRIPTION: "When Britain first at Heav'n's command Arose from out the azure main... This was the carter of the land: 'Rule, Britannia, Britannia, rule the waves: Britons never, never, never will be slaves."
AUTHOR: Words: David Mallett? James Thompson? / Music: Thomas Augustine Arne?
EARLIEST_DATE: 1740 ("Alfred: A Masque")
KEYWORDS: political England navy ship nonballad
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
Chappell/Wooldridge II, pp. 191-193, "Rule, Britannia" (1 tune, partial text)
Fuld-WFM, p. 477, "Rule, Britannia"
Roud #10790
CROSS_REFERENCES:
cf. "Married to a Mermaid" (tune)
SAME_TUNE:
Married to a Mermaid (File: Harl174)
NOTES: Not really a traditional song, but obviously a popular one.
The irony is that, for most of its history, Britain had a weak navy, or no navy at all. (The result of this was a long series of invasions, often successful. In just the eleventh century, there was Swein Forkbeard's invasion of 1014, Canute's invasion of 1016, Harald Hardrada's invasion of 1066, and of course William the Bastard of Normandy's invasion of 1066 -- the one that earned him the name "William the Conqueror.")
It wasn't until the sixteenth century that Britain firmly established its navy -- but, of course, there has not been a successful outside invasion of Britain since.
Various claims have been made for the authorship of this piece. All that can be said with certainty is that the first publication was in "Dr. Arne's" 1740 stage works.
The original text, as noted, read "Britannia, rule the waves"; later, this was altered in some versions to "Britannia RULES the waves" -- a statement which was absolutely true only in the nineteenth century. Might be time to go back to the old form.... - RBW
"Rule Britannia," for some reason, is item CLVIII in Palgrave's _Golden Treasury_. - RBW
File: ChWII191
===
NAME: Rules of the Road at Sea (Sailor's Rhymes)
DESCRIPTION: Not a song; a series of rhymes by which sailors would learn how to behave at sea. e.g. "When both side lights you see ahead, port your helm and show your Red. Green to Green or Red to Red, perfect safety, go ahead." Most concern weather prediction.
AUTHOR: unknown
EARLIEST_DATE: 1938
KEYWORDS: sailor nonballad ship
FOUND_IN: US Britain
REFERENCES: (1 citation)
Colcord, pp. 204-207, "Rules of the Road" (various short texts)
NOTES: I wasn't sure whether to include this, since it really isn't a shanty. However, it would seem that these rhymes served a similar purpose to the shanties in that they helped the work along. - SL
And indeed the "rules" vary from the universally familiar ("Red [sky] at night", which is traditional even in my family -- and I don't have many family traditions!) to some which appear to deal with conditions in a particular harbor. We'll just file this as a lumping entry for all sailors' rhymes. - RBW
File: Colc204
===
NAME: Rum By Gum (Temperance Union Song)
DESCRIPTION: "We're coming, we're coming, our brave little band, On the right side of temperance we do take our stand.... Away, away with rum, by gum, The song of the Temperance Union." Various verses on the value of sobriety
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: drink political nonballad
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 317, "Temperance Song" (1 text, 1 tune -- a fragment without the chorus)
Pankake-PHCFSB, pp. 6-7, "Away With Rum" (1 text, 1 tune)
Silber-FSWB, p. 233, "Away With Rum" (1 text)
DT, (AWAYRUM*) (AWAYRUM2*) (AWAYRUM3*) (AWAYRUM4*) (AWAYRUM5*)
Roud #12765
NOTES: Warning: All the Digital Tradition versions are parodies of one sort or another (AWAYRUM5 is 35 verses, almost all silly, almost all modern). Many singers today sing this as a joke. But the roots of this piece are almost certainly serious (compare Randolph's version). - RBW
File: R317
===
NAME: Rum Saloon Shall Go, The
DESCRIPTION: "A wave is rolling o'er the land With heavy undertow, And voices sounding on the strand, The rum saloon shall go. Shall go, shall go, We know, we know, A cry is sounding o'er the land, The rum saloon shall go." The song promises to lift the curse of drink
AUTHOR: Words: Jno. O. Foster/Music: Jno. R. Sweeney
EARLIEST_DATE: 1888 (copyright claim)
KEYWORDS: drink political
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 333, "The Rum Saloon Shall Go" (1 text)
Roud #7805
File: R333
===
NAME: Rummy Crocodile, The: see The Wonderful Crocodile (File: MA134)
===
NAME: Rummy Dummy Line, The: see The Dummy Line (File: DTdumyli)
===
NAME: Run Along, You Little Dogies: see Get Along, Little Dogies AND Rocking the Cradle (and the Child Not His Own) (File: R178)
===
NAME: Run Come See
DESCRIPTION: "It was in nineteen hundred and twenty nine, I remember that day pretty well...." The singer describes the great storm that threatened the Ethel, Myrtle, and Praetoria, sinking the last. The Captain, George Brown, calls on the passengers to pray
AUTHOR: claimed by "Blind Blake" Higgs
EARLIEST_DATE: 1940s (recording, Blake Higgs)
KEYWORDS: religious ship storm wreck
HISTORICAL_REFERENCES: 1929 - The Bahamas are devastated by a hurricane with little or no advance warning. Three boats, the Ethel, Myrtle, and Praetoria, bound for Andros, are caught in the storm; the Praetoria sinks, and thirty-three are lost.
FOUND_IN: Bahamas
REFERENCES: (2 citations)
Silber-FSWB, p. 58, "Run Come See" (1 text)
DT, RUNCOME
RECORDINGS:
John Roberts & group, "Pytoria (Run Come See Jerusalem)" (on MuBahamas2)
CROSS_REFERENCES:
cf. "A Great Storm Pass Over" (subject)
ALTERNATE_TITLES:
Run Come See Jerusalem
NOTES: John Roberts claims to have composed this song within four days of the ship's sinking, rather than Blake Higgs. On reading his account, I'm inclined to believe him. - PJS
File: FSWB058
===
NAME: Run Come See Jerusalem: see Run Come See (File: FSWB058)
===
NAME: Run Here, Doctor, Run Here Quick
DESCRIPTION: Hammer song or similar: "Run here, doctor (huh), Run here quick (huh), Little Mary (huh) Swallowed a stick."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: doctor work injury
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 246, "Run Here, Doctor, Run Here Quick" (1 short text)
NOTES: The notes in Brown include various references which make it appear that they regard this as a version of "Shortenin' Bread." I don't see it. - RBW
File: Br3246
===
NAME: Run Mollie Run
DESCRIPTION: Verses from different songs. "Miss Liza was a gambler, learned me how to steal"; "I went down to Huntsville, I did not go to stay..."; "Oh, Liza, poor girl...she died on that train"; "Cherry  like a rose"; "Run, Mollie, run/Let us have some fun"
AUTHOR: Henry Thomas assembled it, at any rate
EARLIEST_DATE: 1927 (recording, Henry Thomas)
LONG_DESCRIPTION: Confused verses, mostly narrative, but apparently from different songs. "Miss Liza was a gambler, learned me how to steal"; "I went down to Huntsville, I did not go to stay/Just got there to do a little time, wear that ball and chain"; "Oh, Liza, poor girl...she died on that train"; "Cherry  like a rose"; "Run, Mollie, run/Let us have some fun"
KEYWORDS: captivity love beauty prison death gambling cards floatingverses prisoner dancetune
FOUND_IN: US(So)
REFERENCES: (0 citations)
RECORDINGS:
Henry "Ragtime Texas" Thomas, "Run Mollie Run" (Vocalion 1141, c. 1928 [rec. 1927]; on BefBlues1)
CROSS_REFERENCES:
cf. "Molly and Tenbrooks" [Laws H27] (lyrics)
NOTES: This song's a mess -- a composite of several songs, about half of which are ballads, half not. But it seems important to include, if for no other reason than that it *is* a composite. I strongly suspect -- no, I'm certain -- this was a dance tune; the rhythm is certainly right. - PJS
File: RcRunMol
===
NAME: Run Mountain
DESCRIPTION: Dance tune with floating verses: "I went up on the mountain to get me a load of pine..."; "Me six miles from my home... Me upstairs with another man's wife..."; Chorus: "Run mountain, chuck a little hill (x3)/There you'll get your fill."
AUTHOR: unknown
EARLIEST_DATE: 1949 (recording, J.E. Mainer's Mountaineers)
LONG_DESCRIPTION: Dance tune with floating verses: "I went up on the mountain to get me a load of pine/I put it on the wagon, I broke down behind"; "Me six miles from my home and the chickens crowing for day/Me upstairs with another man's wife, better be a-getting away"; "I went up on the mountain to give my horn a blow/I thought I heard my true love say, yonder comes my beau"; "If I had a needle and thread as fine as I could sew/I'd sew my true love to my side and down the road I'd go." Chorus: "Run mountain, chuck a little hill (x3)/There you'll get your fill."
KEYWORDS: adultery love work dancing humorous nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 206, "Run Mountain" (1 text, 1 tune)
RECORDINGS:
J. E. Mainer's Mountaineers "Run Mountain" (King 819, 1949)
New Lost City Ramblers, "Run Mountain" (on NLCR04)
CROSS_REFERENCES:
cf. "Down the River I Go" (words)
cf. "Whoop 'em Up Cindy" (words)
cf. "Little Musgrave and Lady Barnard" [Child 81] (words)
cf. "The Hunt is Up" (words)
NOTES: One of dozens of songs in southeastern and Appalachian tradition that reshuffle similar verses with new choruses and tunes. - PJS
File: CSW206
===
NAME: Run Old Jeremiah
DESCRIPTION: "Good Lord, by myself (x3), You know I've got to go, You got to run, I got to run, You got to run By myself (x3)." Song describes traveling, freedom, (God as) the rock, and other themes of the poor and oppressed
AUTHOR: unknown
EARLIEST_DATE: 1934 (Field Recording, J.A./Alan Lomax)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 197-200, "(Run Old Jeremiah)" (1 text, 1 tune)
Roud #15505
NOTES: The Lomax field recording of this song is incomplete at both beginning and end, but it would appear that the complete song would simply have continued the themes found in the extant portion. - RBW
File: CNFM197
===
NAME: Run to Jesus
DESCRIPTION: "Run to Jesus, shun the danger, I don't expect to stay much longer." The singer describes the difficulties of the path he must follow, but also the rewards to be found at the end. The refrain "I don't expect to stay much longer" ends each verse
AUTHOR: unknown
EARLIEST_DATE: 1888 (J. B. T. March, "The Story of the Jubilee Singers")
KEYWORDS: religious nonballad travel
FOUND_IN: US
REFERENCES: (1 citation)
Greenway-AFP, pp. 89-90, "Run to Jesus" (1 text, 1 tune)
Roud #15263
NOTES: Reportedly sung by the Fisk Jubilee Singers, who had it from Frederick Douglass. Douglass remarked that this song prompted him to consider running from slavery. - RBW
File: Grnw089
===
NAME: Run with the Bullgine: see Run, Let the Bullgine Run (File: Hugi342)
===
NAME: Run, Let the Bulgine Run: see Run, Let the Bullgine Run (File: Hugi342)
===
NAME: Run, Let the Bullgine Run
DESCRIPTION: Shanty or railroading song. Refrain: "Run with/let the bulgine run. Way-yah oh-i-oh, Run with/let the bulgine run." Many verses repeat the "running" theme, i.e. "we'll run all day to Frisco Bay." Used as both a capstan and halyard shanty.
AUTHOR: unknown
EARLIEST_DATE: 1888 (L. A. Smith, _Music of the Waters_)
KEYWORDS: shanty worksong sailor nonballad railroading
FOUND_IN: Britain US
REFERENCES: (3 citations)
Colcord, p. 64, "Run With the Bullgine" (1 short text, 1 tune)
Hugill, pp. 342-344, "Run, Let the Bulgine Run" (1 text, 1 tune) [AbEd, p. 257]
Sharp-EFC, XIII, p. 16, "Let the Bullgine Run" (1 text, 1 tune)
ST Hugi342 (Full)
Roud #4711
CROSS_REFERENCES:
cf. "Roll the Cotton Down" (tune)
NOTES: "Bullgine" was American Negro slang for a railway engine. - SL
(We might add that, in the early days of steamships, it was not unusual for railroad engines to be used in steamships.) - RBW
File: Hugi342
===
NAME: Run, Molly, Run: see Molly and Tenbrooks [Laws H27] (File: LH27)
===
NAME: Run, Nigger, Run
DESCRIPTION: Chorus: "Run, nigger, run, The (calaboose/patter-roller) will get you. Run, nigger run...." Various verses on the life of the slave, usually pertaining to punishment and perhaps the run to freedom
AUTHOR: unknown
EARLIEST_DATE: 1851 (Serenader's Song Book)
KEYWORDS: slave freedom escape nonballad
FOUND_IN: US(Ap,SE,So)
REFERENCES: (7 citations)
BrownIII 457, "Run, Nigger, Run" (4 texts plus an excerpt and mention of 2 more, all short and with hints of mixture but with this chorus)
Randolph 264, "Run, Nigger, Run" (1 text, 1 tune)
SharpAp 248, "Run, Nigger, Run" (1 text, 1 tune)
Randolph/Cohen, pp. 225-226, "Run, Nigger, Run" (1 text, 1 tune -- Randolph's 264)
Scarborough-NegroFS, p. 12, "Run, Nigger, Run" (1 text, 1 tune; it appears that this has mixed with something else, but the version isn't long enough to be sure what); also p. 24, "Run, Nigger, Run" (2 texts, 1 tune, both short); also p. 25, "Most Done Ling'rin Here" (1 text, 1 tune, with a verse from this plus the "If you get there before I do" floating verse and a chorus that might be "Rough, Rocky Road")
Lomax-ABFS, pp. 228-231, "Run, Nigger, Run" (1+ texts, 1 tune)
Botkin-AmFolklr, p. 906, "Run, Nigger, Run" (1 text, 1 tune)
Roud #3660
RECORDINGS:
Dr. Humphrey Bate & His Possum Hunters, "Run Nigger, Run" (Brunswick 275, 1928)
Fiddlin' John Carson, "Run Nigger, Run" (OKeh 40230, 1924)
Sid Harkreader & Grady Moore, "Run Nigger Run" (Paramount 3054, 1927)
Uncle Dave Macon, "Run, Nigger, Run" (Vocalion 15032, 1925)
Mose "Clear Rock" Platt, "Run, Nigger, Run" (AFS 196 A1, 1933; on LC04)
Gid Tanner & his Skillet Lickers, "Run Nigger Run" (Columbia 15158-D, 1927)
Clint Howard, Gaither Carlton, Fred Price & Doc Watson, "Run, Jimmie, Run" (on WatsonAshley01)
CROSS_REFERENCES:
cf. "Shortenin' Bread" (tune)
cf. "Some Folks Say that a Preacher Won't Steal" (lyrics)
ALTERNATE_TITLES:
Paddy-Roller
Pateroller Song
Run, Boy, Run
Run, Johnny, Run
Run, Slave, Run
NOTES: In Lomax we find the following explanation (quoted at several hands' remove):
"Just after the Nat Turner Insurrection in 1832 the Negroes were put under special restrictions to home quarters, and patrolmen appointed to keep them in, and if caught without a written pass from owner they were dealt with severely then and there; hence the injunction to 'Run, Nigger, Run, the Patter-roller Git You' to the tune of 'Fire in the Mountain....'" - RBW
File: R264
===
NAME: Run, Sallie, My Gal: see Bugle, Oh! (File: Br3197)
===
NAME: Runaway Bride, The
DESCRIPTION: "If you go to the North Countrie... You'll hear how the bride from the blacksmith ran To be a liggar lady." Townfolk gather to the wedding; the bride is missing. The audience laughs at the groom's expense. Men are warned of Hieland lads luring their girls
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: marriage abandonment
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 462-463, "The Runaway Bride" (1 text)
Roud #2876
NOTES: Ord reports this to be based on an event which occurred "near the end of the eighteenth century." Given the song's history (analogs appear in Herd and the Scots Musical Museum), that date seems a bit late. - RBW
File: Ord462
===
NAME: Runaway Train, The: see The Little Red Train (File: EM224)
===
NAME: Rural Courtship: see The Monymusk Lads (File: Ord068)
===
NAME: Rurey Bain: see Sir Lionel [Child 18] (File: C018)
===
NAME: Russia, Let That Moon Alone
DESCRIPTION: "Oh, Russia, let that moon alone, Moon ain't worryin' you! God told you to till the earth, God didn't tell you to till the moon! You can make your sputnickles And your satellites, You can't get God's moon." The moon is for light, not exploration
AUTHOR: unknown
EARLIEST_DATE: 1963 (Courlander)
KEYWORDS: technology nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 78-79, (no title) (1 text); p. 260, "Russia, Let That Moon Alone" (1 tune, partial text)
NOTES: It's hard to believe that this silly bit of Luddite-ism can be traditional; on its face, it must have been written between 1959 (when the Soviet Union sent up the first Luna satellites) and Kennedy's announcement that the United States would try to beat the Soviets there.
Courlander's notes imply that it is from a field recording, but I'm not sure how far to trust that.
I hope it goes without saying that the Bible says nothing, positive or negative, about lunar exploration, manned or unmanned. - RBW
File: CNFM078
===
NAME: Russian Sing for Heaving the Anchor
DESCRIPTION: Tune only, no text. According to Hugill, Russian seaman had few real shanties and apart from the songs quotes by Smith there is nothing in the literature.
AUTHOR: unknown
EARLIEST_DATE: 1888 (L.A. Smith, _Music of the Waters_)
KEYWORDS: foreignlanguage nonballad shanty worksong
FOUND_IN: Russia
REFERENCES: (1 citation)
Hugill, p. 572, "Russian Sing for Heaving the Anchor" (1 tune only, no text-quoted from Smith)
File: Hugi572
===
NAME: Rustlin' Gambler, The: see (tentatively) The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Rusty Jiggs and Sandy Sam: see Tying a Knot in the Devil's Tail [Laws B17] (File: LB17)
===
NAME: Rusty Old Rover: see The Cobbler (File: R102)
===
NAME: Ryans and the Pittmans, The: see We'll Rant and We'll Roar (File: FJ042)
===
NAME: Rye Straw
DESCRIPTION: Dance tune: "Dog shit a ryestraw, dog shit a jackstraw/Dog tore his asshole tryin' to shit a hacksaw." "Dog shit a ryestraw, dog shit a minner/Dog shit a catfish big enough for dinner" 
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, Uncle "Am" Stuart)
KEYWORDS: injury dancetune nonballad animal dog
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #16847
RECORDINGS:
Bascom Lamar Lunsford, "Rye Straw" (on BLLunsford01)
Clayton McMichen & Riley Puckett, "Rye Straw" (Columbia 15521-D, 1930, rec. 1929)
Doc Roberts, "Rye Straw" (Champion 16026, 1930)
Uncle "Am" Stuart, "Rye Straw" (Vocalion 14843, 1924; Brunswick [Canada] 1003, n.d.)
Unidentified singer, "Grubbing Hoe" (on Unexp1)
ALTERNATE_TITLES:
Joke on the Puppy
The Unfortunate Pup
NOTES: With the exception of the anonymous version on "The Unexpurgated Folk Songs of Men" (Unexp1), none of the recorded versions includes the lyrics, although every American fiddler knows them. On the Skillet Lickers' recording, when the fiddler announces that the tune will be "Ryestraw," someone replies, "All right, but let your conscience be your guide." - PJS
Bascom Lamar Lunsford, in his recording of this song, noted "There are a lot of unprintable and unsingable stanzas to the old song. However, that is not confused with what we boys used to do in the old days, gather around... and possibly some of the boys would repeat maybe some questionable stanzas and follow it with 'Rye straw, rye straw, rye straw.'"
Incidentally, I've seen at least one "clean" mnemonic for this song, though presumably it is not the original. - RBW
File: RcRyStra
===
NAME: Rye Whiskey
DESCRIPTION: A song of intense alcoholism: "Rye whiskey, rye whiskey, rye whiskey I cry; If I don't get rye whiskey I surely will die." "If the ocean was whisky and I was a duck, I'd dive to the bottom...." Many verses about how drink has affected the singer's life 
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax)
KEYWORDS: drink rambling floatingverses
FOUND_IN: US(Ap,SE,So)
REFERENCES: (20 citations)
Belden, pp. 374-377, "The Guerrilla Boy" (4 texts, 1 tune; the first of two texts filed as "C" is this song)
BrownIII 50, "Jack of Diamonds" (4 texts, all short; some may be "Jack of Diamonds (II)")
Hudson 79, pp. 207-208, "Jack of Diamonds" (1 short text); 117, pp. 258-259, "O Lillie, O Lillie," mostly a "Jack of Diamonds" text but with verses which mix it with "The Rebel Soldier"; also 116, p. 258, "I'll Eat When I'm Hungry" (1 fragment, a single stanza based on this song but probably belonging with "The Rebel Soldier": "I'll eat when I'm hungry, I'll drink when I'm dry, If the Yankees don't kill me, I'll live till I die")
Randolph 405, "Rye Whiskey, Rye Whiskey" (6 texts, 1 tune); also 494, "Tie-Hackin's Too Tiresome" (1 fragment, 1 tune, an extract from a longer version)
Randolph/Cohen, pp. 344-345, "Rye Whiskey, Rye Whiskey" (1 text, 1 tune -- Randolph's 405A); pp. 375-376, 'Tie Hackin's Too Tiresome" (1 text, 1 tune -- Randolph's 494)
Fuson, p. 157-159, "His Wants," "My Welcome," "I'll Live Till I Die  (second, ninth, and tenth of 12 single-stanza "jigs") (3 fragments, all sometimes found with this song though all are floating verses)
Sandburg, p. 307, "Way Up On Clinch Mountain" (2 text, 1 tune, but only the "A"  text belongs here; "B" is perhaps "Sweet Lulur")
Lomax-FSUSA 64, "Rye Whiskey" (1 text, 1 tune)
Lomax-ABFS, pp. 170-173, "Rye Whiskey" (1 text+minor fragments, 1 tune)
Botkin-AmFolklr, pp. 855-857, "Rye Whisky" (1 text, 1 tune)
Chase, pp. 142-143, "Clinch Mountain" (1 text, 1 tune)
PSeeger-AFB, p. 69, "Rye Whiskey" (1 text, 1 tune)
Rorrer, p. 92, "If the River Was Whiskey" (1 text, built around W. C. Handey's "Hesitating Blues" but with most of the verses from this song)
Darling-NAS, pp. 286-287, "Jack o' Diamonds" (1 text, heavily mixed with "Logan County Jail"); pp. 287-288, "Rye Whiskey" (1 text)
MWheeler, pp. 112-113, "Beefsteak When I'm Hongry" (1 text, 1 tune, a mixed fragment I file here on the basis of the first verse; the others are from elsewhere)
Thomas-Makin', p. 121, (no title) (1 text, all floating verses, some of which are, or can be, part of "Rye Whiskey" and all of which are drink-related)
Silber-FSWB, p. 233, "Rye Whiskey" (1 text)
Pankake-PHCFSB, p. 5, "Rye Whiskey" (1 text, 1 tune)
Saffel-CowboyP, pp. 211-213, "Jack o' Diamonds" (1 text; this particular Lomax offering contains elements of "Jack o Diamonds/Rye Whisky," "The Wagoner's Lad," The Rebel Soldier," and others)
DT, RYEWHISK* MOONSHI4* (RYEWHISx)
Roud #941
RECORDINGS:
Jules Allen, "Jack O' Diamonds" (Victor 21470, 1928; Montgomery Ward M-4464, 1934)
Fiddlin' John Carson, "The Drunkard's Hiccups" (OKeh 45032, 1926; rec. 1925)
Wilf Carter, "Rye Whiskey" (Bluebird [Canada] 58-0058, 1948)
Yodeling Slim Clark, "Rye Whiskey" (Continental 8012, n.d.)
Homer & Jethro, "Rye Whiskey" (King 571, 1947)
Harry Jackson, "Jack o' Diamonds" (on HJackson1)
J. E. Mainer's Mountaineers "Drunkard's Hiccoughs" (Bluebird B-8400, 1940)
New Lost City Ramblers, "Drunkard's Hiccups" (on NLCR08)
Elmo Newcomer, "Rye Whiskey" (Cromart 100, n.d. but prob. mid-1930s)
Bill Nicholson w. Zane Shrader, "Jack of Diamonds" (AFS; on LC14)
Charlie Poole and the North Carolina Ramblers, "If the River Was Whiskey" (with verses from this song though also related to "Hesitation Blues" or Handy's "Hesitating Blues"; Columbia 15545-D, 1930; on CPoole02)
Tex Ritter, "Rye Whiskey, Rye Whiskey" (Vocalion 5493, c. 1931; Vocalion 04911, 1939) (Edison Bell Winner [U.K.] W-21, 1933); "Rye Whiskey" (Capitol 40084, 1948)
Reaves White County Ramblers, "Drunkard's Hiccups" (Vocalion 5247, 1928)
Hobart Smith, "Drunken Hiccups" (on LomaxCD1706)
Pete Seeger, "Whiskey, Rye Whiskey" (on PeteSeeger07, PeteSeeger07b)
Jilson Setters [pseud. for James W. "Blind Bill" Day], "Way Up On Clinch Mountain" (Victor 21635, 1928; on RoughWays1)
Woltz's Southern Broadcasters, "Jack O' Diamonds" (Herwin 75561, c. 1927)
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (floating lyrics)
cf. "Greenback Dollar"
cf. "Sailing Out on the Ocean" (floating lyrics)
cf. "Jack of Diamonds (I)" (lyrics)
ALTERNATE_TITLES:
Jack O'Diamonds
Drunken Hiccups
NOTES: This song merges almost continuously with "The Wagoner's Lad" (which itself has offshoots such as "I'm a Rambler, I'm a Gambler"); see that song also for the full list of variants.
The "Jack of Diamonds" subfamily of this song is well known, and perhaps would be considered by some a separate song, but contains so much mixture with this song that I don't see any way to separate them. - RBW
File: R405
===
NAME: Rye Whiskey, Rye Whiskey: see Rye Whisky (File: R405)
===
NAME: Ryebuck Shearer, The
DESCRIPTION: The singer describes how anyone can gain respect if he is a ryebuck shearer. He is told that he will never be that good, but stoutly maintains that he'll get there someday
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: sheep work 
FOUND_IN: Australia
REFERENCES: (3 citations)
Meredith/Anderson, p. 23, "The Ryebuck Shearer" (1 text, 1 tune)
Fahey-Eureka, pp. 144-145, "The Ryebuck Shearer" (1 text, 1 tune)
Manifold-PASB, pp. 118-119, "The Ryebuck Shearer" (1 text, 1 tune)
NOTES: A "ryebuck shearer" is an expert shearer (also called a "gun"), usually expected to shear a "century" -- a hundred sheep in a day. The name often referred specifically to the "ringer," or best shearer in the shed. - RBW
File: MA023
===
NAME: Ryner Dyne: see Reynardine [Laws P15] (File: LP15)
===
NAME: 'S mise chunnaic an t-longnadh (Mermaid Song) (It Is I Who Saw The Wonder)
DESCRIPTION: In Scots Gaelic: "It is I who saw the wonder/One early morning as I was looking for sheep/A girl with flowing brown hair/Sat on a flat rock of the gulls." The mermaid and her brothers are involved in a mysterious, bloody fight in a rocky cave
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Penny Morrison)
KEYWORDS: fight mermaid/man supernatural
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: (0 citations)
RECORDINGS:
Penny Morrison "'S mise chunnaic an t-longnadh [Mermaid Song] (It Is I Who Saw The Wonder)" [fragment] (on Lomax43, LomaxCD1743)
NOTES: Alas, Lomax provides only the introductory verses and a maddeningly brief summary of the song. - PJS
File: RcSMCATL
===
NAME: S-A-V-E-D
DESCRIPTION: The singer complains about the sins of others, spelling each out (e.g. they "d-a-n-c-e" while wearing a new "h-a-t"). The singer, though, need not worry about such things; "It's g-l-o-r-y to know I'm s-a-v-e-d."
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Gid Tanner & his Skillet Lickers)
KEYWORDS: religious nonballad sin
FOUND_IN: US Canada(Newf)
REFERENCES: (2 citations)
Leach-Labrador 124, "S-A-V-E-D" (1 text, 1 tune)
Silber-FSWB, p. 349, "It's G-L-O-R-Y To Know I'm S-A-V-E-D" (1 text)
Roud #9539
RECORDINGS:
The Blue Sky Boys, "I'm S-A-V-E-D" (Bluebird 8401, 1940)
The Georgia Yellow Hammers, "I'm S-A-V-E-D" (Victor 21195, 1928)
Karl & Harty, "I'm S-A-V-E-D" (Perfect 6-10-54, 1936)
Gid Tanner and His Skillet Lickers, "S-A-V-E-D" (Columbia 15097-D, 1926)
NOTES: Obviously a composed song, but I've no knowledge of the source. I've heard it enough times that I suspect it belongs in the Index. - RBW
File: FSWB349
===
NAME: Sable Island Shore
DESCRIPTION: A tribute to the lifeguards at the Sable Island lighthouse who "glide from the beach to the roaring seas The lives of the crews to save ... They risk their lives in their daily work ... On the Sable Island shore"
AUTHOR: Ted Germain
EARLIEST_DATE: 1964 (NFOBlondahl04)
KEYWORDS: rescue ship shore wreck nonballad
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Omar Blondahl, "Sable Island Shore" (on NFOBlondahl04)
NOTES: Ted Germain is a Nova Scotia musician. "One of his early compositions, Sable Island Shores, became a local hit and would lead Germain to a recording contract and a series of albums for London Records." (Source: From the East Coast Music Awards Canada site, re 2004 Stompin' Tom Award Recipients)
Sable Island, Nova Scotia, about 23 miles long, is about 110 miles, at its nearest point, from the Nova Scotia coast. According to the Sable Island Preservation Trust site: more than 350 wrecks have been recorded there since 1583; a lifesaving station operated there from 1801 until 1958.
Blondahl04 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "Sable Island Shore" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
File: RcSaIsSh
===
NAME: Sable Island Song (I)
DESCRIPTION: "On the stormy western ocean ... Lies a barren little island." The singer signs to be government caretaker, wear government clothes, chase "crazy horses" and "wild cattle," swallow inedible food: "Get off Sable Island Or you'll be crazy in a year"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton - Nova Scotia)
KEYWORDS: work food ordeal animal
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 142, "Sable Island Song" (1 text, 1 tune)
ST RcSabIsl (Partial)
Roud #1838
RECORDINGS:
Omar Blondahl, "Sable Island" (on NFOBlondahl03)
NOTES: Creighton-NovaScotia: "The author of this song is said to be one of the sons of the well-to-do in Halifax who was sent to Sable Island ... to be cured of his fondness for the cup."
Sable Island, Nova Scotia, about 23 miles long, is about 110 miles, at its nearest point, from the Nova Scotia coast. 
Blondahl03 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "Sable Island" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
The song in its current form, based on the information in Creighton, must be dated to 1904 or after, when Gordeau Park was founded. - (RBW, BS)
File: RcSabIsl
===
NAME: Sable Island Song (II)
DESCRIPTION:  Hard times for "banned steeves" at Main Station. They steal from other boys "and only call that fun" but the busy-bodies "in the castle... their tongues were never still." The "steeves" nail a postal to their door and refuse to take it down.
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: accusation hardtimes food theft
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 143, "Sable Island Song" (1 text, 1 tune)
ST CrNS143 (Partial)
Roud #1839
NOTES: Creighton-NovaScotia. "In 1926 the wireless men lost some potatoes and accused Main Station men ["banned steeves"] of taking them.... The [people in the castle] are the wireless operator and his wife." I guess "postal" should be read as "post" [I take it to mean 'letter" or "accusation" - RBW]. See other Sable Island songs for confirmation of the hard times there. - BS
The Communal Composition advocates would love this. According to Creighton's notes, the Main Station staff each wrote a verse as a competition to see who could do best. Little surprise, then, that the result is ragged and tells an imperfect story. But as for Creighton's comment that "the song-making instinct is not dormant" -- no, it's not, as anyone who listens to rock music can tell. The instinct to make GOOD songs is another matter.... - RBW
File: CrNS143
===
NAME: Sacramento: see Ho for California (Banks of Sacramento) (File: E125)
===
NAME: Sacramento Gals
DESCRIPTION: Singer praises the beauty and elegance of Sacramento gals, with their bustles, hoops, and powdered, painted faces. Refrains: "Nipping around, around, around"; "As they go nipping around"
AUTHOR: unknown
EARLIEST_DATE: 1858 (Put's Golden Songster)
KEYWORDS: beauty clothes nonballad
FOUND_IN: US(SW)
REFERENCES: (0 citations)
RECORDINGS:
Logan English, "Sacramento Gals" (on LEnglish02)
CROSS_REFERENCES:
cf. "Bobbing Around" (tune)
NOTES: Among the verses cited, "They're here and there, like Santa Anna/They're fresh and mellow like ripe banana" stands out as an exemplar of how tastes in compliments have changed. I believe Walt Kelly parodied that at one point -- "Your eyes are warm as sweet manana/Soft and gooey like fried banana." Not a verse I'm likely to forget - PJS
File: RcSacrGa
===
NAME: Sad and Lonely Comrade
DESCRIPTION: Bobby dies and his father and mother mourn. "Prepare to meet your darling with Christ up in the skies. We all have loved ones sleeping, all in a churchyard bed, And why not try to meet them in a moment we are dead"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: death religious father mother
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 52, "Sad and Lonely Comrade" (1 text, 1 tune)
ST LLab052 (Partial)
Roud #9987
NOTES: Leach's informant thought this a local song about a Labrador event, though he didn't know details. I suspect he was right, though; the song is unsophisticated and the poetry neither good nor clear. - RBW
File: LLab052
===
NAME: Sad and Lonesome Day: see See That My Grave Is Kept Clean (File: ADR92)
===
NAME: Sad Condition
DESCRIPTION: "A young lady sat down in a sad condition/A-mourning the loss of her own true love/Some folks say that he was taken/In the wars with Germany/Hi-lee, 'tis not so/I'll turn back and be your beau/Turn my elbow to my wrist/I'll turn back in a double twist"
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection); +1907 (JAF20)
KEYWORDS: grief love war death mourning dancing playparty lover
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
SharpAp 263, "Sad Condition" (1 fragment, 1 tune)
Roud #940
CROSS_REFERENCES:
cf. "Killy Kranky" (lyrics)
NOTES: This is a weird hybrid of what sounds like a remnant of a tragic lover-lost-in-the-army ballad and a few lines from a playparty, "Killy Kranky." But that has no narrative to speak of, and this one does, sort of, so it gets its own entry. Oh, the version collected by Sharp came from Hindman, KY, where various generations of Ritchies attended the settlement school. - PJS
File: ShAp2263
===
NAME: Sad Courtin', The: see The Suffolk Miracle [Child 272] (File: C272)
===
NAME: Sad Song, The: see Lady Mary (The Sad Song) (File: R698)
===
NAME: Saddle Tramp (Saddle Bum), The
DESCRIPTION: Singer tells of life as a "saddle bum" or "saddle tramp," riding the grub-line, moving from ranch to ranch, singing for his keep. When things get cool, he "forks his bronc" and moves on. Over winter, he stays with his Neta, and promises to be true to her
AUTHOR: Curley Fletcher
EARLIEST_DATE: 1931 (Curley Fletcher, "Songs of the Sage")
KEYWORDS: rambling travel music nonballad animal horse lover hobo
FOUND_IN: US(Ro)
REFERENCES: (0 citations)
RECORDINGS:
Harry Jackson, "The Saddle Bum" (on HJackson1)
NOTES: The "grub line" or "chuck line" refers to the practice of offering itinerant cowboys or workers a few days' food and lodging as they passed through. - PJS
File: RcSadTra
===
NAME: Sadie (I): see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Sadie (II): see Bad Lee Brown (Little Sadie) [Laws I8] (File: LI08)
===
NAME: Sadie Ray
DESCRIPTION: "Near a cool and shady woodland Where the rippling streamlets flow Dwelt a maiden kind and lovely But 'twas in long years ago." He describes their love and plans to marry, "But she's dead, my Sadie Ray." He prepares to meet her in Heaven
AUTHOR: unknown
EARLIEST_DATE: 1935 (recorded by Ashley & Foster)
KEYWORDS: love death separation
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 770, "Sadie Ray" (1 text, 1 tune)
Roud #4314
RECORDINGS:
[Clarence] Ashley & [Gwen] Foster, "Sadie Ray" (Vocalion 02900, 1935)
NOTES: Printed in one of the Hamlin's Wizard Oil songbooks, probably in the 1880s. - RBW
File: R770
===
NAME: Sae Will We Yet: see And Sae Will We Yet (File: FVS256)
===
NAME: Safe at Home in the Promised Land: see Where Is Old Elijah? (The Hebrew Children, The Promised Land) (File: San092)
===
NAME: Said Frohock to Fanning
DESCRIPTION: "Said Frohock to Fanning, 'To tell the plain truth, When I came to this country I was but a youth... And then my first study was to cheat for a hoss.'" Fanning and Frohock happily exchange tales of cheating those around them
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: political robbery
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 279, "Said Frohock to Fanning" (1 text)
CROSS_REFERENCES:
cf. "From Hillsborough Town the First of May" (subject)
cf. "When Fanning First to Orange Came" (subject)
cf. "Who Would Have Tho't Harmon" (subject)
NOTES: One of four "regulator" songs in Brown. The regulators were a group of protesters against high taxes and fees, found mostly in North Carolina though some also were active in South Carolina.
The Regulators formally organized in 1766, when William Tryon (1725-1788) was governor of North Carolina (1765-1771); he defeated them at Almance in 1771. That was Tryon's way; as governor of New York (1771-1778) he was equally harsh. His successors then turned to compromise.
Edmund Fanning, a Yale graduate of 1757, was a favorite of Tryon's; after moving to North Carolina, he went from being a local attorney to a Superior Court clerk and legislator. He also built a reputation for extreme avarice, making him a particular target for the regulators (and vice versa). A loyalist during the Revolution (commanded the King's American Regiment of Foot), he died in London.
The notes in Brown observe three men named Frohock held station in North Carolina in the Regulators. They suspect Thomas Frohock is meant, but this is beyond proof.  - RBW
File: BrII279
===
NAME: Saighdiuir Treigthe, An (The Forsaken Soldier)
DESCRIPTION: Gaelic. Singer wakes and throws away his uniform. He hears gossip about his sweetheart and cuts off his finger. He will die before Easter but would return from the dead if she calls him. He curses his father for driving him to drink and the army.
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: foreignlanguage love nonballad injury soldier death ghost separation
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, pp. 168-169, "An Saighdiuir Treigthe" (1 text)
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 115-116, "An Saighdiur Treigthe" ("The Deserted Soldier") [Gaelic and English]
NOTES: Tunney-StoneFiddle includes both the Gaelic and Paddy Tunney's English translation. However, I used Bell/O Conchubhair for most of the description because it seemed a better match for what little Gaelic I could follow. Tunney has one additional verse. - BS
File: TSF168
===
NAME: Sail Away Ladies
DESCRIPTION: Dance tune with floating verses: "Ever I get my new house done/Sail away, ladies, sail away/Give the old one to my son/Sail away...."  "Don't you worry, don't you cry... You'll be angels by and by" Etc. "Chorus: "Don't'ye rock 'em, di-de-o (x3 or x4)".
AUTHOR: Words assembled by Uncle Dave Macon
EARLIEST_DATE: 1926 (recording, Uncle Bunt Stephens)
LONG_DESCRIPTION: Dance tune with floating verses, and some that should be: "Ever I get my new house done/Sail away, ladies, sail away/Give the old one to my son/Sail away, ladies, sail away"; "Children, Don't You Grieve and Cry/You're gonna be angels by and by"; "Come along, girls and go with me/We'll go back to Tennessee". Chorus: "Don't'ye rock 'em, di-de-o (3-4x)". "Sail away, ladies, sail away" is the verse refrain.
KEYWORDS: dancing drink humorous nonballad floatingverses
FOUND_IN: US(SE,So)
REFERENCES: (5 citations)
Cohen/Seeger/Wood, p. 203, "Sail Away Ladies" (1 text, 1 tune)
Darling-NAS, p. 251, "Sail Away Ladies" (1 text)
MWheeler, p. 15-16, "Oh, When I Git My New House Done" (1 text, 1 tune -- a fragment with no chorus but verses similar to this)
Silber-FSWB, p. 42, "Sail Away Ladies" (1 text)
DT, SAILLADI*
RECORDINGS:
Henry L. Bandy, "Sail Away Ladies" (Gennett test pressing GEx14361, 1928; unissued)
Logan English, "Old Doc Jones" (on LEnglish01)
Uncle Dave Macon & his Fruit Jar Drinkers, "Sail Away Ladies" (Vocalion 5155, 1927; on TimesAint02)
New Lost City Ramblers, "Sail Away, Ladies" (on NLCR05)
Parker & Dodd "Sail Away Lady" (Romeo 5250, 1933)
Uncle Bunt Stephens, "Sail Away Ladies" [instrumental version] (Columbia 15071-D, 1926; on AAFM2)
CROSS_REFERENCES:
cf. "Down the River I Go" (words)
cf. "Carve That Possum" (portion of tune)
NOTES: This started out as a fiddle tune, to which Uncle Dave [Macon] added his own unique brand of nonsense--some original, some floating verses. -PJS
Not to be confused with the song sung by W.C. Handy: "Sail away, ladies, sail away; Sail away, ladies, sail away. Never mind what de sisters say, Just shake your Dolly Varden and sail away." - RBW
File: CSW203
===
NAME: Sail, O Believer
DESCRIPTION: "Sail, O believer, sail, Sail over yonder, Sail, O my brother, Sail over yonder." The listener is invited to join in the work and view the promised land. "For Jesus comes... And Jesus locks the doors... And carries the keys away."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: religious nonballad Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scott-BoA, pp. 197-198, "Sail, O Believer" (1 text, 1 tune)
Roud #11976
File: SBoA197
===
NAME: Sailing at High Tide: see Sailing in the Boat (File: LoF013)
===
NAME: Sailing in the Boat
DESCRIPTION: "Sailing in the boat when the tide runs high, (x3) Waiting for the pretty girl(s) to come by and by." The rest is floating verses on courting, e.g. "Here she comes so fine and fair, Sky blue eyes and curly hair, Roses in her cheek, dimple in her chin...."
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: courting ship nonballad playparty floatingverses
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Lomax-FSNA 13, "Sailing in the Boat" (1 text, 1 tune)
Botkin-AmFolklr, pp. 812-813, "Sailing at High Tide" (1 text, 1 tune)
ST LoF013 (Full)
Roud #6665
File: LoF013
===
NAME: Sailing Out on the Ocean
DESCRIPTION: Singer is sailing the ocean; says if he gets shot or drowned there will be no one to weep for him. Despite his mother's usual warning, he gambled and lost his life savings while drunk. The only girl he has loved has turned her back on him
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Haskell Wolfenbarger)
KEYWORDS: loneliness warning gambling courting floatingverses
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Haskell Wolfenbarger, "Sailing Out on the Ocean" (Vocalion 5390, 1930; on RoughWays2)
CROSS_REFERENCES:
cf. "On Top of Old Smoky" (floating lyrics)
cf. "The Roving Gambler (The Gambling Man)" [Laws H4] (floating lyrics)
cf. "Rye Whiskey" (floating lyrics)
File: RcSOOtO
===
NAME: Sailing, Sailing
DESCRIPTION: Known mostly for the lines in the middle of the chorus: "Sailing, sailing, over the bounding main, For many a stormy wind shall blow ere Jack comes home again." About the "bold and free" life of the sailor, and his true heart, and his return home
AUTHOR: Godfrey Marks
EARLIEST_DATE: 1880 (sheet music)
KEYWORDS: sailor sea ship nonballad home
FOUND_IN: 
REFERENCES: (3 citations)
Silber-FSWB, p. 89, "Sailing Sailing" (1 text)
Fuld-WFM, p. 483, "Sailing"
DT, SLNGSLNG
SAME_TUNE:
Sailing the Union Way (Greenway-AFP, p. 235)
File: FSWB089
===
NAME: Sailor and His Bride, The [Laws K10]
DESCRIPTION: The sailor's widow reports that her husband went to sea three years ago, after only three months of marriage. His ship was lost in a storm; she wishes that she could join him in his watery grave
AUTHOR: unknown
EARLIEST_DATE: 1879 (Brown); there is a broadside from slightly before this
KEYWORDS: sailor storm wreck death
FOUND_IN: US(Ap,MA,MW,NE,SE,So) Canada(Newf)
REFERENCES: (8 citations)
Laws K10, "The Sailor and His Bride"
Randolph 762, "My Lovely Sailor Boy" (2 texts, 1 tune)
Eddy 34, "The Sailor and His Bride" (2 texts, 1 tune)
JHCox 113, "The Sailor and His Bride" (2 texts)
BrownII 112, "The Sailor's Bride" (2 texts)
Chappell-FSRA 31, "Charlie and Mary" (1 text)
Peacock, pp. 439-440, "Early Spring" (1 text, 1 tune)
DT 558, SAILBRDE
Roud #274
ALTERNATE_TITLES:
The Sailor's Sweetheart
My Soldier Boy
File: LK10
===
NAME: Sailor and his True Love (II): see Farewell, Charming Nancy [Laws K14] (File: LK14)
===
NAME: Sailor and the Ghost, The [Laws P34A/B]
DESCRIPTION: A pregnant girl hangs herself after being abandoned by her lover. The guilty youth goes to sea to escape her ghost, but the spirit follows and finds him. She threatens the captain until he is produced, and then burns the ship with him aboard
AUTHOR: unknown
EARLIEST_DATE: 1805 (broadside, Bodleian Harding B 10(68))
KEYWORDS: pregnancy abandonment ghost disaster suicide
FOUND_IN: US(MA,SE) Canada(Mar,Newf) Britain(England)
REFERENCES: (8 citations)
Laws P34A, "The Sailor's Tragedy (The Sailor and the Ghost A)"/P34B, "Handsome Harry (The Sailor and the Ghost B)"
BrownII 68, "Handsome Harry" (1 text, identified by Laws as P34B)
Creighton/Senior, pp. 151-154, "The Dreadful Ghost" (2 texts, 2 tunes)
Creighton-Maritime, pp. 116-117, "The Dreadful Ghost" (1 text, 1 tune)
Peacock, pp. 398-403, "The Sea Ghost" (3 texts, 3 tunes)
Leach-Labrador 18, "The Sailor's Tragedy" (1 text, 1 tune)
Mackenzie 92, "The Sailor's Tragedy" (1 text)
DT 512, DREDGHOS
Roud #568
BROADSIDES:
Bodleian, Harding B 10(68), "The Sailor and the Ghost," Laurie and Whittle (London), 1805; also 2806 c.8(242), "The Sailor and the Ghost"
CROSS_REFERENCES:
cf. "Captain Glen/The New York Trader (The Guilty Sea Captain A/B)" [Laws K22]
ALTERNATE_TITLES:
The Murdered Girl
File: LP34
===
NAME: Sailor and the Lady, The: see The Jolly Young Sailor and the Beautiful Queen [Laws O13] (File: LO13)
===
NAME: Sailor and the Shepherdess, The [Laws O8]
DESCRIPTION: A wandering young sailor, seeing a shepherdess asleep by the sea, goes up to her and kisses her. Surprised into wakefulness, she begins to cry, but the sailor offers marriage, and she accepts
AUTHOR: unknown
EARLIEST_DATE: before 1813 (broadside, Bodleian Harding B 25(1698))
KEYWORDS: sailor courting marriage
FOUND_IN: Canada(Mar) Ireland
REFERENCES: (5 citations)
Laws O8, "The Sailor and the Shepherdess"
Mackenzie 53, "The Sailor and the Shepherdess" (1 text)
Creighton-SNewBrunswick 37, "The Shepherdess" (1 text, 1 tune)
SHenry H104, p. 457, "The Gentle Shepherdess" (1 text, 1 tune)
DT 473, SAILSHEP
Roud #959
BROADSIDES:
Bodleian, Harding B 25(1698), "The Sailor's Courtship" ("As a pretty young shepherdess was minding her sheep"), J. Evans (London) , 1780-1812; also Harding B 16(239b), Firth b.25(330), Firth c.13(193), Firth c.13(194), Harding B 11(3262), "[The] Sailor's Courtship"; Harding B 16(238c), "Harding B 11(3374), [The] Sailor and Shepherdess"
File: LO08
===
NAME: Sailor and the Tailor (II), The: see The Boatsman and the Chest [Laws Q8] (File: LQ08)
===
NAME: Sailor and the Tailor, The [Laws P4]
DESCRIPTION: A girl and a sailor agree to marry after he finishes his voyage. When he returns, he finds that she will soon marry a tailor. He meets them and persuades the girl to change her mind
AUTHOR: unknown
EARLIEST_DATE: 1916
KEYWORDS: sailor wedding infidelity rejection love
FOUND_IN: Britain(England) US(MA) Canada(Mar)
REFERENCES: (6 citations)
Laws P4, "The Sailor and the Tailor"
Sharp-100E 73, "The Watchet Sailor" (1 text, 1 tune)
Creighton/Senior, pp. 167-168, "Jack the Sailor" (1 text, 1 tune)
Creighton-Maritime, pp. 134-135, "Jack the Sailor" (1 text, 1 tune)
cf. Gardner/Chickering, p. 482, "The Sailor and the Tailor" (source notes only)
DT 492, SAILTAIL
Roud #917
File: LP04
===
NAME: Sailor Bill
DESCRIPTION: "I've sailed to the east and I've sailed to the west, They call me Sailor Bill, I have come to seek my own blood kin That settled in the hills." The sailor tells how, after sailing far, he looks for his family and settles down "with my Preston kin."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: sailor home return reunion
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 32, (no title) (1 text)
NOTES: Thomas's informants thought this the work of William Calvert Preston. This seems possible, since that family gave her the song. - RBW
File: ThBa032
===
NAME: Sailor Bold: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Sailor Boy (I), The [Laws K12]
DESCRIPTION: A girl asks her father to build her a boat so that she may search for her lover. She describes the boy to a passing captain, who tells her he is drowned. She gives directions for her burial, then dies of grief or dashes her boat against the rocks
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(2298))
KEYWORDS: ship death lover drowning loneliness separation sailor
FOUND_IN: Britain(England(Lond,South,West),Scotland) US(Ap,MW,NE,SE,So) Ireland Canada(Mar,Newf,Queb)
REFERENCES: (27 citations)
Laws K12, "The Sailor Boy I"
Belden, pp. 186-191, "The Sailor Boy" (6 texts, 1 tune)
Randolph 68, "The Sailor's Sweetheart" (3 text plus 2 fragments, 4 tunes)
Randolph/Cohen, pp. 68-70, "The Sailor's Sweetheart" (1 text, 1 tune -- Randolph's 68C)
Scarborough-SongCatcher, pp. 318-320, "Oh, Captain, Captain, Tell Me True" (1 text; tune on pp. 441-442)
Brewster 54, "Sweet William (The Sailor Boy)" (1 text)
Eddy 33, "Sweet William" (6 texts, 3 tunes)
Gardner/Chickering 25, "The Sailor Boy" (1 short text; the first 6 lines are "The Sailor Boy"; the last twelve are perhaps "The Butcher Boy")
Rickaby 18, "The Pinery Boy" (1 text, 1 tune; also a fragment in the notes)
Leach, pp. 736-737, "The Sailor Boy" (1 text)
Leach-Labrador 9, "The Sailor Boy" (1 text, 1 tune)
Karpeles-Newfoundland 43, "Sweet William" (1 text, 1 tune)
Creighton-NovaScotia 27, "Broken Ring Song fragment" (1 single-stanza fragment, 1 tune); 44, "My Sailor Lad,  "Sailor Bold" (2 texts, 2 tunes)
Warner 53, "I'll Sit Down and Write a Song" (1 text, 1 tune)
SharpAp 106, "Sweet William" (12 texts, 12 tunes)
Sharp-100E 72, "Sweet William" (1 text, 1 tune)
Sharp/Karpeles-80E 35, "Sweet William" (1 text, 1 tune -- a composite version)
Vaughan Williams/Lloyd, p. 94, "A Sailor's Life" (1 text, 1 tune)
JHCox 110, "Sweet William (The Sailor Boy)" (3 texts plus mention of 6 more)
BrownII 104, "The Sailor Boy" (5 texts, mostly short, plus excerpts from 4 more and mention of 2 more and 1 very short fragment; several texts, notably "C," are mixed with "The Butcher Boy"; "E" is a mix with something unidentifiable as only part of the song is printed; "H" is apparently a mix of floating material, only partly printed; "J" is mostly from some unidentified ballad; "L" appears to mix this with "The Apprentice Boy" [Laws M12])
Scott-BoA, pp. 39-40, "Sweet William" (1 text, 1 tune, a composite version)
Lomax-FSNA 55, "The Pinery Boy" (1 text, 1 tune)
Huntington-Whalemen, pp. 272-273, "A Sailor's Trade Is a Roving Life" (1 text, with the manuscript damaged by water)
OLochlainn 56, "My Boy Willie" (1 text, 1 tune)
MacSeegTrav 25, "Sweet William" (2 texts, 2 tunes)
Darling-NAS, pp. 97-98, "Sweet Soldier Boy" (1 text)
DT 403, PINERYBY* SAILIFE*
Roud #273
RECORDINGS:
Anita Best and Pamela Morgan, "A Sailor's Trade is a Weary Life" (on NFABestPMorgan01)
Dock Boggs, "Papa, Build Me a Boat" (on Boggs2, BoggsCD1) (a complex version, with this plot but many floating verses, e.g. from "The Storms Are On the Ocean")
Rufus Crisp, "Fall, Fall, Build Me a Boat" (on Crisp01)
Dan Hornsby Trio, "A Sailor's Sweetheart" (Columbia 15771-D, 1932; rec. 1931)
Liz Jefferies, "Willie, the Bold Sailor Boy" (on Voice03)
Mikeen McCarthy, "Early in the Month of Spring" (on IRTravellers01)
Mrs. Otto Rindlisbacher, "The Pinery Boy" [instrumental] (AFS, 1941; on LC55)
Phoebe Smith, "Sweet William" (on Voice11)
Art Thieme, "The Pinery Boy" (on Thieme04)
BROADSIDES:
Bodleian, Harding B 11(2298), "The Maid's Lament for her Sailor Boy," J. Catnach (London), 1813-1838; also Firth c.12(226), Harding B 11(3375), Harding B 25(1684), "Sailor Boy" ("Down by a chrystal river side"); Firth c.12(227), "The Sailor Boy and his Faithful Mary"
CROSS_REFERENCES:
cf. "The Butcher Boy" [Laws P24] (lyrics)
cf. "A Soldier's Life" (lyrics, theme)
cf. "The Deep Blue Sea (I)" (plot)
cf. "Taven in the Town" (lyrics)
ALTERNATE_TITLES:
The Pinery Boy
Papa, Papa, Build Me a Boat
A Shantyman's Life
I Have No One to Love Me
Captain Tell Me True
The Sailor Boy and his Faithful Mary
NOTES: Paul Stamler suggests that "The Deep Blue Sea" is a worn-down version of this song. He may well be right (see the notes to that song), but I believe that the characteristic of Laws K12 is the girl's request of a boat. Since "Deep Blue Sea" lacks that feature, I tentatively separate the songs.
Art Thieme's "Pinery Boy" version of this song is localized thoroughly to Wisconsin, mentioning the Dells, the Wisconsin river, etc. It's interesting to note that there is a town in Wisconsin (on Lake Pepin) called Maiden Rock -- but the name seems to predate the local version of this song; the story is that an Indian girl committed suicide there after being separated from her lover. The town of Winona is said to be named after her. - RBW
Creighton-NovaScotia shows a collector misled by a source. The version is only a single verse, identical to broadside Bodleian, Firth c.12(227), "The Sailor Boy and his Faithful Mary" ("A sailor's life is a merry life"), J.Harkness (Preston), 1840-1866. The singer, in this case, thought this was a returned lover ballad -- from Creighton's title -- of the broken ring type. - BS
The Dan Hornsby Trio recording is included by deduction; I have not heard it. - PJS
File: LK12
===
NAME: Sailor Boy (II), The: see The Prince of Morocco (The Sailor Boy II) (File: LN18)
===
NAME: Sailor Boy, The: see The Faithful Sailor Boy [Laws K13] (File: LK13)
===
NAME: Sailor Courted a Farmer's Daughter, A: see The Constant Lovers [Laws O41] (File: LO41)
===
NAME: Sailor Courted, A: see The Constant Lovers [Laws O41] (File: LO41)
===
NAME: Sailor Cut Down in His Prime, The
DESCRIPTION: The singer sees one of his shipmates "wrapped up in flannel yet colder than clay." He dies, and details of the burial are given. His headstone warns sailors, "Never go courting with the girls of the city; Flash girls in the city were the ruin of me."
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: death disease whore burial funeral
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
Lomax-FSNA 201, "The Sailor Cut Down in His Prime" (1 text, 1 tune)
MacSeegTrav 117, "The Sailor Cut Down in His Prime" (1 text, 1 tune)
DT, YNGMNPRM
Roud #2
RECORDINGS:
Johnny Doughty, "The Streets of Port Arthur" (on Voice12)
Harry Upton, "The Royal Albion" (on Voice02)
CROSS_REFERENCES:
cf. "The Streets of Laredo" [Laws B1] (tune & meter, plot) and references there
cf. "The Unfortunate Rake" (tune & meter, plot)
cf. "The Bad Girl's Lament (St. James' Hospital; The Young Girl Cut Down in her Prime)" [Laws Q26] (tune & meter, plot)
NOTES: One of the large group of ballads ("The Bard of Armagh," "Saint James Hospital," "The Streets of Laredo") ultimately derived from "The Unfortunate Rake." All use the same or similar tunes and meter, and all involve a person dying as a result of a wild life, but the nature of the tragedy varies according to local circumstances.
For the treatment of syphilis prior to the twentieth century, see the notes to "The Unfortunate Rake." - RBW
File: LoF201
===
NAME: Sailor Fireman, The: see I'll Fire Dis Trip (File: Br3222)
===
NAME: Sailor in the Alehouse, The: see Johnny the Sailor (Green Beds) [Laws K36] (File: LK36)
===
NAME: Sailor in the North Country, A
DESCRIPTION: A sailor and his beautiful wife meet a captain who is smitten with the lady. He summons the sailor and sends him to the West Indies. Within a few days of his leaving the captain makes a pass at the wife, who refuses him and pledges her constancy.
AUTHOR: unknown
EARLIEST_DATE: 1904
KEYWORDS: virtue adultery love marriage rejection parting separation wife sailor
FOUND_IN: Britain(England(Lond,South))
REFERENCES: (1 citation)
Vaughan Williams/Lloyd, p. 93, "A Sailor in the North Country" (1 text, 1 tune)
Roud #1504
RECORDINGS:
George Maynard, "A Sailor in the North Country" (on Maynard1, Voice12)
File: VWL093
===
NAME: Sailor Likes His Bottle-O, The
DESCRIPTION: Shanty. "So early in the morning the sailor likes his bottle-o! A bottle of rum, a bottle of gin, a bottle of old Jamaica Ho!" Verses carry on about all the things a sailor might love: women, tobacco, fighting, etc...
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty drink sailor
FOUND_IN: Britain West Indies
REFERENCES: (5 citations)
Colcord, p. 75, "Bottle O!" (1 text, 1 tune)
Hugill, pp. 55-57, "So Early in the Morning" (3 texts, 3 tunes) [AbEd, pp. 52-53]
Sharp-EFC, XLVI, p. 51, "The Sailor Loves His Bottle-O" (1 text, 1 tune)
DT, SAILBOTL
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Sailor Like the Bottle O!" is in Part 2, 7/21/1917.
ALTERNATE_TITLES:
The Sailor Loves
File: Hugi055
===
NAME: Sailor on the Deep Blue Sea (I): see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Sailor on the Deep Blue Sea (II): see The Deep Blue Sea (I) (File: R794)
===
NAME: Sailor on the Sea, The: see In London so Fair (File: HHH203)
===
NAME: Sailor, The: see John (George) Riley (I) [Laws N36] AND John (George) Riley II [Laws N37] (File: LN37)
===
NAME: Sailor's Adieu, The: see The Topsail Shivers in the Wind (File: SWMS059)
===
NAME: Sailor's Alphabet, The
DESCRIPTION: Capstan/pumping shanty; sailors remember the alphabet and tell of their, "merry" lives: "A is the anchor that hangs o'er the bow/And B is the bowsprit that bends like a bow.... So merry, so merry, so merry are we/No mortals on earth like a sailor at sea"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: sea ship work nonballad wordplay worksong sailor worker
FOUND_IN: Britain(England) US(SE) Canada(Mar,Newf)
REFERENCES: (5 citations)
BrownIII 229, "Alphabet of the Ship" (1 text)
Peacock, pp. 885-886, "The Sailor's Alphabet" (1 text, 1 tune)
Creighton-NovaScotia 98, "Alphabet Song" (2 texts, 1 tune; the "C" text is "The Logger's Alphabet")
Harlow, pp. 52-54, "The Sailor's Alphabet" (1 text, 1 tune)
Hugill, pp. 456-458, "The Bosun's Alphabet," "Old English Chantey" (2 texts, 2 tunes) [AbEd, pp. 341-342]
Roud #159
RECORDINGS:
Clifford Jenkins et al, "The Sailor's Alphabet" (on LastDays)
Sam Larner, "Alphabet Song" (on SLarner01); "The Sailor's Alphabet" (on Voice12)
Capt. Leighton Robinson, "The Sailor's Alphabet" (on AFS, 1951; on LC26)
Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Sailor's Alphabet" (on AFS 4230 B, 1939; in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject, form) and references there
NOTES: We've cross-referenced this enough that it deserves its own entry, although it's identical in form to "The Logger's Alphabet." - PJS
File: RcTSAlp
===
NAME: Sailor's Bride, The: see The Sailor and His Bride [Laws K10] (File: LK10)
===
NAME: Sailor's Burial at Sea: see The Sailor's Grave (File: Wa155)
===
NAME: Sailor's Come All Ye, The: see Hearts of Gold (File: SWMS068)
===
NAME: Sailor's Consolation
DESCRIPTION: wo sailors, Barney Buntline & Billy Bowline list the reasons they are lucky to be sailors, comparing the dangers of living on shore with the relatively free life they have. Sometimes has chorus of "With a tow row row-right to me addy, wi' a tow row row."
AUTHOR: Charles Dibdin (1745-1814) (also attributed to Pitt and Hood)
EARLIEST_DATE: before 1814
KEYWORDS: sailor ship shore
FOUND_IN: US Britain
REFERENCES: (1 citation)
Hugill, p. 460, "Barney Buntline" (1 text, 1 tune)
NOTES: Hugill gives some references, in particular that the tune for this was taken by a Prof. J. Glyn-Davies and turned into a Welsh sailors' song (also known as a children's song) "Can Huw Puw." Glyn-Davies seemed to believe that the original song was quite old and that the tune was also used in a song, "Miss Tickle Toby" which dates to the 16th century. - SL
File: Hugi460
===
NAME: Sailor's Grace, The: see The Salt Horse Song (File: FO226)
===
NAME: Sailor's Grave, The
DESCRIPTION: "Our bark was far, oh, far from land, When the fairest of our gallant band Grew deadly pale and pined away." Lacking "costly winding sheets," they wrap the dead man in his hammock and a flag and sadly bury him at sea
AUTHOR: Words: Eliza Cook / Music: John C. Baker
EARLIEST_DATE: 1845 (broadside, LOCSheet sm1845 402000)
KEYWORDS: sea sailor death funeral burial
FOUND_IN: US(MW,SE) Canada(Mar)
REFERENCES: (5 citations)
Doerflinger, pp. 160-162, "The Sailor's Grave" (1 text, 1 tune)
Colcord, pp. 162-163, "The Sailor's Grave" (1 text, 1 tune)
Warner 155, "A Sailor's Grave" (1 text, 1 tune)
Smith/Hatt, p. 47, "Sailor's Burial at Sea" (1 text)
DT, SAILGRAV*
Roud #2676
RECORDINGS:
Pat Ford, "The Sailor's Grave" (AFS 4211 B1, 1939; in AMMEM/Cowell)
BROADSIDES:
Bodleian, Harding B 11(3383), "The Sailor's Grave" ("Our bark was far, far from the land"), J. Harkness (Preston), 1840-1866; also Harding B 11(27), Harding B 11(4264), Harding B 11(3382), Harding B 11(3383), Harding B 11(3384), Harding B 16(240b), Harding B 26(586), Harding B 11(2745), Firth c.12(445), "The Sailor's Grave"
LOCSheet, sm1845 402000, "The Sailor's Grave" ("Our bark was out far, far from land"), F. D. Benteen (Baltimore), 1845; also sm1845 791150, "The Sailor's Grave" (tune)
NOTES: There is a parody of this ballad as broadside NLScotland, L.C.1269(176.a), "Parody On The Sailor's Grave,"Poet's Box (Glasgow?), 1863 - BS
File: Wa155
===
NAME: Sailor's Life, A: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Sailor's Return, The: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: Sailor's Sweetheart, The: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Sailor's Trade Is a Roving Life, A: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Sailor's Tragedy, The (The Sailor and the Ghost A): see The Sailor and the Ghost [Laws P34A/B] (File: LP34)
===
NAME: Sailor's Way, The
DESCRIPTION: The sailor tells of all the places he's been and seen: "I've sailed among the Yankees, the Spaniards and Chinese.... But I'll go to the dance hall and hear the music play, For around Cape Horn and home again, oh, that is the sailor's way!"
AUTHOR: unknown
EARLIEST_DATE: 1936
KEYWORDS: sailor dancing rambling
FOUND_IN: US(MA) Canada(Mar)
REFERENCES: (3 citations)
Doerflinger, p. 109, "The Sailor's Way" (1 short text, reference for tune)
Hugill, pp. 386-388, "The Sailor's Way" (1 text, 1 tune) [AbEd, pp. 295-296]
Smith/Hatt, p. 41, "Around the World and Home Again" (1 text)
ST Doe109 (Partial)
Roud #8239
CROSS_REFERENCES:
cf. "Dixie Brown" [Laws D7] (tune)
File: Doe109
===
NAME: Saint Clair's Defeat
DESCRIPTION: Saint Clair leads an army against the Indians "on the banks of the St. Marie." Hundreds of men are killed. The rest make their way home as best they can
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: Indians(Am.) war
HISTORICAL_REFERENCES: Nov. 4, 1791 - The army of Gen. Arthur St. Clair, the first (territorial) governor of Ohio, is attacked by Indians on the banks of the Wabash.
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 116, "On the Eighth Day of November" (1 text, 1 tune -- though only Eddy's first verse goes with this ballad. Verses 2 and 3 come from "James Ervin" [Laws J15])
ST E116 (Full)
Roud #4028
NOTES: St. Clair's expedition was mounted by President Washington to deal with the refusal of the British to evacuate certain frontier forts. St. Clair was to build a fort on the site of what is now Fort Wayne, Indiana.
The exact magnitude of the defeat is uncertain; although St. Clair set out with a force variously estimated as from 2000 to 3000 men (including the entire U.S. regular army), he may have lost a thousand of those to disease and desertion along the way. His casualties have been variously estimated as 600 to 900 men.
As "On the Eighth Day of November, " this song is item dA30 in Laws's Appendix II. - RBW
File: E116
===
NAME: Saint Helena (Boney on the Isle of St. Helena)
DESCRIPTION: A lament for Napoleon, "gone from his wars and his fightings." His past splendor is contrasted with his current fate. The sorrow of his wife Louisa is alluded to. His death is attributed to the malice of his enemies.
AUTHOR: James Watt? (source: broadside Bodleian Firth c.16(84))
EARLIEST_DATE: 1835 (Forget-Me-Not Songster)
KEYWORDS: exile lament Napoleon death grief
HISTORICAL_REFERENCES: 1815 - Defeat at the Battle of Waterloo forces Napoleon into exile
1821 - Death of Napoleon
FOUND_IN: Britain(England(South)) Ireland US(Ap,MW,NE,SE,So) Canada(Mar,Newf)
REFERENCES: (12 citations)
Moylan 209, "The Isle of Saint Helena" (1 text, 1 tune)
Eddy 96, "Lonely Louisa" (1 fragment, 1 tune)
Belden, pp. 146-147, "The Isle of St. Helena" (1 text plus reference to 1 more)
Warner 143, "Bony on the Isle of St. Helena" (1 text, 1 tune)
Huntington-Whalemen, pp. 205-207, "Bonaparte on St. Helena" (1 text, 1 tune)
BrownII 146, "The Isle of St. Helena" (4 texts, mostly defective)
Chappell-FSRA 109, "Napoleon" (1 text, 1 tune)
SharpAp 173, "Boney's Defeat" (1 text, 1 tune)
Flanders/Brown, pp. 111-112, "Napoleon Song," "Bonaparte on St. Helena" (1 text plus a fragment, 1 tune)
Greenleaf/Mansfield 83, "Napoleon the Exile" (1 text, 1 tune)
Scott-BoA, pp. 102-104, "Napoleon Bonaparte" (1 text, 1 tune)
DT, BNYSTHEL* BNYSTHE2
ST E096 (Full)
Roud #349
RECORDINGS:
Charles K. "Tink" Tillett, "Bony on the Isle of St. Helena" (on USWarnerColl01) [called simply "Bony" on the CD sleeve; the longer title is in the interior notes]
BROADSIDES:
Bodleian, Johnson Ballads 205, "The Island of St. Helena," J. Catnach (London), 1813-1838; also Harding B 11(1517), Firth c.16(99), Firth b.34(201), Harding B 11(847) [some words illegible], Harding B 11(1810), Harding B 11(1811), "Isle of St. Helena"; Harding B 25(1716), Harding B 11(3955), "The Island of St. Helena"; Harding B 25(245), "Bonapate's Lamentation at the Island of St. Helena"; Firth c.16(84), "Bonaparte's Departure for St. Helena"
CROSS_REFERENCES:
cf. "Farewell to Mackenzie" (meter)
cf. "Napoleon's Farewell to Paris" (subject)
cf. "The Royal Eagle" (subject: Marie Louisa's grief for Napoleon)
cf. "The New Bunch of Loughero" (theme: Marie Louise's grief for Napoleon)
cf. "The Removal of Napoleon's Ashes" (theme: Marie Louise's grief for Napoleon)
cf. "The Braes of Balquhither" (tune, per broadside Bodleian Firth c.16(84))
ALTERNATE_TITLES:
Napoleon
Bone Part
NOTES: The grief of Marie Louisa of Austria (Napoleon's second wife) has become the only surviving theme in certain American versions of this ballad. Historically, there is little basis for this; she refused to go into exile with him to Elba, let alone St. Helena.
In fact, even before Napoleon went to Elba, she is reported to have taken General Adam Adelbert Neipperg as a lover. When he came back during the Hundred Days, she not only refused to join him, she wouldn't even allow him to see his son. By the time Napoleon died, Louisa had borne two children to other fathers.
"Mount Diana," referred to in some texts, is properly Diana's Peak, the highest point on Saint Helena (about 825 ft/250 meters above sea level). The link of Diana with the moon clearly reveals that this piece began life as a broadside; someone was using classical analogies.
The "Holy Alliance" is the coalition formed immediately after Napoleon's downfall. Its purpose was to prevent the rise of any Bonapartist pretenders. Ironically for an alliance that called itself "holy," the primary nations involved (Austria, Prussia, Russia; England was not a member) were more regressive than France. In addition, it eventually failed of its purpose, as Napoleon III later took over France.
This song seems to be known mostly from broadsides in Britain; its popularity and firm hold in tradition in the U. S. probably derives from its inclusion in the _Forget-Me-Not Songster_.
Ben Schwartz brought to my attention the attribution of this song to James Watt found in broadside Bodleian Firth c.16(84). This is a broadside; there are two poems (which is rare but not unknown), and this one has an extended prose introduction (which is even more rare). What is more, the two songs do not appear to come from the same printing house: "Bonaparte's Departure for St. Helena" appears to be self-published, while the accompanying item, "Napoleon is the Boy For Kicking up a Row," is from one of the Poet's Box outlets (though the exact one has been scratched out).
Is this the original? It lacks one of the six standard stanzas, and there are many verbal differences from the usual texts. Even more curious is the occasional hints of confornity with Scots dialect. I can only say that there appears to have been recensional activity -- but whether that activity was applied by Watt to create this text, or by the Forget-Me-Not Songster, or by someone else, I cannot tell. I'm not ready to concede authorship on the rather thin basis of one broadside. - RBW
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "The Isle of St Helena" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001)) - BS
File: E096
===
NAME: Saint James Infirmary
DESCRIPTION: Big Joe McKennedy is in the bar, reporting that he "went down to St. James Infirmary, And I saw my baby there, Stretched out on a long white table...." He gambled, and now must pay. He prepares to die, makes requests for his funeral, (blames the woman)
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: disease death funeral drink
FOUND_IN: US(SE,So,SW)
REFERENCES: (6 citations)
Scarborough-NegroFS, p. 94, "How Sad Was the Death of my Sweetheart" (1 short text, with few of the familiar words but the correct plot and the "Let her go, let her go" chorus)
Sandburg, pp. 228-231, "Those Gambler's Blues" (2 texts, 1 tune)
Thorp/Fife XIII, pp. 148-190 (29-30), "Cow Boy's Lament" (22 texts, 7 tunes, the "N" text being in fact a version of this piece)
Darling-NAS, pp. 9-10, "Gambler's Blues" (1 text)
Silber-FSWB, p. 76, "St. James Infirmary" (1 text)
DT 350, STJAME
Roud #2 (!)
RECORDINGS:
Louis Armstrong & his Hot Five, "St. James Infirmary" (OKeh 8657, 1929; rec. 1928)
Rube Bloom & his Bayou Boys, "St. James' Infirmary" (Columbia 2103-D, 1930)
Dock Boggs, "Old Joe's Barroom" (on Boggs2, BoggsCD1)
Chick Bullock, "St. James Infirmary" (Velvet Tone 7063-V, 1930/Diva 6037, n.d.)
Martha Copeland, "Dyin' Crap Shooter's Blues" (Columbia 14427-D, 1929; rec. 1927)
Rosa Henderson, "Dyin' Crap Shooter's Blues" (Pathe Actuelle 7535/Perfect 135/TMH 7535, 1927)
Mattie Hite, "St. Joe's Infirmary" (Columbia 15403-D, 1930)
Frankie Marvin, "Those Gambler's Blues" (Crown 3076, 1931)
Viola McCoy, "Dyin' Crap Shooter's Blues" (Romeo 453 [as Fannie Johnson]/Cameo 1225/Lincoln 2690, 1927)
Pete Seeger, "St. James Infirmary" (on PeteSeeger32)
CROSS_REFERENCES:
cf. "The Bad Girl's Lament (St. James' Hospital; The Young Girl Cut Down in her Prime)" [Laws Q26] (theme)
cf. "Dear Companion (The Broken Heart; Go and Leave Me If You Wish To, Fond Affection)" (the "let her go" lyrics)
cf. ""Sweet Heaven (II)" (the "let her go" lyrics)
ALTERNATE_TITLES:
Old Time Gambler's Song
NOTES: Many early jazz & popular recordings attribute authorship (of the popular version) to "Joe Primrose," a pseudonym for Irving Mills. His copyright, though, seems to have been registered in 1929, or after Armstrong's influential recording. Presumably he was registering ownership rather than authorship. - PJS
File: San228
===
NAME: Saint Louis, Bright City: see Behind These Stone Walls (File: R165)
===
NAME: Saint Patrick Was a Gentleman
DESCRIPTION: "St. Patrick was a gentleman, and came of decent people"; they are named O'Houlihan, O'Shaughnessy... He preached from a high hill and "banished all the varmin!" Vermin's misfortunes are described. He planted turf, brought pigs and brewed good whiskey.
AUTHOR: Henry Bennett?
EARLIEST_DATE: before 1830 (broadside, Bodleian Harding B 16(241c))
KEYWORDS: drink humorous patriotic religious animal
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 105, "St Patrick Was a Gentleman" (1 text)
Roud #13377
BROADSIDES:
Bodleian, Harding B 16(241c), "St. Patrick Was a Gentleman", T. Birt (London), 1828-1829; also 2806 c.18(277), Harding B 11(3395), Harding B 20(151), Harding B 11(2874), "St. Patrick Was a Gentleman"
NOTES: O'Conor is more complete than any of the Bodleian broadsides. - BS
File: OCon105
===
NAME: Saint Patrick's Day in the Morning
DESCRIPTION: Saint Patrick drove out the witches and necromancers. "This champion of Christ did their magic expel." "He showed ... the right way to live and the true way to die ... On Saint Patrick's Day in the morning"
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: Ireland patriotic religious magic
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 129, "Saint Patrick's Day in the Morning" (1 fragment)
NOTES: The current description is based on the Tunney-StoneFiddle fragment. - BS
File: TSF129
===
NAME: Saint Stephen and Herod [Child 22]
DESCRIPTION: Stephen sees the star of Bethlehem, and tells his master King Herod that he can no longer serve him because he must serve the better child in Bedlam. Herod says that the roasted cock will sooner crow. It does crow, and Herod has Stephen stoned.
AUTHOR: unknown
EARLIEST_DATE: 1856, from ms of c. 1430 ( (British Museum -- Sloane MS. 2593)
KEYWORDS: religious bird execution
HISTORICAL_REFERENCES: 4 B.C.E. - Death of Herod the Great
(not before) 30 C.E. - Death of Stephen
FOUND_IN: US(NE)
REFERENCES: (9 citations)
Child 22, "St Stephen and Herod" (1 text)
Bronson 22, "St Stephen and Herod" (1 version)
Flanders/Olney, pp. 217-218, "St. Stephen and Herod" (1 text, 1 tune) {Bronson's (#1)}
Flanders-Ancient1, pp. 239-241, "St. Stephen and Herod" (1 text, 1 tune) {Bronson's (#1)}
Leach, pp. 107-108, "St. Stephen and Herod" (1 text)
OBB 98, "St. Stephen and King Herod" (1 text)
PBB 1, "Saint Stephen and Herod" (1 text)
Gummere, pp. 295-296+362, "St. Stephen and Herod" (1 text)
DT 22, STPHEROD*
Roud #3963
CROSS_REFERENCES:
cf. "The Roasted Cock" (plot)
cf. "The Wife of Usher's Well" (plot)
NOTES: For the stoning of Stephen (c. 30-31 C.E.) see Acts 7:54-8:2 (note that Herod had been dead for more than thirty years when Stephen was killed!).
For the birth of Jesus in the time of Herod (probably 6 B.C.E) see Matt. 1:18-2:23, Luke 1:5f.
For the cruelty of Herod, see also Josephus, Antiquities (the end of Herod's life is the primary theme of Josephus's book XVII, detailing, e.g., the executions of several of Herod's sons and the mass slaughter he planned to follow his death).
The only recent find of this, and the only version with a tune, is the version Flanders collected from George Edwards; she speculates that his source (his grandfather) may have learned it from print. - RBW
File: C022
===
NAME: Sair Fyel'd, Hinny
DESCRIPTION: "(I/Aw) was young and lusty, I was fair and clear... Mony a lang year." "Sair fyel'd, hinny, sair fyel'd now, Sair fyel'd, hinny, sin' I ken'd thou." The singer looks back on his young days, and admits, at 65, to being both "stiff and cauld."
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: youth age
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, p.  48, "Sair Fyel'd, Hinny" (1 text, 1 tune)
ST StoR048 (Full)
Roud #3062
CROSS_REFERENCES:
cf. "Says the Old Man to the Oak Tree" (lyrics)
NOTES: At least some versions of this share the lyric "Says t'auld man to th' old tree" ("Says the Old Man to the Oak Tree), also found in _Gammer Gurton's Garland_, but I don't know if they were initially two which joined or one which split. I very tentatively split them because, well, we're splitters.  - RBW
File: StoR048
===
NAME: Sal and the Baby
DESCRIPTION: "I went down town to see my lady. Nobody's home but Sal an' the baby. Sal was drunk, and the baby crazy; All that comes of being so lazy."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: drink baby
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 44, "Sal and the Baby" (1 text)
Roud #7863
File: Br3044
===
NAME: Sal's Got a Meatskin
DESCRIPTION: "Sal's got a meatskin hid away/gonna get a meatskin someday"; "Sal a-sailing on the sea/Sal got a meatskin a-waiting for me"; more verses along that line.
AUTHOR: unknown
EARLIEST_DATE: 1930s (recording, Carlisle Bros.)
KEYWORDS: sex virginity bawdy nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Cohen/Seeger/Wood, p. 63, "Sal's Got a Meatskin" (1 text, 1 tune)
Silber-FSWB, p. 156, "Sal Got A Meatskin" (1 text)
Roud #4201
RECORDINGS:
Arthur "Brother-in-Law" Armstrong, "Johnny Got a Meat Skin Laid Away" (AFS 3979 A2, 1940)
Cliff & Bill Carlisle, "Sal Got a Meatskin" (Panacord 25639, 1930s, on TimesAint03)
Cliff Carlisle, "Sal Got a Meat Skin" (Vocalion 02740, 1934, probably a different recording from that by Cliff & Bill Carlisle)
New Lost City Ramblers, "Sal Got a Meatskin" (on NLCR03, NLCR11, NLCRCD1)
CROSS_REFERENCES:
cf. "Sal Got A Sugarlip"
cf. "Great Big Taters in Sandy Land" (floating verses)
cf. "Sally Anne" (lyrics)
NOTES: A "meatskin" is fat pork, used to grease a pan and as an anti-inflammatory folk medicine. In this song, however, it refers to a maidenhead. - PJS
File: CSW063
===
NAME: Sal's in the Garden Sifting Sand: see Sally in the Garden (File: CSW067)
===
NAME: Sal'sb'ry Sal: see Speed the Plow (Sal'sb'ry Sal) (File: FlBr026)
===
NAME: Saladin Mutiny (I): see Charles Augustus (or Gustavus) Anderson [Laws D19] (File: LD19)
===
NAME: Saladin Mutiny (II), The: see George Jones [Laws D20] (File: LD20)
===
NAME: Saladin's Crew
DESCRIPTION: Hazelton is waiting to be hanged. He hopes his parents do not hear of his death. He prays that God "can pardon us all ... Even Fielding ... that proved my downfall" He thinks of his youth and the girl "who taught me to love in a far distant land"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: ship mutiny execution farewell
HISTORICAL_REFERENCES: 1844 - the former pirate Fielding convinces part of the crew of the "Saladin" to mutiny against the harsh Captain Mackenzie. The conspirators then turn against Fielding; they are taken and executed after the ship is wrecked off Halifax
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 111, "Saladin's Crew" (1 text, 1 tune)
ST CrNS111 (Partial)
Roud #1818
CROSS_REFERENCES:
cf. "Charles Augustus Anderson" [Laws D19] (subject)
cf. "George Jones" [Laws D20] (subject)
NOTES: This song is item dD45 in Laws's Appendix II.
Another of the Saladin conspirators speaks out (cf. "Charles Augustus (or Gustavus) Anderson [Laws D19]" and "George Jones [Laws D20]"). Here is John Hazelton. Hazelton -- like Anderson and Jones -- was convicted and hanged. Has William Trevaskiss, the fourth of the hanged mutineers, a ballad as well? (Source: _Pirates of Canada_ by Cindy Vallar on the Pirates and Privateers site for the History of Maritime Piracy) - BS
For details on the Saladin Mutiny, see the notes to "Charles Augustus (or Gustavus) Anderson" [Laws D19] - RBW
File: CrNS111
===
NAME: Salangadou
DESCRIPTION: Creole French. "Salangadou-ou-ou (x3), Salangadou, Cote piti fille la ye, Salangadou, Salangadou?" "Salangadou, where is my little girl gone, Salangadou?"
AUTHOR: unknown
EARLIEST_DATE: 1909 (Peterson, "Creole Songs from New Orleans")
KEYWORDS: children separation foreignlanguage nonballad
FOUND_IN: US(So)
REFERENCES: (3 citations)
Lomax-ABFS, p. 223, " Salangadou" (1 text, 1 tune)
Silber-FSWB, p. 339, "Salangadou" (1 text)
DT, SALANGDU*
File: LxA223
===
NAME: Salcombe Seaman's Flaunt to the Proud Pirate, The: see High Barbaree [Child 285; Laws K33] (File: C285)
===
NAME: Sale of a Wife
DESCRIPTION: A (ship carpenter), hard up for money for drink and tired of quarreling with his wife, puts her up for sale. After a lively auction, a sailor wins her. He takes her home and they live happily
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: abandonment humorous husband wife sailor
FOUND_IN: Ireland Britain
REFERENCES: (3 citations)
SHenry H226, pp. 511-512, "The Ship Carpenter's Wife" (1 text, 1 tune)
Peacock, pp. 253-254, "Cabbage and Goose" (1 text, 1 tune)
DT, CARPWIFE
Roud #2898
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(119), "The Ship Carpenter's Wife," unknown, c. 1830-1850
ALTERNATE_TITLES:
Auction of a Wife
In Praise of John Magee
John Hobbs
Wife for Sale
NOTES: The National Library of Scotland site notes that this sort of thing actually did happen, and even includes a broadside (NLScotland, L.C.1268, "Sale of a Wife," W. Boag (?), Newcastle, describing an event of July 16, 1828) allegedly documenting such a sale. - RBW
File: HHH226
===
NAME: Salisbury Plain
DESCRIPTION: The singer and a handsome young man adjourn to an inn, eat, drink, and proceed to bed. He promises to support her by highway robbery. The next morning he robs the mail coaches. She laments that he now lies in Newgate Gaol, expecting to be hanged.
AUTHOR: unknown
EARLIEST_DATE: 1904
LONG_DESCRIPTION: While walking on Salisbury Plain, the singer meets a handsome young man. They adjourn to an inn, eat, drink, and proceed to bed. He asks her to undress; she consents, provided he will "keep all those flash-girls away". He consents in turn promising to support her by highway robbery. The next morning, he robs the mail coaches. In the last verse, she laments the fact that he now lies in Newgate Gaol, expecting to be hanged.
KEYWORDS: courting love sex bargaining execution prison robbery lover
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Vaughan Williams/Lloyd, p. 95, "Salisbury Plain" (1 text, 1 tune)
Roud #1487
CROSS_REFERENCES:
cf. "Le petit roysin" (tune; 15th cen.)
cf. "The Wild and Wicked Youth" [Laws L12] (theme)
cf. "It's Down in Old Ireland" (theme)
cf. "Gilderoy" (theme)
NOTES: [The Vaughan Williams] version was collected in 1904; however, the singer clearly knew the song in 1893, when an unsuccessful attempt was made to collect it. -PJS
File: VEL095
===
NAME: Salish Song of Longing, A
DESCRIPTION: "Yah-nay ha-nay hay Yah-nay ha-nay Yah-hay ay hee-nay Ah-ah nay-hay. Ah-nay hay-hee-nay-yeh!..." Translation: "Far far away, Far far away, Oh far far away Oh there my heart doth lay...."
AUTHOR: unknown (English translation by Alan Mills)
EARLIEST_DATE: 1912
KEYWORDS: Indians(Am) separation nonballad foreignlanguage
FOUND_IN: Canada(West)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 4-5, "A Salish Song of Longing" (1 text, 1 tune)
NOTES: Colected by Marius Barbeau from an Indian delegation visiting Ottawa in 1912. its source was the Salish Indians of the Thompson River in British Columbia. (Salish is actually a language group of about twenty languages, used mostly by the natives of the Pacific Coast area.) The tune was used in the film "The Loon's Necklace." - RBW
File: FMB004
===
NAME: Sallie Goodin: see Sally Goodin (File: LoF121)
===
NAME: Sally and Her Lover: see The Lady Leroy [Laws N5] (File: LN05)
===
NAME: Sally and Her True Love: see A Rich Irish Lady (The Fair Damsel from London; Sally and Billy; The Sailor from Dover; Pretty Sally; etc.) [Laws P9] (File: LP09)
===
NAME: Sally Anne
DESCRIPTION: "Oh where are you going, Sally Anne? (x3) I'm going to the wedding, Sally Anne. Oh shake that little foot, Sally Anne, (x3), You're a pretty good dancer, Sally Anne." "Did you ever see a muskrat, Sally Ann...." Other verses are equally unrelated
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: dancing nonballad marriage courting animal
FOUND_IN: US(Ap)
REFERENCES: (5 citations)
SharpAp 240, "Sally Anne" (1 text, 1 tune)
Sharp/Karpeles-80E 63, "Sally Anne" (1 text, 1 tune)
Lomax-FSNA 117, "Sally Anne" (1 text, 1 tune)
PSeeger-AFB, p. 53, "Sally Ann" (1 text, 1 tune)
Silber-FSWB, p. 175, "Sally Ann" (1 text)
Roud #3652
RECORDINGS:
Frank Blevins & his Tar Heel Rattlers, "Sally Aim [sic]" (Columbia 15765-D, 1932; rec. 1927; on LostProv1 as "Sally Ann")
Fiddlin' John Carson, "Sally Ann" (OKeh 40419, 1925)
Rufus Crisp, "Blue Goose" (on Crisp01)
The Hillbillies, "Sally Ann" (OKeh 40336, 1925) (Vocalion 5019/Brunswick 105 [as Al Hopkins & his Buckle Busters], 1927)
Clint Howard et al, "Sally Ann" (on Ashley02, WatsonAshley01)
Doc Roberts, "Sally Ann" (Perfect 15467, 1931)
Pete Seeger, "Sally Ann" (on PeteSeeger06, PeteSeegerCD01); Sally Ann" (on PeteSeeger18)
 J. C. "Jake" Staggers, "Sally Ann" (on FolkVisions2)
George Stoneman, "Sally Anne" [instrumental] (on LomaxCD1702)
Art Thieme, "Sally Ann" (on Thieme01)
Wade Ward, "Sally Ann" [instrumental] (on Holcomb-Ward1)
CROSS_REFERENCES:
cf. "Great Big Taters in Sand Land" (tune)
cf. "Sal's Got a Meatskin" (lyrics)
NOTES: Lomax says that this is the same melody as the fiddle piece "Sandy Land," in turn related to "Sally Goodin." [But Lomax wasn't a fiddler. The tune is related to "Sandy Land" (actually "Great Big Taters in Sandy Land"), but I draw the line at "Sally Goodin." I'm no fiddler, either, but I've backed up a lot of them. - PJS] Certainly the banal and unrelated verses are what one would expect of a fiddle tune with words added. - RBW
The Rufus Crisp recording, "Blue Goose," is a conglomerate. But as we define it, "Sally Anne" is a song with this pattern, a lot of floating verses, and the name, "Sally Anne." What more do we want? - RBW, PJS.
File: SKE63
===
NAME: Sally Around the Corner O
DESCRIPTION: "Sally O, Sally O, Sally around the corner O, All day we'll heave away And it's Sally around the corner O"
AUTHOR: unknown
EARLIEST_DATE: 1956 (NovaScotia1)
KEYWORDS: shanty work nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (0 citations)
RECORDINGS:
Joseph Hyson, "Sally Around the Corner O" (on NovaScotia1)
NOTES: The current description is all of the NovaScotia1 fragment.
NovaScotia1 Joseph Hyson in the notes: "That was used for heaving up the ship's anchor. There'd be a whole crowd and there'd be a verse, and then we'd join on that chorus. I can't remember the verses."
NovaScotia1 notes: "By both words and tune, Sally Around the Corner O appears to be a different sea chanty from the one known as Round the Corner Sally."
I guess this is not "Round the Corner, Sally." Cf. "Round the Corner, Sally" in Stan Hugill, _Shanties from the Seven Seas_, pp. 297-298. The chorus there is "'Round the corner an' away we'll go, 'Round the corner Sally! 'Round th' corner where them gals do go, 'Round the corner Sally!" In that shanty Hugill says "The 'corner' indicated in this shanty seems to be Cape Horn." - BS
File: RcSATCO
===
NAME: Sally Brown
DESCRIPTION: Shanty. Characteristic lines: "Way, hey, roll and go... Spend my money on Sally Brown." The singer describes Sally ("A Creole lady... She had a farm in Jamaica... She had a fine young daughter") and his (unsuccessful) courtship
AUTHOR: unknown
EARLIEST_DATE: 1917 (Robinson)
KEYWORDS: shanty sailor courting parting
FOUND_IN: US(MA) Australia Canada(Mar,Newf)
REFERENCES: (16 citations)
Doerflinger, pp. 74-76, "Sally Brown" (2 texts, 2 tunes)
Bone, pp. 97-98, "Sally Brown" (1 text, 1 tune)
Colcord, p. 82, "Sally Brown" (1 text, 1 tune)
Harlow, pp. 87, 122, "Way Sing Sally," "Sally Brown (Roll and Go)" (2 texts, 2 tunes)
Hugill, pp. 162-166, "Sally Brown," "Tommy's on the Tops'l Yard" (4 texts plus several fragments, 3 tunes) [AbEd, pp. 129-134]; p. 254, "Hilo, Johnny Brown" (1 text, 1 tune) [AbEd, p. 184]
Sharp-EFC, XXVIII, p. 33, "Sally Brown" (1 text, 1 tune)
Shay-SeaSongs, pp. 24-25, "Sally Brown" (1 text, 1 tune)
Lomax-FSNA 24, "Sally Brown" (1 text, 1 tune)
Meredith/Covell/Brown, p. 94, "Sally Brown" (1 text, 1 tune)
Greenleaf/Mansfield 166, "Sally Brown" (1 text, 1 tune)
Doyle3, p. 53, "Sally Brown" (1 text, 1 tune)
Blondahl, p. 31, "Sally Brown" (1 text, 1 tune)
Mackenzie 108, "Sally Brown" (2 texts)
Silber-FSWB, p. 92, "Sally Brown" (1 text)
DT, SALBROWN* SALBRWN2* (SALBRWN3)
Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). Two versions of "Sally Brown" are in Part 2, 7/21/1917.
Roud #2628
RECORDINGS:
J. M. (Sailor Dad) Hunt, "Sally Brown" (AFS, 1941; on LC02)
Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Sally Brown" (AFS 4231 A2, 1939; in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "Roll and Go" (verses)
ALTERNATE_TITLES:
Roll and Go
Walkalong, You Sally Brown
Stand to Yer Ground
File: Doe074
===
NAME: Sally Buck, The
DESCRIPTION: The singer goes hunting "one cold and winter day." (He tracks "the Sally buck all day.")  Sundry adventures follow; the singer reports "of (15 or 20), ten thousand I did kill." The singer ends "If you can tell a bigger lie, I swear you ought to be hung."
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: animal nonsense supernatural hunting talltale paradox
FOUND_IN: US(Ap,SE)
REFERENCES: (4 citations)
SharpAp 159, "Sally Buck" (2 texts, 2 tunes)
Sharp/Karpeles-80E 70, "The Sally Buck" (1 text, 1 tune)
Ritchie-SingFam, pp. 107-109, "[I Went Out A-Hunting, Sir]" (1 text, 1 tune)
Fife-Cowboy/West 4, "A Hunting Tale" (1 text, 1 tune)
Roud #3607
RECORDINGS:
Bascom Lamar Lunsford, "On a Bright and Summer's Morning" (on BLLunsford01)
NOTES: The variation in this song is immense; of the four versions I've seen, the only common element is the fact that the singer is a hunter and that at some point, "of fifteen or twenty" (or four-and-twenty, or some such), "a thousand (or ten thousand) I did kill."
Along the way the hunter meets various misadventures; these may be borrowed from other songs, and in any case take on local color.
The final stanza, along the line of, "The man who wrote this song, his name was (Benny Young/Bango Bang); If you can tell a bigger lie, I swear you ought (to be hung/to hang)," is characteristic but does not occur in all versions. - RBW
File: SKE70
===
NAME: Sally Come Up
DESCRIPTION: A song in praise of Sally that manages to stress all her bad features: "Sally has got a lubly nose, Flat across her face it grows, It sounds like thunder when it blows.... Sally come up, oh, Sally come down, Oh, Sally, come twist your heels around...."
AUTHOR: unknown
EARLIEST_DATE: 1859 (sheet music)
KEYWORDS: humorous
FOUND_IN: US(MA,MW)
REFERENCES: (1 citation)
FSCatskills 148, "Sally Come Up" (1 text, 1 tune)
NOTES: The earliest printed text of this piece credits the words to T. Ramsey and the music to E. W. Mackney, but as early as 1862 other names began to appear. Paskman and Spaeth believe the song to be a spoof of "Sally in Our Alley." - RBW
Having finally read the lyrics to "Sally in Our Alley," I think Paskman & Spaeth are all wet. The only common element is the name "Sally." - PJS
Note that they don't call it a parody; it's just supposed to be based on the same cahracter. Still a stretch, I allow.
There is a parody, though, by a well-known author -- none other than Lewis Carroll! Carroll's diary forJuly 3, 1862 mentions hearing the Liddell sisters singing this song (obviously implying some amount of oral currency by then), and in the original draft of _Alice in Wonderland_, he had this Mock Turtle's Song:
Salmon, come up! Salmon, go down!
Salmon, come twist your tail around!
Of all the fishes of the sea
There's none so good as Salmon!
Cazden et al list a number of other early parodies (including the above, though I'm getting my information from Martin Gardner's _The Annotated Alice_, which is more detailed.) - RBW
File: FSC148
===
NAME: Sally Go Round the Moon
DESCRIPTION: "Sally go round the (sun), Sally go round the (moon), Sally go round the (stars), On a Saturday afternoon." 
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: travel playparty
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #636, pp. 251-252, "(Sally go round the sun)"
File: BGMG636
===
NAME: Sally Goodin
DESCRIPTION: "Had a piece of pie an' I had a piece of puddin', An' I gave it all away just to see my Sally Goodin." About how much the singer loves Sally, how he courts her -- with perhaps a few sundry comments about food and liquor along the way
AUTHOR: unknown
EARLIEST_DATE: 1922 (recording, Eck Robertson)
KEYWORDS: love courting nonballad floatingverses dancetune
FOUND_IN: US(Ap,SE,So)
REFERENCES: (8 citations)
Lomax-FSNA 121, "Sally Goodin" (1 text, 1 tune)
Randolph 544, "Sally Goodin" (1 text plus a fragment, 1 tune)
Randolph/Cohen, pp. 403-404, "Sally Goodin" (1 text, 1 tune -- Randolph's 544A)
BrownIII 89, "Sally Goodin" (5 fragments, though "D" and "E" might be other songs)
Fuson, p. 158, "Sallie Goodin" (seventh of 12 single-stanza jigs) (1 short text)
Darling-NAS, p. 255, "Sally Goodin" (1 text)
Silber-FSWB, p. 33, "Sally Goodin" (1 text)
DT, SALGOODN
Roud #739
RECORDINGS:
Clifford Gross & Muryel Campbell, "Sally Gooden" (Vocalion 03650, 1937)
Fiddlin' John Carson, "Sallie Goodman" (OKeh 40095-A, 1924)
James Crase, "Sally Goodin" (on MMOKCD)
[G. B.] Grayson & [Henry] Whitter, "Sally Gooden" (Gennett 6733/Champion 15501 [as by Norman Gayle], 1928)
Vester Jones, "Sally Goodin" (on GraysonCarroll1)
Kessinger Brothers, "Sally Goodin" (Brunswick 308, c. 1929)
Neil Morris & Charlie Everidge, "Sally Goodin" [instrumental w. dance calls] (on LomaxCD1707)
John D. Mounce et al, "Sally Gooden" (on MusOzarks01)
New Lost City Ramblers, "Sally Goodin" (on NLCR02) (NLCR16)
Pickard Family, "Sally Goodin"  (Regal 8810, 1929; probably the same as Dad Pickard's recording, Banner 6434, 1929)
Fiddlin' Powers and Family, "Sally Goodin" (Victor, unissued, 1924)
Riley Puckett, "Sally Goodwin" (Columbia 15102-D, 1926)
Eck Robertson, "Sally Goodin" (Victor 18956, 1922)
Ernest V. Stoneman "Sally Goodwin" (Edison, unissued, 1927) (Edison 52350, 1928) (CYL: Edison [BA] 5529, 1928) (Edison 0000 [development disk], 1928)
Uncle "Am" Stuart, "Sally Gooden" (Vocalion 14841, 1924)
CROSS_REFERENCES:
cf. "Cripple Creek (I)" (floating lyrics)
NOTES: Another piece that endures mostly as a fiddle tune. Given the lyrics, it's not hard to see why. - RBW
File: LoF121
===
NAME: Sally Greer
DESCRIPTION: The singer's parents "forced me to Americay, my fortune to pursue." As the ship crosses the ocean, he thinks of his beloved Sally Greer. The ship sinks, with only (13) of 350 surviving. The poor survivor hopes to return to Sally
AUTHOR: unknown
EARLIEST_DATE: 1957
KEYWORDS: separation love emigration disaster wreck
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Fowke/Mills/Blume, pp. 92-93, "Sally Greer" (1 text, 1 tune)
Peacock, pp. 358-359, "Charming Sally Greer" (1 text, 1 tune)
ST FMB092 (Partial)
Roud #4084
RECORDINGS:
Martin McManus, "Sally Greer" (on Ontario1)
CROSS_REFERENCES:
cf. "The Glasgow" (theme, plus the girl Sally Greer)
NOTES: This song is item dD39 in Laws's Appendix II. It reminds me of Laws K11, "Sally Munroe," but though there are several points of contact, the plot differs somewhat and there do not appear to be common lyrics.
Peacock notes that the various versions give different internal dates: 1833 and 1843. - RBW
File: FMB092
===
NAME: Sally in the Garden
DESCRIPTION: Dance tune with chorus "Sally in the garden sifting sand/Sally upstairs with a hog-eyed man"; floating verses: "Chicken in the bread pan kicking up dough"; "Sally will your dog bite, no sir, no/Daddy cut his biter off a long time ago"
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: sex dancing nonballad animal floatingverses
FOUND_IN: US(Ap,SE,So)
REFERENCES: (4 citations)
Cohen/Seeger/Wood, p. 67, "Hog-eye" (1 text, 1 tune)
BrownIII 232, "Sal's in the Garden Sifting Sand" (1 fragment)
SharpAp 250, "The Hog-eyed Man" (1 text, 1 tune)
Darling-NAS, pp. 254-255, "Hogeye" (1 text)
Roud #331
RECORDINGS:
New Lost City Ramblers, "Hogeye" (on NLCR03)
Pope's Arkansas Mountaineers, "Hog Eye" (Victor 21295, 1928)
CROSS_REFERENCES:
cf. "Roll the Boat Ashore (Hog-eye I)" (many floating verses)
cf. "The Hog-Eye Man" (words)
cf. "Granny Will Your Dog Bite?" (words, part of tune)
NOTES: This is part of a cluster that includes the bawdy song "The Hog-Eye Man," another Arkansas dance tune "Hogeye" ("Row the boat ashore with a hogeye, hogeye/Row the boat ashore with a hogeye man"), "Granny Will Your Dog Bite" and others. I've used the "Sally in the Garden" title to differentiate the dance tune from the bawdy song, even though they're clearly siblings. - PJS
Paul in fact has strongly suggested merging "Sally in the Garden" and "Roll the Boat Ashore (Hog-eye I)." Roud appears to lump the two. There are verses floating freely between both, which means that fragments often cannot be identified with one or the other. Nonetheless, they appear to me to be different though related songs; the choruses are different, and if all the lyrics float, that is decisive.
Still, one should check the cross-references to be sure to find all the versions. - RBW
File: CSW067
===
NAME: Sally Monroe [Laws K11]
DESCRIPTION: Blacksmith Jim Dixon sends a letter to Sally by a friend. The friend deceitfully hides the letter, but Dixon and Sally later meet and are married. They sail for Quebec, but the ship strikes a rock. Sally is drowned. Dixon lives; he grieves for her parents
AUTHOR: unknown
EARLIEST_DATE: 1854 (Broadside, Bodleian Harding B 17(272b))
KEYWORDS: courting trick marriage emigration ship wreck death
FOUND_IN: Britain(England(South)) US(MW,NE) Canada(Mar,Newf) Ireland
REFERENCES: (10 citations)
Laws K11, "Sally Monroe"
Doerflinger, pp. 303-304, "Sally Monroe" (1 text, 1 tune)
SHenry H571, p. 441, "Sally Munro" (1 text, 1 tune)
Ord, pp. 115-116, "Sally Munro" (1 text)
Greenleaf/Mansfield 57, "Sally Monroe" (1 text)
Peacock, pp. 488-489, "Young Sally Monro" (1 text, 1 tune)
Leach-Labrador 36, "Sally Monroe" (1 text, 1 tune)
Dibblee/Dibblee, pp. 88-89, "Sally Munroe" (1 text, 1 tune)
Ives-DullCare, pp. 142-143,253, "Sally Monroe" (1 text, 1 tune)
DT 402, SALMUNRO*
Roud #526
RECORDINGS:
Harry Brazil, "Sally Morrow" (on Voice11)
BROADSIDES:
Bodleian, Harding B 17(272b), "Sally Monro/Munro," unknown (Glasgow), 1854
NLScotland, L.C.178.A.2(211), "Sally Munro," unknown, c. 1830-1850; also RB.m.169(128), "Sally Munro"
ALTERNATE_TITLES:
Young Sally Monroe
File: LK11
===
NAME: Sally My Dear: see Hares on the Mountain (File: ShH63)
===
NAME: Sally to her Bed Chamber
DESCRIPTION: "Now Sally to her bed chamber this night she made great moan, Saying, 'Jimmie, lovely Jimmie, your pillow is quite alone. How can I rest contented and you so far awa'? Sure I thought I'd lived and died with you in sweet Erin go bragh'"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: love separation
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 63, "Sally to her Bed Chamber" (1 fragment, 1 tune)
Roud #2758
NOTES: The current description is all of the Creighton-SNewBrunswick fragment.
Creighton-SNewBrunswick: "This is obviously an Irish song of lament for a husband far away." - BS
File: CrSNB063
===
NAME: Sally Walker: see Little Sally Walker (File: CNFM157)
===
NAME: Sally Waters: see Little Sally Walker (File: CNFM157)
===
NAME: Sally Went to Preachin'
DESCRIPTION: 'Sally went to preachin', she shouted and she squalled, She got so full religion she tore her stocking heel." "An a git a long home, nega, nega (x3), I'm bound for Shakletown." "Somebody stole my ol' coon dog...." "I'm gonna get some bricks...."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: clothes robbery floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 458, "Sally Went to Preachin'" (1 text)
Roud #11796
NOTES: This reminds me a lot of "Cindy," but it's hard to tell if they are related based on the Brown text. - RBW
File: Br3458
===
NAME: Sally, Let Your Bangs Hang Down
DESCRIPTION: Singer describes former girlfriend Sally; he saw her changing; she caught him peeping. She's run off with Tony. Refr: "Sally, let your bangs hang down"; ch.: "Sally she can land 'em...I'll find out what Sally's got, makes the men think she's so hot"
AUTHOR: unknown
EARLIEST_DATE: 1937 (recording, Bill Cox & Cliff Hobbs)
LONG_DESCRIPTION: Singer describes Sally, who was his girlfriend, as a hot girl; he saw her changing clothes, but she caught him peeping. She has always left him guessing, and has just run off with Tony. Refrain: "Sally, let your bangs hang down"; ch.: "Sally she can land 'em, she loves 'em and she leaves 'em...I'll find out what Sally's got, makes the men think she's so hot..."
KEYWORDS: jealousy courting sex abandonment bawdy lover clothes
FOUND_IN: US
REFERENCES: (1 citation)
DT, SALBANGS
RECORDINGS:
Bill Cox & Cliff Hobbs, "Sally Let Your Bangs Hang Down" (Melotone 7-08-70, 1937)
NOTES: Barely scrapes by as a ballad, but there *is* a narrative there. - PJS
File: RcSLYBHD
===
NAME: Sally, Molly, Polly
DESCRIPTION: Hog-calling chant: "Sally, Molly, Polly, O -- Come on -- git cawn! Little in the basket, more in the crib, Come on -- git cawn!"
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: food animal nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 209, "Sally, Molly, Polly" (1 short text)
File: Br3209
===
NAME: Sally's Cove Tragedy, The
DESCRIPTION: A few days after leaving home, "The rain and fog lay thick all around, the winds did howl and mourn." "Without fire, food, or water in that bitter piercing cold," two boys, Russ and Dennis, die leaving Eli Roberts to mourn.
AUTHOR: George Decker
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: death fishing sea ship ordeal
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 971-972, "The Sally's Cove Tragedy" (1 text, 1 tune)
Roud #9933
NOTES: I can't find a record of this loss. However, Peacock says Decker claimed to have written this ballad around 1909-1919. An Eli and Susan Roberts were married at Sally's Cove in 1893 [source: Newfoundland & Labrador Gen Web site] so a date of 1909 or 1910 seems reasonable for the incident.
Salley's Cove is on the west coast of Newfoundland in what is now Gros Morne National Park - BS
File: Pea971
===
NAME: Salmon Fishers
DESCRIPTION: "Cam ye by the salmon fishers? Cam ye by the roperee? Saw ye a sailor laddie Sailing on the raging sea?" The girl may describe the sailor she loves, or how they courted, or how they expect to marry
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: love courting sailor floatingverses
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Montgomerie-ScottishNR 78, "(Cam you by the salmon fishers)" (1 text)
DT, SALMFISH
Roud #12978
CROSS_REFERENCES:
cf. "Katie Cruel (The Leeboy's Lassie; I Know Where I'm Going)" (lyrics)
NOTES: This is a difficult song to assess. The first stanza has relatively invariant. What follows is not. Several of the other versions (Montgomerie's, Gomme's II) follow this with stanzas straight out of "Katie Cruel/I Know Where I'm Going." Other texts have none of this -- but don't agree particularly closely, either.
Under the circumstances, any song starting with the "Salmon Fishers/Salmon Fishing" stanza must file here, but it must be accepted that any short "I Know Where I'm Going" might be a defective version of this, or of the "Katie Cruel/Leeboy's Lassie" type. - RBW
File: MSNR078
===
NAME: Salt Creek Girl, The: see Jack Haggerty (The Flat River Girl) [Laws C25] (File: LC25)
===
NAME: Salt Horse Song, The
DESCRIPTION: The singer conducts a dialog with an old horse, which has been salted and sent aboard ship. He is not too thrilled about such a diet, but there is little he can do. He proves that it is horsemeat by showing a horseshoe in the meat barrel
AUTHOR: unknown
EARLIEST_DATE: 1851 (Journal of John Gorman of the transport ship Minden)
KEYWORDS: dialog horse ship
FOUND_IN: US(MA,NE) Canada(Mar)
REFERENCES: (7 citations)
Flanders/Olney, p. 226, "The Salt Horse Song"; pp. 226-227, "Old Hoss, Old Hoss" (2 texts, 1 tune)
BrownIII 227, "Old Horse, Old Horse" (1 short text)
Linscott, pp. 142-144, "Old Horse" (1 short text, 1 tune)
Doerflinger, pp. 21-22, "Blow the Man Down (V)" (this last text combines the words of "The Salt Horse Song" with the tune & metre of "Blow the Man Down"); p. 160, "The Sailor's Grace" (2 texts, tune referenced)
Hugill, pp. 556-557, "The Sailor's Grace" (3 texts, 2 tunes) [AbEd, pp. 393-394]
Huntington-Whalemen, pp. 279-281, "Old Horse" (1 text, 1 tune)
Smith/Hatt, p. 44, "Old Hoss" (1 text)
Roud #3724
CROSS_REFERENCES:
cf. "Poor Old Man (Poor Old Horse; The Dead Horse)"
cf. "Blow the Man Down" (lyrics)
NOTES: Sailors referred to pickled beef as "salt horse," probably partly because it tasted so bad and partly because they suspected contractors of mixing in the occasional bit of horsemeat. From there it wasn't much of a stretch to this song. - RBW
File: FO226
===
NAME: Saltpetre Shanty (Slav Ho)
DESCRIPTION: Shanty. "To ol' Callyo we're bound away, (Slav ho!/Oh Roll!) (repeat) We're bound away from Liverpool bay, them puntas o' Chili will grab our pay. Ch: Oh rooooll, Rock yer bars! Heave 'er high-o, rock 'er, oh, rooooll!"
AUTHOR: unknown
EARLIEST_DATE: 1917
KEYWORDS: shanty ship travel
FOUND_IN: Britain
REFERENCES: (3 citations)
Colcord, p. 97, "Slav Ho!" (1 short text, 1 tune-quoting Robinson)
Hugill, p. 518, "Saltpetre Shanty" (1 text, 1 tune) [AbEd, p. 377]
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "To the Spanish Main--Slav Ho!" is in Part 4, 8/4/1917
Roud #4692
CROSS_REFERENCES:
cf. "Drei Reiter Am Thor" (tune)
SAME_TUNE:
Drei Reiter Am Thor (File: Colc096)
NOTES: See also notes to "Drei ritten am Thor." Robinson gives an alternate refrain with imitative Spanish words "Slav Ho! Slavita, vraimentigo slee-ga, Slav Ho!" which Colcord quoted and used to launch her explanation of how one song ends up being a new one. Her supposition being as follows:
Two ships, say, German and British, are moored near each other. The English shantyman hears the German sailors singing an old folk song. He doesn't understand the words, but likes the tune and starts humming or playing it to himself. Then (quoting from Colcord) "he let it lie fallow till some words occurred to him would fit it. Naturally, they concerned the part of the world in which he found himself, and it mattered not at all to him that literary landsfolk reserve the term 'Spanish Main' for an different part of the world altogether. When it came to the chorus, he wanted some good rousing nonsense-syllables, and again he borrowed-this time from the Spanish tongue that he heard daily. The sailor was always immensely tickled by the sound of a foreign, particularly a Latin, language, and was given to clumsy paraphrases of it." - SL
File: Colc097
===
NAME: Salty Dog
DESCRIPTION: Floating verses linked by  the words "Honey, let me be your salty dog," e.g. "Pulled the trigger and the gun said go/Shot rung over in Mexico"; "Two old maids lyin' in the bed/One turned over to the other and said/You ain't nothin' but my salty dog."
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, Papa Charlie Jackson)
KEYWORDS: sex bawdy nonballad floatingverses
FOUND_IN: US(SE,Ap)
REFERENCES: (3 citations)
Cohen/Seeger/Wood, pp. 184-185, "Salty Dog Blues" (1 text, 1 tune)
Silber-FSWB, p. 79, "Salty Dog" (1 text)
DT, SALTDOG
Roud #11661
RECORDINGS:
Allen Bros., "A New Salty Dog" (Victor 23514, 1931; Bluebird B-5403, 1934; Montgomery Ward M-4750, c. 1945; RCA Victor 20-2132, 1947; on RCA Victor LPV-552 (LP), GoingDown); "Salty Dog, Hey Hey Hey" (Vocalion 02818, 1934); probably also "Salty Dog Blues" (Columbia 15175-D, 1927)
Papa Charlie Jackson, "Salty Dog Blues" (Paramount 12236, 1924; Broadway 5001, c. 1930)
McGee Brothers, "Salty Dog Blues" (Vocalion 5150, 1927)
Morris Brothers, "Let Me Be Your Salty Dog" (Bluebird B-7967, c. 1938) (RCA Victor 20-1783 [as "Salty Dog Blues], 1945) [I suspect these are the same recording but can't prove it yet]
Stripling Brothers, "Salty Dog" (Decca 5049, 1934)
CROSS_REFERENCES:
cf. "Rigby Johnson Chandler" (floating lyrics)
cf. "Bottle Up and Go" (floating lyrics)
cf. "Step It Up and Go"
cf. "Take Your Fingers Off It"
cf. "Johnny and Jane" (tune)
cf. "Candy Man" (assorted references)
ALTERNATE_TITLES:
A New Salty Dog
NOTES: A "salty dog" was a sexual partner. - PJS
In bluegrass circles, this is credited to the Morris Brothers, but the Jackson recording seems to eliminate this possibility. - RBW
File: CSW184
===
NAME: Salutation, The
DESCRIPTION: "Aroun' Pat Murphy's hearth there was music, song, and mirch" when the traveler comes to the door. She announces the news: "The fairy queen intends for to occupy the Glens" and restore prosperity to Ireland. The Irish will always remember home
AUTHOR: Jaes O'Kane
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: home Ireland nonballad gods
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H756, p. 60, "The Salutation" (1 text, 1 tune)
Roud #13366
File: HHH756
===
NAME: Sam Bass [Laws E4]
DESCRIPTION: Sam Bass, a cowpuncher and at first a kind-hearted fellow, turns to train robbery. Betrayed by an acquaintance named Jim Murphy, he is killed by a Texas Ranger
AUTHOR: unknown
EARLIEST_DATE: 1888 (Thorp)
KEYWORDS: cowboy death betrayal
HISTORICAL_REFERENCES: 1878 - Death of Sam Bass near Round Rock, Texas
FOUND_IN: US(Ap,MW,Ro,So,SW)
REFERENCES: (17 citations)
Laws E4, "Sam Bass"
Belden, pp. 399-400, "Sam Bass" (1 text plus mention of 2 more)
Randolph 142, "Young Sam Bass" (1 text plus a long excerpt, 1 tune)
Friedman, p. 375, "Sam Bass" (1 text)
Sandburg, pp. 422-424, "Sam Bass" (1 text, 1 tune)
Thorp/Fife X, pp. 112-120 (24-26), "Sam Bass" (3 texts, 1 tune)
Fife-Cowboy/West 95, "Sam Bass" (1 text, 1 tune)
Larkin, pp. 158-161, "Sam Bass" (1 text, 1 tune)
Lomax-FSUSA 81, "Sam Bass" (1 text, 1 tune)
Lomax-ABFS, pp. 126-128, "Sam Bass" (1 text, 1 tune)
LPound-ABS, 66, pp. 149-152, "Sam Bass" (1 text)
Burt, pp. 199-200, "Sam Bass" (1 short text)
JHJohnson, pp. 96-98, "Sam Bass" (1 text)
Darling-NAS, pp. 190-191, "Sam Bass" (1 text)
Silber-FSWB, p. 196, "Sam Bass" (1 text)
Saffel-CowboyP, p. 204-205, "Sam Bass" (1 text)
DT 621, SAMBASS*
Roud #2244
RECORDINGS:
Harry "Mac" McClintock, "Sam Bass" (Victor 21420, 1928; on AuthCowboys, WhenIWas1)
Marc Williams, "Sam Bass" (Brunswick 304, 1929; rec. 1928)
NOTES: Report has it that Bass had his shootout with the police on July 20, 1878; he was captured the next day and died the day after. That July 22 is said to have been his 27th birthday.
This song has been attributed (e.g. by Thorpe) to a John Denton of Gainesville, Texas, and supposedly written in 1879, but most scholars think that multiple hands have been involved. - RBW
File: LE04
===
NAME: Sam Cooper
DESCRIPTION: Sam Cooper is "up for a crime," "handcuffed and caught on the house on the hill," tried in Timmum, then Wexford, then Enniscorthy and "they couldn't find me guilty on every degree." He sings, "I'll make this Lar' now repent now for all he has done"
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: crime manhunt trial
FOUND_IN: 
REFERENCES: (0 citations)
Roud #16726
RECORDINGS:
Bill Cassidy, "Sam Cooper" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "It appears to have been exclusive to travellers. We recorded it from three different singers and in each case they told us that Sam Cooper was arrested for stealing oats, though this is not mentioned in any of the versions. They also said he was guilty as charged."
Timmum [Taghmon], Wexford and Enniscorthy are all in Co. Wexford. - BS
File: RcSamCoo
===
NAME: Sam Griffith
DESCRIPTION: The singer dreams of seeing "Sam Griffith with a darky for a mate." Sam begs for a drink, claiming the squatters don't like a union man. The singer abuses him for his hypocrisy. Sam leaps to the attack; the singer wakes up 
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: work fight dream discrimination
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 25-27, "Sam Griffith" (1 text, 1 tune)
File: MA025
===
NAME: Sam Hall (Jack Hall) [Laws L5]
DESCRIPTION: (Sam Hall), about to be hanged, bitterly tells his tale, spitting curses all the while -- directing them at the parson, the sheriff, his girlfriend, and the spectators. He is guilty of killing a man, and goes to the gallows still blazing away
AUTHOR: C. W. Ross
EARLIEST_DATE: 1719
KEYWORDS: curse execution gallows-confession prisoner punishment
HISTORICAL_REFERENCES: 1701 - Execution of Jack Hall, a young London chimney sweep, on a charge of burglary. His "last goodnight" hawked about as a broadside eventually became the blasphemous "Sam Hall."
FOUND_IN: Australia US(Ap,NE,SE,SW) Britain(England(All)) New Zealand
REFERENCES: (11 citations)
Laws L5, "Sam Hall"
Friedman, p. 223, "Sam Hall" (1 text+1 fragment, 1 tune)
Cray, pp. 43-48, "Sam Hall" (1 text, 1 tune)
PBB 117, "Sam Hall" (1 text)
Sharp-100E 81, "Jack Hall" (1 text, 1 tune)
Flanders/Brown, pp. 96-97, "Jack Hall" (1 text)
Lomax-ABFS, pp. 133-134, "Sam Hall" (1 text, 1 tune)
Kennedy 322, "Jack Hall" (1 text, 1 tune)
Darling-NAS, pp. 102-103, "Jack Hall"; "Sam Hall" (1 text plus a fragment)
Silber-FSWB, p. 69, "Sam Hall";  p. 200, "Ballad Of Sam Hall" (2 texts)
DT 420, SAMHALL (TALLOCAN)
Roud #369
RECORDINGS:
Emry Arthur, "Ethan Lang" (c. 1930; on RoughWays2)
Walter Pardon, "Jack Hall" (on Voice17)
Tex Ritter, "Sam Hall" (Decca 5076, 1935)
BROADSIDES:
Bodleian, Harding B 11(1849), "Jack the Chimney Sweep" ("My name it is Jack All chimney sweep chimney sweep"), J. Pitts (London), 1819-1844; also Harding B 11(2840), Harding B 11(2841), "Jack the Chimney Sweep"; Harding B 15(145a), "Jack Hall"; Harding B 20(27), "Sam Hall Chimney Sweep"
CROSS_REFERENCES:
cf. "Sam MacColl's Song" (tune)
ALTERNATE_TITLES:
Samuel Hall
NOTES: _Pills to Purge Melancholy_ includes new words set to the tune of "Chimney-Sweep," recognizably "Jack Hall." Therefore the song must have already been in circulation by that time, 1719. -PJS
There is also a book, _Memoirs of the Right Villanous Jack Hall_, a tale of a highwayman, published 1708. I know nothing of the book except its title and that it devotes some time to describing Newgate Prison. - RBW
File: LL05
===
NAME: Sam Holt
DESCRIPTION: The singer reminds Sam Holt of the various events of his life: "Oh, don't you remember Black Alice, Sam Holt... [with] teeth like a Moreton Bay shark...." Stories about Sam's courtship amid ants, his cheating and cards, his mining fortune, and his travels
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: rambling cards courting Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Fahey-Eureka, pp. 98-99, "Sam Holt" (1 text, 1 tune)
Roud #9097
CROSS_REFERENCES:
cf. "Ben Bolt" (tune & meter)
File: FaE098
===
NAME: Sam MacColl's Song
DESCRIPTION: MacColl, whose penis is so large there is no room for a scrotum, boasts he services the girls until they weary, then tires horses, cows and sheep.
AUTHOR: Attributed to Jim Tully
EARLIEST_DATE: 1927 ("Immortalia")
KEYWORDS: bawdy bragging humorous lie
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Cray, pp. 48-49, "Sam MacColl's Song" (1 text, 1 tune)
Roud #10177
CROSS_REFERENCES:
cf. "Sam Hall (Jack Hall)" [Laws L5] (tune)
File: EM048
===
NAME: Sam's "Waiting for a Train": see Ten Thousand Miles Away from Home (A Wild and Reckless Hobo; The Railroad Bum) [Laws H2] (File: LH02)
===
NAME: Samaritan Woman, The: see The Maid and the Palmer [Child 21] (File: C021)
===
NAME: Same House As Me, The
DESCRIPTION: The singer claims that "Many a man... would hang [himself] up... If [he] had half as much trouble as me." He and his wife have a young girl as a lodger; one night, coming home drunk from a concert, the singer goes to sleep in her bed. Mayhem follows.
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: husband wife drink adultery humorous
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 269-270, "The Same House As Me" (1 text, 1 tune)
File: MCB269
===
NAME: Same Train: see This Train (File: LoF255)
===
NAME: Sampanmadchen, Das (The Sampan Maiden)
DESCRIPTION: German or Swedish shanty. Pidgin English (or in this case, pidgin German), nonsense verses - "I no likie you-hou, you no-ho likie me-hie". Versions of this were to be found in several languages. Chorus of even more nonsensical syllables.
AUTHOR: unknown
EARLIEST_DATE: 1936 (Baltzer, _Knurrhahn_)
KEYWORDS: foreignlanguage shanty nonsense China
FOUND_IN: Germany Sweden
REFERENCES: (1 citation)
Hugill, pp. 569-570, "Das Sampanmadchen," "En Sjomansvisa Fran Kinakusten" (4 texts-German, Swedish, and English, 1 tune)
CROSS_REFERENCES:
cf. "Chinee Bumboatman" (some similar verses)
ALTERNATE_TITLES:
En Sjomansvisa Fran Kinakusten" (A Sailor's Song from the China Coast)
File: Hugi569
===
NAME: Samson: see Samson and Delilah (File: LoF251)
===
NAME: Samson and Delilah
DESCRIPTION: "Delilah was a woman, fine and fair, Very pleasant looks and coal black hair... If I had my way I'd tear the building down." Delilah tricks Samson out of the secret of his strength; he is captured, but manages to tear the building down.
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Rev. T. E. Weems)
KEYWORDS: Bible religious death hair trick lie
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Lomax-FSNA 251, "Samson" (1 text, 1 tune)
Courlander-NFM, pp. 49-50, "(If I Had My Way)" (1 text)
Roud #6700
RECORDINGS:
Blind Willie Johnson, "If I Had My Way I'd Tear the Building Down" (Columbia 14343-D, 1928; Vocalion 03021, 1935; rec. 1927)
Celina Lewis, "Session with Celina Lewis" (on NFMAla6)
Rev. T. E. Weems, "If I Had My Way I'd Tear the Building Down" (Columbia 14254-D, 1927)
NOTES: Most of this story is Biblically accurate. The story of Samson occupies chapters 13-16 of Judges. We may categorize:
* Delilah's beauty (not mentioned; we are only told that Samson loved her; see 16:4)
* Samson's birth: A miraculous event described in chapter 13
* "Strongest man that ever lived on earth": not explicit, but tales of his strength fill most of chapters 14-16
* "He killed three thousand Philistines": No such number is given. We read in 14:19 that he killed 30, in 15:15 of another thousand, etc., and in 16:30 that he killed more by knocking down the building than he had in life.
* The dead lion and the bees: 14:6, 8f.
* "They bound him with a rope" (first occurrence): 15:13
* The old jawbone, etc.: 15:15f.
* Samson told her, "Shave off my hair": 16:17
* "His strength became like a natural man": 16:19
* The final incident, where the blinded Samson is displayed before the Philistines, but has his revenge by pulling the building down on them, is told in 16:23-30. - RBW
File: LoF251
===
NAME: Samuel Allen [Laws C10]
DESCRIPTION: Samuel Allen is examining a rolling dam on the Rocky Brook. The dam falls apart, and Allen is drowned
AUTHOR: John Calhoun of Bouestown (1848-1939) (per Ives-NewBrunswickm Manny/Wilson)
EARLIEST_DATE: 1947 (Manny/Wilson)
KEYWORDS: logger death drowning
FOUND_IN: US(NE) Canada(Mar)
REFERENCES: (4 citations)
Laws C10, "Samuel Allen"
Ives-NewBrunswick, pp. 49-53, "Rocky Brook" (1 text, 1 tune)
Manny/Wilson 40, "Rocky Brook" (1 text, 1 tune)
DT 716, SAMALLEN
Roud #1944
File: LC10
===
NAME: Samuel Hall: see Captain Kidd [Laws K35] (File: LK35)
===
NAME: Samuel Young
DESCRIPTION: Samuel Young, of Kentucky, is courting a girl against the wishes of her father; he arranges to have him sent to the Mexican War. He gets as far as Monterey when he takes sick and dies
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: disease grief courting army war parting separation father lover
FOUND_IN: US(SE)
REFERENCES: (2 citations)
SharpAp 192, "Samuel Young" (1 text, 1 tune)
DT, SAMYOUNG*
NOTES: The theme of the father having his daughter's unwelcome suitor sent away, pressed into the army, etc., is of course common, but this is one of the few songs in which she doesn't follow him, and he does not return to claim the daughter/fight the father. It doesn't seem to overlap other songs, and I'd guess it was composed by a friend or relative of the fallen soldier. The part of North Carolina where the song was collected is not far from Kentucky. - PJS
The song is definitely curious, since the Mexican War did not involve a military draft. Perhaps the father demanded that the young man join the army as a condition for marrying his daughter?
Given the appalling sanitary conditions in armies of this period, it's no surprise that he died of disease.
I strongly suspect the song is modeled on something else. The words make me think of "The Suffolk Miracle," though the tune is close to "Bury Me Not on the Lone Prairie."
The song is item dA34 in Laws's Appendix II. - RBW
File: ShAp2192
===
NAME: Sandgate Lass on the Ropery Banks, The
DESCRIPTION: "On the Ropery Banks Jenny was sittin'... And hearty I heard this lass singin' -- My bonny keel lad shall be mine." She is knitting the stockings she promised him. She recalls meeting him, and looks forward to bearing his children
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: love courting children clothes
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 184-185, "The Sandgate Lass on the Ropery Banks" (1 text, 1 tune)
ST StoR184 (Partial)
Roud #3178
NOTES: For some reason, this reminds me very strongly of "Bring Back My Johnny to Me." But I can't point to common elements. - RBW
File: StoR184
===
NAME: Sandgate Lass's Lament, The
DESCRIPTION: "I was a young maiden truly, And liv'd in Sandgate Street; I thought to marry a good man... But last I married a keelman, And my good days are done." The girl lists all the men she thought of marrying, and then contrasts her ill-formed, evil keelman
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: marriage abuse lament work
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 162-163, "The Sandgate Lass's Lament" (1 text, 1 tune)
ST StoR162 (Full)
Roud #3170
NOTES: A keelman is not one who is involved in shipbuilding but, I believe, one who keels cloth -- marks it for cutting. It is interesting to note that "to keel" also has been used to mean "to mark down as worthy of contempt." So this may be a pun, or it might be simply that the singer has a truly low opinion of her husband. - RBW
File: StoR162
===
NAME: Sandy Boy, De
DESCRIPTION: Shanty, negro origin. Singer is going down a river when a shark eats his boat. He travels from place to place looking for more boats, but the shark keeps showing up. Other verses have rhymes about girls.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sternvall, _Sang under Segel_)
LONG_DESCRIPTION: Shanty, negro origin. Singer is going down a river when a shark eats his boat. He travels from place to place looking for more boats, but the shark keeps showing up. Other verses have rhymes about girls. Typical verses would be: "When I went down to New Orleans to see de boatman row, I set myself down on a rock an' played the old banjo." "Then I went to Alo, to buy a little goat, The ole shark came behind us a swallowed down the boat." Chorus: "Do come along, my Sandy boy, Do come along, oh, do! What will Uncle Gabriel say? Oh, Sally, can't you too?"
KEYWORDS: shanty sailor river ship
FOUND_IN: US(SE) West Indies
REFERENCES: (1 citation)
Hugill, p. 458-460, "De Sandy Boy" (2 texts, 2 tunes)
File: Hugi458
===
NAME: Sandy Lan': see Great Big Taters in Sandy Land (File: LxA236)
===
NAME: Sandy's a Sailor
DESCRIPTION: Sandy is a sailor. He is paid Saturday and spends it on drink. Sunday at church "he takes the button off his shirt and he puts it on the plate." You'll not find him at his ship but in the bar drinking gin.
AUTHOR: unknown
EARLIEST_DATE: 1973 (recording, Lizzie Higgins)
KEYWORDS: drink nonballad sailor
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (0 citations)
Roud #12924
RECORDINGS:
Lizzie Higgins, "Sandy's a Sailor" (on Voice02)
File: RcSanASa
===
NAME: Sandy's Mill
DESCRIPTION: "Sandy had a nice little mill." "Sandy, quo he, Lend me your mill!" "Sandy lent the man his mill, And the man got a loan of Sandy's mill, And the mill that was lent was Sandy's mill, An the mill belonged to Sandy."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: 
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 177, "('Sandy,' quo he, lend me your mill!')" (1 short text)
Roud #2875
File: MSNR177
===
NAME: Sandy's Wooing
DESCRIPTION: Sandy asks Jenny to marry him. She hesitates, pointing out examples of girls who have been betrayed and abandoned by men, perhaps for money. He says that he doesn't need riches; she agrees to marry him
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: love courting marriage money
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H239, p. 469, "Sandy's Wooing" (1 text, 1 tune)
Roud #9455
File: HHH239
===
NAME: Sans Day Carol: see The Holly Bears a Berry (File: K091)
===
NAME: Santa Ana: see Santy Anno (File: Doe078)
===
NAME: Santa Anna: see Santy Anno (File: Doe078)
===
NAME: Santa Fe Trail, The
DESCRIPTION: The singer asks, "Say, pard, have you sighted a schooner Way out on the Santa Fe Trail?" In the company is "A little tow-headed gal on a pinto" whom he very much wishes to see. He describes her, though he will not give her name
AUTHOR: Words: James Grafton Rogers/Music: J. H. Gower
EARLIEST_DATE: 1911 (sheet music)
KEYWORDS: cowboy travel separation
FOUND_IN: US
REFERENCES: (1 citation)
Ohrlin-HBT 85, "'Longside of the Santa Fe Trail" (1 text, 1 tune)
Roud #5096
RECORDINGS:
Jules [Verne] Allen, "Longside The Santa Fe Trail" Victor V-40118, 1929; Montgomery Ward M-4344, 1933; Montgomery Ward M-4780, 1935; on WhenIWas1) 
Glenn Ohrlin, "Santa Fe Trail" (on Ohrlin01)
Art Thieme, "The Santa Fe Trail" (on Thieme03)
The Westerners [Massey Family], "Santa Fe Trail" (Perfect 6-03-58/Melotone 6-03-58, 1936)
NOTES: Although the sheet music of this piece was published in 1911, it seems that almost every version in tradition (even pop tradition) derives from Jules Verne Allen's 1929 recording. - RBW
File: Ohr085
===
NAME: Santiana: see Santy Anno (File: Doe078)
===
NAME: Santianna: see Santy Anno (File: Doe078)
===
NAME: Santy Ana: see Santy Anno (File: Doe078)
===
NAME: Santy Anna: see Santy Anno (File: Doe078)
===
NAME: Santy Anno
DESCRIPTION: Shanty. Characteristic lines: "Heave Away/Hooray, Santy Anno/Anna... All on the plains of Mexico." The body of the song devotes itself to the Mexican War and/or the California Gold Rush and the sailor's desire to get married and participate
AUTHOR: unknown
EARLIEST_DATE: 1906
KEYWORDS: shanty battle Mexico gold
HISTORICAL_REFERENCES: Apr 24, 1846 - skirmish between U.S. and Mexican forces in an area of Texas generally regarded as belonging to Mexico. On April 26, General Zachary Taylor reports to President James K. Polk that "hostilities may now be considered as commenced."
May 3 - Mexicans attack Taylor's position at Fort Texas. Taylor moves to the rescue
May 8 - Taylor wins a minor battle at Palo Alto against a superior Mexican force
May 9 - Taylor defeats the retreating Mexicans at Resaca de la Palma
May 13 - War declared with Mexico
May 18 - Taylor crosses the Rio Grande and occupies Matamoros
June 14 - American settlers in California declare independence from Mexico. American forces under John C. Fremont and John Sloat  arrive to support them. Stephen Kearney moves to take over the lands between California and Texas
Aug 17 - David Stockton formally annexes California for the United States and assumes the role of governor
Sept 14 - Antonio Lopez de Santa Anna, who as president of Mexico had lost Texas, takes command of the Mexican army
Sept 20-24 - Taylor captures Monterrey, Mexico after a bloody battle
Nov 16 - Taylor captures Saltillo
Nov 25 - Kearney, now governor of California, begins a campaign to drive the Mexicans under Flores out of southern California. He secures the entire state by Jan 10, 1847
Jan 3, 1847 - General Winfield Scott assumes command in Mexico, superseding Taylor
Feb 5 - Taylor, at odds with the administration and Scott, moves west
Feb 22-23 - Santa Anna confronts Taylor's 5000 men with 15000 and demands surrender. Taylor refuses, then beats Santa Anna at the battle of Buena Vista
Mar 9 - Scott lands at Vera Cruz to begin a campaign against Mexico CIty
April 18 - Scott defeats Santa Anna at Cerro Gordo
Sept 14 - After many minor battles, Scott captures Mexico City
Feb 2, 1848 - Treaty of Gaudalupe Hidalgo ends the war between the U.S. and Mexico, with the U.S. gaining most of what is now Texas, California, Arizona, Nevada, New Mexico, and Utah (the remainder is acquired via the Gadsden Purchase of 1853), plus portions of other states
Nov 7 - Zachary Taylor elected President as a Whig
July 9, 1850 - After a disappointing fifteen months in office, Taylor dies and is succeeded by Millard Fillmore
FOUND_IN: US(MA) Ireland Canada(Mar)
REFERENCES: (19 citations)
Doerflinger, pp. 78-80, "Santy Anna" (2 texts, 2 tunes)
Bone, pp. 129-130, "Santy Ana" (1 text, 1 tune)
Colcord, pp. 84-85, "Santy Anna" (1 text, 1 tune)
Harlow, pp. 40-41, "Santa Ana (On the Plains of Mexico)" (1 text, 1 tune)
Hugill, pp. 82-87, "Santiana," "The Plains of Mexico," "Round the Bay of Mexico" (5 texts, some short and very mixed, 4 tunes) [AbEd, pp.76-80]
Robinson/Bellman, Pt.3, 7/28/1917, "Santa Anna" (1 text-fragment only, 1 tune)
Sharp-EFC, I, p.2, "Santy Anna" (1 text, 1 tune)
Shay-SeaSongs, p. 79, "Santa Anna or The Plains of Mexico" (1 short text, 1 tune)
Scott-BoA, pp. 186-187, "Santy Anno" (1 text, 1 tune)
Lomax-FSUSA 40, "Santy Anno" (1 text, 1 tune)
Lomax-FSNA 26, "Santy Anno" (1 text, 1 tune)
Botkin-AmFolklr, p. 835, "Santy Anna" (1 text, 1 tune)
SHenry H496, pp. 96-97, "Santy Anna" (1 text, 1 tune)
Smith/Hatt, p. 27, "On the Plains of Mexico" (1 text)
Mackenzie 99, "Santy Anna" (1 text)
Darling-NAS, p. 314, "Santa Anna" (1 text)
Silber-FSWB, p. 95, "Santy Anno" (1 text)
DT, SNTYANNA* SNTYANN2
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). A fragment of "Santa Anna" is in Part 3, 7/28/1917.
Roud #207
CROSS_REFERENCES:
cf. "Carry Him To the Burying Ground (General Taylor, Walk Him Along Johnny)" (lyrics)
ALTERNATE_TITLES:
Santiana
The Plains of Mexico
Old Santy Ana
NOTES: According to Joseph Wheelan, _Invading Mexico: America's Continental Dream and the Mexican War, 1846-1848_, p. 41, "The amazing career of Antonio Lopez de Santa Anna is so entwined with the early years of Texas and Mexico that it is impossible to tell their history without telling his. Born in 1794 in upland Jalapa into a venerable Spanish Castillian family, Antonio was a quarrelsome boy who matured into a fractious, luxury-loving man. Unquestionably courageous, he was also elegant and charming. His favorite amusements were... gambling, cockfighting, an dancing. He was ambitious, opportunistic, crafty, and egotistical."
Looking at his portrait in Wheelan, I can't help but think how much he looks like Adolf Hitler minus the mustache. And, indeed, he had a lot of the same traits, including clawing his way to power and then biting off more than he could chew.
Plus being utterly brutal. It showed in his treatment of Texas. Mexico had allowed American colonists into the area on conditions: They needed to be Catholic and not hold slaves (Wheelan, p. 43). Unfortunately, the Mexicans winked their eyes at slavery while trying to genuinely exclude Protestants. Eventually, when the Mexican government became strict about imposing its rule, the Americans decided they wanted out.
The result was the successful Texas rebellion. In which Santa Anna was the chief Mexican general. He had an army of five thousand "conscripts and prison inmates" (Wheelan, p. 46), with which he took the Alamo, and slaughtered the defenders, then captured and slaughtered the garrison of Goliad (Wheelan, p. 47). Then, on April 21, 1836, Sam Houston's Texans routed the Mexican army at San Jacinto, capturing the general the next day (Wheelan, p. 48). Santa Anna saved his skin by giving the Texans independence, but of course his government could not withstand the blow.
The Mexican government never did really accept that Texas was independent, and border raiding was constant (one reason Texas wanted to join the U. S. was to give it better control over the uncontrollable deficit caused by all the border wars). In one of those border raids, Santa Anna captured a large force of Texas raiders -- and ordered every eleventh man shot, choosing the victims at random by having them pull white and black beans from a jar (Wheelan, p. 51).
Eventually the Mexicans got rid of Santa Anna, but the squabbles over Texas never ended. Ten years later, the United States got into the act, as American President James K. Polk worked to annex not just the portion of Texas east of the Nueces (the part that was unquestionably independent) but greater Texas (all the way to the Rio Grande) and California. (He in fact made the absurd claim that Texas has always been a proper part of the United States!) Zachary Taylor was the chief American general in the early phases of the Mexican War.
Most versions of this song credit Santa Anna with defeating Zachary Taylor, but -- as the historical record shows -- Taylor consistently beat the Mexicans, though some of the victories were expensive.
Although Taylor fought many battles in the Mexican campaign, few were against Santa Anna. Mexico at this time was anything but a stable nation. Santa Anna had been President of Mexico in 1836, when Texas rebelled, but had then been thrown out after the Texans won their battle for independence.
But while Texas was independent, it was also sparsely populated and bankrupt. Various solutions were proposed -- there was actually a British idea of guaranteeing Texas independence if it would free its slaves (see Samuel Eliot Morison, _The Oxford History of the American People_, 1965, p. 554; Wheeler, p. 58). But the obvious answer was for Texas to join the United States.
This was more complicated than it sounded; President John Tyler tried get a treaty (actually, two different treaties) annexing Texas through the Senate, but could not command a two-thirds majority. He managed to pull it off at the very end of his term (after the 1844 election) by joint resolution of Congress (which required only a simple majority; Morison, p. 556).
The always-shaky Mexican government couldn't face this. It did not dare to admit that it had lost Texas, so naturally it could not admit that Texas had joined the United States. It might have worked against one of the weak American presidents of the 1850s. Unfortunately for Mexico, the new President was James K. Polk.
Polk was one of the most complex Presidents in American history -- literally; historians can't even agree on his legacy. I can't cite a source, because it was so long ago, but some time around the Reagan administration, a poll was taken among historians to determine the ten best and worst American presidents. Polk was the only president to make *both* lists.
He was a driven man. A sickly youngster, he was diagnosed at age 17 with urinary stones, and was subjected to an emergency operation without anesthetic to remove them; the operation in all likelihood left him sterile (see John Seigenthaler, _James K. Polk_, [a volume in the _American Presidents_ series edited by Arthur M. Schlesinger Jr.], Times Books, 2003, p. 19). He had only the sketchiest of education in his early years, and grew up in a situation of religious controversy (Seigenthaler, pp. 12-13). The family came to be obsessed with obtaining as much property as possible (Seigenthaler, p. 17). It was a trait Polk would carry to an extreme; no other President except Thomas Jefferson acquired so much land for the United States, and there were no others who acquired so much by such vigorous means.
His methods were hardly the most honest; his enemies labelled him "Polk the Mendacious" (Wheelan, p. 54). And Seigenthaler, despite seeming to admire Polk overall, points up evidence of his deceptions, admitting that, to Polk, the end justified the means (pp. 100-101).
Polk made a career mostly as an ally of Andrew Jackson, who created his own controversies and was, if anything, even more prejudiced than Polk. (It is a bit ironic, in the face of current American politics, that Polk -- probably the most conservative America-is-always-right man of his generation -- was a near-agnostic who was not baptized until he was dying. The man who brought the conservative state of Texas into the Union could not possibly be supported by a Texas delegation today. Nor was he much of a glad-handler in the modern sense; he disliked social engagements and, once in office, rarely left the White House; Seigenthaler, p. 103; Wheelan, p. 54. He would very nearly work himself to death as President. Seigenthaler, p. 119, in summing up the notes he kept as President, calls him "brooding and humorless.... Sometimes he presents himself as demanding to the point of unreasonableness, determined to the point of stubbornness, self-righteous to the point of paranoia.... More than anything else, he comes across as intensely partisan, at times blindly so.")
As Speaker of the House, Polk had run that organization like clockwork. He had then gone on to serve as Tennessee governor 1839-1841, but was defeated in his attempts to run for re-election (see William A. DeGregorio, _The Complete Book of U. S. Presidents_, fourth edition, Barricade Books, 1993, pp. 166-167).
Polk's path to becoming leader of his country was more legal than Santa Anna's, but only slightly less peculiar. Martin Van Buren had been voted out of office in 1840, just as Polk had been ousted from the Tennessee governorship, but was expected to run again in 1844. Polk had presidential ambitions, but for the moment, he just wanted to be Van Buren's vice president.
But several funny things happened on the way to the convention. For starters, Van Buren and the likely Whig nominee, Henry Clay, had published on the very same day similar announcements saying they did not stand for annexation of Texas (Seigenthaler, p. 76). To this day, it is not certain if they had agreed on this, or if they did it independently -- but it was widely thought that they had made an agreement. And the American people, firm believers in Manifest Destiny, wanted Texas. Clay still managed to become the Whig nominee. But it cost Van Buren. There were two main candidates going into the 1844 convention: Van Buren, and Lewis Cass. Van Buren had a majority of delegates on the first ballot, but the convention had adopted a two-thirds rule, and Van Buren never came close to that (Seigenthaler, p. 83). Polk didn't start getting votes until the eighth ballot, but once he had started, Polk's operators carefully manipulated the convention, and it became a bandwagon; he was nominated on the very next ballot. Polk, as a result, became the first "dark horse" presidential candidate -- though we should note that he was far better known nationally than such recent nominees as Bill Clinton and George W. Bush.
The campaign which followed was pretty ugly -- e.g., though both candidates were slaveowners, Polk was accused (falsely) of branding his slaves (Seigenthaler, p. 96). And Clay made rather a hash of things, being very inconsistent in his utterances on topics such as Texas.
Unknown or not, slaveowner or not, Polk won -- if just barely; his margin in the popular vote was some 38,000 out of two and a half million ballots cast. As usual, the margin in the electoral college was much more decisive (Seigenthaler, pp. 98-99). And "probably no other President entered office with so clearly defined a program and accomplished so much of it as Polk (Richard N. Current, T. Harry Williams, Frank Freidel, _American History: A Survey_, second edition, Knopf, 1966, p. 364)
This was the man against whom the fragile Mexican government tried to negotiate. Or, rather, tried not to negotiate. It rejected Polk's attempts to buy California. Polk can't have been too unhappy; he was actually sending different teams with different instructions to various places to muddy the waters (Wheelan, p. 55).
Then, at the end of 1845, the Mexican government of President Herrera was overthrown by General Paredes (Morison, p. 560). The new government was no more willing to recognize the annexation of Texas than the old was willing to recognize its independence. But Polk, in order to "ensure that Mexico [would] not" go to war, sent 3000 men under Zachary Taylor to Texas (Wheelan, p. 60). And Polk ordered General Taylor to cross the Nueces (the recognized border between Texas and Mexico, insofar as there was one) and head for the Rio Grande (Wheelan, p. 63). Faced with that provocation, the Mexicans decided to fight.
Most modern historians seem less than impressed with Taylor as a general, but, at age 61, he had been in the army for 37 years, being commissioned in 1808 (Wheelan, p. 61). Despite a limited education (Wheelan, p. 62), he had fought bravely and risen steadily in the ranks while displaying a real concern for his men. Against a strong general, he might have been in trouble -- but against the rabble that formed the Mexican army, his steadiness was a great advantage.
Taylor promptly won several victories, and gained popularity rapidly, leaving Polk worried about his political influence (quite correctly, since Taylor, a Whig, would follow the Democrat Polk as President). Polk put Winfield Scott in charge of a second Mexican expedition (Morison, p. 563), and it was Scott who eventually took Mexico City.
But Polk had had another string for his bow. He also overthrew the Mexican government, helping Santa Anna return to Mexico in September 1846. The former president promptly resumed power (as Morison tartly comments, revolutions in Mexico at this time were just about certain to succeed).
To make Scott's expedition strong enough to make its amphibious assault, Polk had cut back Taylor's force, ordering it onto the defensive (see Current/Williams/Freidel, p. 375). Santa Anna, seeing an opportunity (and needing a victory to strengthen his government), tried to improve his reputation by attacking Taylor at Buena Vista. It was a close thing, but Santa Anna failed to destroy Taylor. He had little choice but to turn back to try to stop Scott; he failed again, and Santa Anna again gave up power. Eventually a government was formed which reluctantly gave up Texas, New Mexico, and California (Morison, p. 565).
The choice of Taylor to be the Whig presidential nominee was ironic; according to Allan Nevins, _The Ordeal of the Union: Fruits of Manifest Destiny 1847-1852_ [volume I of _The Ordeal of the Union_] (Scribners, 1947), p. 195, a Whig operative talked to Taylor's brother, and was told that Taylor had no political convictions and rarely voted. But a man with no record was precisely what was wanted, and so Taylor was nominated -- and easily elected. According to _The [Hammond] Atlas of United States History_ (no author; copyright 1977), p. U-49, Taylor earned 47% of the popular vote, Democrat Lewis Cass 42%, and Free Soiler Martin Van Buren 10%; in the electoral college, Taylor had 163 votes, Cass 127. Call it another victory for Taylor over Santa Anna, since Taylor was now the American president and Santa Anna was nothing.
Santa Anna did get the last laugh in one thing: Taylor died in 1850, and Santa Anna lasted until 1876.
The last word, though, probably should belong to former president John Quincy Adams: "I have opposed [annexing Texas] for ten long years, firmly believing it tainted with two great crimes: one, the leprous contamination of slavery; and two, robbery of Mexico.... 'They have sown the wind...'" (Wheelan, p. 60). And the Democrats did indeed reap the whirlwind. Polk was dead by 1850, when the Compromise of 1850 temporarily patched up the wounds caused by the Mexican War. But eleven years later, with the wounds of the battle over slavery still fresh, a slave state which no longer considered itself part of the Union fired on Fort Sumter....
Bone calls this "the most peculiar of all Chanties," and speculates, "I wonder if it was not at one time a seaman's prayer to Saint Anne, a bountiful Patron to Breton sailors? It is not easy to connect that supposition with the words as sung in later days for, in them, a negro influence is plain." - RBW
File: Doe078
===
NAME: Saoirse (Liberty)
DESCRIPTION: Gaelic and English. "My name is Freedom." Our first advance was in France. "When the orange tree drops its head Then liberty's sure to flourish." We'll drive out those who oppose us.
AUTHOR: unknown
EARLIEST_DATE: 1934 (O Muirgheasa's _Dha Chead de Cheoltaibh Uladh_, according to Moylan)
KEYWORDS: foreignlanguage France Ireland nonballad political freedom
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 27, "Saoirse" (1 text)
NOTES: Moylan: This is a macoronic song "collected in Donegal in the early part of the twentieth century... It was probably made prior to 1798." The verses alternate Irish and English "translation." - BS
File: Moyl027
===
NAME: Sara Jane
DESCRIPTION: Singer describes his girlfriend/wife in unflattering ways; she hits him, she's the "terror of New York"; in short, ""My poor, silly Jane...She's my darling, she's my daisy, She's humpbacked and she's crazy... She's my freckled-faced consumptive Sara Jane"
AUTHOR: Lyrics: unknown; tune: Will S. Hays
EARLIEST_DATE: 1927 (recording, Cramer Bros.)
LONG_DESCRIPTION: Singer describes his girlfriend/wife in increasingly uncomplimentary ways; she hits him, she's the "terror of New York"; she eats cake, eats a fly, and vomits; she's crosseyed and lame, her breath smells like onions, etc. In short, ""My poor, silly Jane...She's my darling, she's my daisy, She's humpbacked and she's crazy... She's my freckled-faced consumptive Sara Jane"
KEYWORDS: madness shrewishness abuse humorous parody 
FOUND_IN: US
REFERENCES: (1 citation)
Pankake-PHCFSB, pp. 178-179 , "My Freckle-Faced Consumptive Mary Ann" (1 text, 1 tune -- the final verse and chorus of this song, which could circulate independently)
RECORDINGS:
Cramer Brothers, "Sara Jane" (Broadway 7578 c. 1927; Broadway 8059, c. 1932; rec. 1927)
CROSS_REFERENCES:
cf. "Hungry Hash House" (floating verse, tune)
cf. "I Was Born About Ten Thousand Years Ago (Bragging Song)" (Charlie Poole version - floating verse)
cf. "Little Old Log Cabin in the Lane" (tune)
NOTES: Not to be confused with Uncle Dave Macon's "Rock About My Saro Jane." Since it shares the "freckle-faced consumptive etc." verse with Charlie Poole's 1925 recording "I'm the Man Who Rode the Mule Around the World" and several recordings of "Hungry Hash House," one suspects it was composed as an extension of those appearances. Or does the whole song appear elsewhere, earlier?- PJS
I've no good answer to that question; we are, for the moment, filing loose verses about the freckle-faced girl here, but it's by no means clear where they actually originated.
Not to be confused with "Sarah Jane," also a humorous song between lovers, but based on "Pop Goes the Weasel" and ending with him ead and her courting another. - RBW
File: RcSarJan
===
NAME: Sarah H. Furber
DESCRIPTION: "A maid of twenty summers Went forth with joy and mirth... Amidst the din of earth." "A manly face and favor Attracted her free hears." She goes astray (pregnant?), but gains no aid from "men of art and science."  She dies alone
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: death
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 38-39, "Lines Composed on the Abduction and Cruel Murder of MISS SARAH H. FURBER" (1 text)
NOTES: Despite the title, the text of this piece never describes a murder; frankly, it sounds as if the girl died of venereal disease, or perhaps pure poverty.
The item is a broadside, "price two cents." Burt's comment is, "And not worth more, I should say." That was in 1958 dollars. It's still true in today's dollars, I should say. - RBW
File: Burt038
===
NAME: Sarah Jane
DESCRIPTION: (After an unrelated opening stanza), we find Sarah Jane and Samuel courting on the D & H canal. He, however "succumbed to hard times" and is buried. As for Sarah, within a week "She started keeping comp'ny with a junk dealer... in Rondout."
AUTHOR: unknown
EARLIEST_DATE: 1958
KEYWORDS: courting hardtimes death burial infidelity humorous
FOUND_IN: US(MA)
REFERENCES: (2 citations)
FSCatskills 173, "Sarah Jane" (1 text plus appendix; tune referenced)
DT, SARAJANE*
CROSS_REFERENCES:
cf. "Pop Goes the Weasel" (tune) and references there
cf. "The D & H Canal" (tune, floating lyrics)
NOTES: Not to be confused with the song we index as "Sara Jane," which is a humorous song of conflict between lovers. - RBW
File: FSC173
===
NAME: Sarah Mariah Cornell
DESCRIPTION: Reverend Avery seduces and then murders Sarah. He flees from justice, but is recaptured. Sarah's ghost (?) pleads for justice, warns girls not to be decieved by men, and asks for the listeners' prayers. 
AUTHOR: unknown
EARLIEST_DATE: 1845 (Journal from the Sharon)
KEYWORDS: murder clergy seduction betrayal trial escape
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 156-158, "Sarah Mariah Cornell" (1 text)
Roud #2044
NOTES: Huntington can find no other versions of this song, which I usually take to indicate that it is not traditional. But I feel sure I've seen it somewhere else. - RBW
File: SWMS156
===
NAME: Sarah's Young Man
DESCRIPTION: The singer falls in love with Sarah, a domestic who "lives in a mansion near Manchester Square." One night he discovers her cozying with a soldier. The master comes home, the soldier and Sarah lose their position, and Sarah loses her suitor. 
AUTHOR: unknown
EARLIEST_DATE: before 1865 (broadside, Bodleian LOCSinging sb40501a)
KEYWORDS: courting infidelity servant soldier humorous unemployment
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, pp. 130-133, "Sarah's Young Man" (1 text, 1 tune)
Roud #1957
BROADSIDES:
Bodleian, Harding B 18(432), "Sarah's Young Man," H. De Marsan (New York), 1861-1864; also Firth b.34(198), "Sarah's Young Man"
LOCSinging, sb40501a, "Sarah's Young Man," H. De Marsan (New York), 1861-1864; also as112240, "Sarah's Young Man" 
NOTES: Broadsides LOCSinging sb40501a and Bodleian, Harding B 18(432): H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site.
Broadsides LOCSinging sb40501a and Bodleian, Harding B 18(432) are duplicates. - BS
File: IvNB130
===
NAME: Sarie
DESCRIPTION: Singer loves Sarie, a fat co-worker on the farm. She has humorous and suggestive escapades. When they marry, the two will be one -- but there's enough of her to make two or three. Cho: "For she's proud and she's beautiful, she's fat and she's fair...."
AUTHOR: unknown
EARLIEST_DATE: 1957 (recording, Tony Wales)
LONG_DESCRIPTION: Singer loves Sarie, a fat co-worker on the farm; she has accepted his proposal. While milking a cow, she falls over and says she has hurt her arm, but that's not where she fell. She falls in the river; he pulls her out; she berates him for the places he grabbed her. When they marry, the two will be one -- but there's enough of her to make two or three. Ch.: "For she's proud and she's beautiful, she's fat and she's fair...."
KEYWORDS: love marriage humorous lover
FOUND_IN: Britain(England(South))
REFERENCES: (0 citations)
RECORDINGS:
Tony Wales, "Sarie" (on TWales1)
NOTES: Wales notes that several Sussex people knew fragments of the song, but most couldn't remember it in full. I'd guess at a music-hall origin. - PJS
File: RcSarie
===
NAME: Saro Jane: see Liza Jane (File: San132)
===
NAME: Sash My Father Wore, The
DESCRIPTION: An Ulster Orangeman, tells his "British brethren" that his forefathers fought that he might wear the sash. "It is old but it is beautiful," was worn in 1690, his father wore it and he wears it July 12. If needed, we will fight again
AUTHOR: unknown
EARLIEST_DATE: 1987 (The Orange Lark)
KEYWORDS: clothes battle Ireland nonballad patriotic father
HISTORICAL_REFERENCES: July 1 or 12, 1690 (Old Style or New Style dates) - Battle of the Boyne. William III defeats the forces of James II to firmly establish his control of Ireland
FOUND_IN: Ireland
REFERENCES: (1 citation)
DT, SASHFTHR*
RECORDINGS:
Liam Clancy, "The Sash My Father Wore" (on IRLClancy01)
CROSS_REFERENCES:
cf. "The Hat My Father Wore" (form)
NOTES: IRLClancy01 includes only the chorus, used as an introduction to "The Scottish Breakaway." The source for the description is OrangeLark 4, "The Sash My Father Wore" [_The Orange Lark_ (1987)].
Apparently the orange sash was worn by King William at the Battle of the Boyne. July 12 is the Gregorian Calendar (adopted in England in 1752) date for celebrating the victory of William III of Orange in the Battle of the Boyne, July 1, 1690. [I would assign less significance to this than to the various ribbons and sashes worn by the Ribbonmen, the Orange Order, etc. - RBW]
Zimmermann: "It has been noted that 'much of the pugnacity has gone from the music played on the 12th day of July' [S.H. Bell _Erin's Orange Lily_, p. 14]; there is a tendency to replace the most violent ballads by innocuous songs such as 'The Ould Orange Flute' or 'The Sash my Father Wore'. 'The Ould Orange Flute' appeared on nineteenth century broadsides. The other song ['The Sash my Father Wore'] is more recent; it was probably the paraphrase of a non-political song, 'The Hat my Father Wore'. A nationalist version, quite different in character but singable to the same tune, appeared in _The Shan Van Vocht_, August 1896." It is clear that "The Sash" is an adaptation of "The Hat," or vice versa.
Re Zimmermann's note: "Innocuous" depends on point of view. The tune only of "The Sash" is played as a march on Voice16; in that connection Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 16" - 13.9.02: "Once upon a time, folklorists drew out their blue pencils to excise any reference to sex in folksongs, while, at the same time, printing any number of songs concerning rape, murder and wartime pillage. Nowadays things have changed .... Personally, I'm amazed that Reg Hall could include ... 'The Sash My Father Wore,' which has come to symbolize Protestant bigotry in many parts of Ireland." - BS
File: RecSMFW
===
NAME: Saskatchewan
DESCRIPTION: "Saskatchewan, the land of snow, Where winds are always on the blow... And why we stay here no one knows. Saskatchewan, Saskatchewan, There's no place like Saskatchewan...." The singer tells of the hard life during Depression and drought
AUTHOR: Words: William W. Smith
EARLIEST_DATE: 1960
KEYWORDS: farming poverty hardtimes Canada
FOUND_IN: Canada
REFERENCES: (3 citations)
Fowke/Mills/Blume, pp. 208-211, "Saskatchewan" (1 text, 1 tune)
Ohrlin-HBT 10, "Saskatchewan" (1 text, 1 tune)
DT, SASKATCH*
Roud #4525
RECORDINGS:
Jim Young, "Saskatchewan" (on Saskatch01)
CROSS_REFERENCES:
cf. "Beulah Land" (tune)
cf. "Dakota Land" (tune, theme)
NOTES: Saskatchewan, always dry and never rich, became Canada's dust bowl during the 1930s. Drought there was hardly unexpected, but drought, damaged topsoil, and a bad economy made times especially bad. William W. Smith's humorous lament fit right in with the feelings of the locals -- and even with their hopes, as the last verse shows:
But still we love Saskatchewan,
We're proud to say we're native ones,
So count your blessings drop by drop;
Next year we'll have a bumper crop." - RBW
File: FMB209
===
NAME: Saskatchewan Girl's Lament, The: see Poor Little Girls of Ontario (File: FMB147)
===
NAME: Satan, Your Kingdom Must Come Down
DESCRIPTION: "Well, well, well, well, well, Now, God's got a kingdom (x3), But Satan's got a kingdom too." "I'm gonna pray till I tear that kingdom down, For I heard the voice of Jesus say, 'Satan, your kingdom must come down.'" "I'm gonna shout/sing till I tear..."
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, Blind Joe Taggart)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #5737
RECORDINGS:
Frank Proffitt, "Satan, Your Kingdom Must Come Down" (on FProffitt01)
Blind Joe Taggart, "Satan Your Kingdom Must Come Down" (Paramount 13081, 1931)
File: RcSYKMCD
===
NAME: Satan's a Liar (Ain't Gonna Worry My Lord No More)
DESCRIPTION: "Satan's a liah, and a conjuh too, if you don't watch out he'll conjuh you (x2), Ain't gonna worry my Lawd no mo' (x2)." "Goin' to heaven on an angel's wing; When I get there you'll hear me sing." "When I get to heaven I'm gonna sit yah down...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: religious Devil
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Sandburg, pp. 250-251, "Satan's a Liah" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Let That Liar Alone" (theme)
File: San250
===
NAME: Satan's Kingdom
DESCRIPTION: "This night my soul has caught new fire, Halle-hallelujah. I feel that heav'n is drawing nigh'r... Shout, shout, we are gaining ground, Satan's kingdom is tumbling down." Evidence is offered that heaven will triumph
AUTHOR: unknown
EARLIEST_DATE: 1842
KEYWORDS: religious nonballad Bible
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 36, "Satan's Kingdom" (1 text, 1 tune)
Roud #6668
NOTES: Among the scriptural references in this piece are the following:
* Samson putting the Philistines to flight: see Judges 13-16
* "When Israel came to Jericho": see Joshua 6
* "Saint Paul and Silas bound in jail": Acts 16:19f.; see also 2 Cor. 11:13, where Paul mentions multiple imprisonments - RBW
File: LoF036
===
NAME: Satisfied
DESCRIPTION: Call-and-answer, with the refrain, "Satisfied." The text is at the leader's discretion, e.g., "I'm going up north, SATISFIED, I'm going down south, SATISFIED, Mama cooked a cow, SATISFIED, Gonna give all the girls, SATISFIED, Their bellies full..."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recordings, children of East York School and Lilly's Chapel School)
KEYWORDS: playparty work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, pp. 150-152, (no title) (1 text, 1 tune);  cf. pp. 152-153 (apparently a combination of this song with "Easy Rider") (1 text, 1 tune)
RECORDINGS:
Children of East York School, "I'm Goin' Up North" (on NFMAla1)
Children of Lilly's Chapel School, "See See Rider" (on NFMAla1) -- not the popular blues song, but another version of the "Satisfied" chant)
File: CNFM150
===
NAME: Saturday Night
DESCRIPTION: "Saturday night and Sunday too, Pretty gals on my mind. Monday mornin' break of day, Old Massa's got me goin'." The slave works through the week while looking forward to spending the weekend with the girls. Also has sundry floating verses
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: courting work slave animal floatingverses
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 459, "Saturday Night and Sunday Too" (1 fragment)
Lomax-FSNA 261, "Saturday Night" (1 text, 1 tune)
Scarborough-NegroFS, p. 228, (no title) (1 short text, which also includes the "Little bees suck de blossoms" verse)
Roud #6704
File: LoF261
===
NAME: Saturday Night at Sea
DESCRIPTION: "A sailor loves a gallant ship And messmates bold and free And ever welcomes with delight Saturday night at sea." The sailor recalls the time when, if the weather is good, the crew is able to relax and enjoy themselves
AUTHOR: unknown
EARLIEST_DATE: 1843 (Journal from the Florida)
KEYWORDS: sailor ship nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 65-66, "Saturday Night at Sea" (1 text plus a supplementary stanza, 1 tune)
DT, SATSEA
Roud #2020
NOTES: According to John Malcolm Brinnin, _The Sway of the Grand Saloon: A Social History of the North Atlantic_, pp. 73-75, a poem called "Saturday Night at Sea" was written in 1838 by Judge Joseph Howe aboard the brig _Tyrian_ as she made a transatlantic voyage.
Brinnin quotes four verses. Apart from the words "Saturday Night at Sea," they have nothing in common with the poem in Huntington. Yet the theme is so similar that I have to think they are related. Given that the _Florida_ version dates from 1843. my guess is that Howe heard the piece aboard ship, thought it unacceptable for some reason (perhaps it had bawdy lyrics?), and rewrote it. - RBW
File: SWMS065
===
NAME: Saucy Arabella, The: see A-Rolling Down the River (The Saucy Arabella) (File: Hug178)
===
NAME: Saucy Jack Tar, The: see The Saucy Sailor (Jack and Jolly Tar II) [Laws K38] (File: LK38)
===
NAME: Saucy Sailor, The (Jack and Jolly Tar II) [Laws K38]
DESCRIPTION: Jack the sailor admits his poverty to a girl, who scorns him and refuses his offer of marriage. He pulls out a handful of money and offers it to her; she instantly changes her mind. But Jack turns the tables; he has no need for a poor country girl
AUTHOR: unknown
EARLIEST_DATE: 1781 (broadside)
KEYWORDS: poverty courting money
FOUND_IN: US(Ap,NE,SE) Canada(Mar,Newf) Britain(England(Lond,South,West))
REFERENCES: (11 citations)
Laws K38, "Saucy Sailor, The (Jack and Jolly Tar II)"
Doerflinger, pp. 294-295, "Jack Tar" (1 text, 1 tune)
Hugill, pp. 461-462, "The Saucy Sailor Boy" (1 text, 1 tune) [AbEd, pp. 343-344]
SharpAp 168, "The Saucy Sailor" (1 text, 1 tune)
Sharp-100E 45, "The Saucy Sailor" (1 text, 1 tune)
JHCox 123, "The Jack of Tar" ( text)
Flanders/Brown, pp. 151-152, "The Tar-ry Sailor" (1 text)
Creighton/Senior, pp. 202-203, "Saucy Sailor" (2 texts plus 1 excerpt, 2 tunes)
Peacock, pp. 316-317, "Tarry Sailor" (1 text, 1 tune)
Karpeles-Newfoundland 62, "The Saucy Sailor" (1 text, 1 tune)
DT 415, SAUCYSLR* TARSAIL2*
Roud #531
RECORDINGS:
Johnny Doughty, "Come My Own One, Come My Fond One" (on Voice02)
BROADSIDES:
Bodleian, Firth c.12(333), "Saucy Sailor Boy," E.M.A. Hodges (London), 1846-1854; also Harding B 11(3429), Firth c.13(252), Firth c.13(253), Firth c.12(331), Harding B 16(244a), Firth b.26(245), Firth c.13(197), "Saucy Sailor Boy"
CROSS_REFERENCES:
cf. "Will You Wed with a Tarry Sailor?" [Laws K37] (plot)
cf. "Johnny the Sailor (Green Beds) [Laws K36]" (plot)
ALTERNATE_TITLES:
The Saucy Jack Tar
File: LK38
===
NAME: Saucy Ward: see Captain Ward and the Rainbow [Child 287] (File: C287)
===
NAME: Sauer Kraut
DESCRIPTION: "Oh, sauer kraut is hunky, boys, And sauer kraut is fine; I tinks I ought to know it 'Cause I eats it all der time." Aboard the Bella Young the crew fishes in summer, carries kelp in winter, and sells saurkraut by the barrel for Johnson or Zwicker.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: ship work food humorous nonballad sailor
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Smith/Hatt, p. 12, "Sauer Kraut" (1 text)
DT, SRKRAUT*
Roud #8890
File: SmHa12
===
NAME: Sault Ste. Marie Jail, The (The Albany Jail)
DESCRIPTION: The singer laments his time in prison. After getting drunk, he had to be forcibly taken into custody, and the bail was more than he could raise. Now he suffers prison food and confinement (as well as a preacher who keeps on "until my ears got sore")
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: prison hardtimes drink
FOUND_IN: US(MA) Canada(Ont)
REFERENCES: (2 citations)
FSCatskills 168, "The Albany Jail" (1 text, 1 tune)
DT, SOODTMRY*
Roud #2324
NOTES: This song is item dE51 in Laws's Appendix II. - RBW
File: FSC168
===
NAME: Sausage Meat Machine, The: see Dunderbeck (File: R488)
===
NAME: Sauvagesse, La
DESCRIPTION: "Je suis du bord de l'Ohio, J'ai le courage pour noblesse...." A voyageur Come-All-Ye. La Sauvagesse tells of herself, her love of the canoe, her parentage (a Frenchman and a witch) and so on.
AUTHOR: unknown
EARLIEST_DATE: 1919
KEYWORDS: foreignlanguage river fishing family witch
FOUND_IN: Canada(Queb)
REFERENCES: (1 citation)
Botkin-MRFolklr, p. 581, "La Sauvagesse (The Girl of the Wilds)" (1 text, 1 tune)
File: BMRF581
===
NAME: Save My Father's Picture from the Sale
DESCRIPTION: "It was many years ago, in the time of frost and snow, My poor old father fell sick and died." The orphan is forced to watch as all (his/her) memories are sold. Finally he begs, "Save my father's picture from the sale!" and a pretty girl buys it for him
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: death orphan commerce help
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 854, "Save My Father's Picture from the Sale" (1 text, 1 tune)
Randolph/Cohen, pp. 478-481, "Save My Father's Picture from the Sale" (1 text, 1 tune -- Randolph's 854)
Roud #4459
NOTES: Cohen notes that several songs from the 1880s -- "Save My Father's Picture from the Sale," "Don't Sell My Mother's Picture," and the parody "Save My Brother's Whiskers from the Pail" -- seem built around the elements of this song. Whether these ancestral to or derived from the song given to Randolph is unclear; his informant thought the song older than the copyrights. - RBW
File: R854
===
NAME: Save Our Swilers
DESCRIPTION: "Come all you Newfoundlanders and listen to my song About St. Anthony's visitors from 'away' and 'upalong.'" "They are out to ban the seal hunt." "We're the endangered species." Listeners are urged to vote for those who support the seal hunt
AUTHOR: A. R. Scammell
EARLIEST_DATE: 1977 (Decks Awash 6:4)
KEYWORDS: hunting political nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 156-157, "Save Our Swilers" (1 text)
CROSS_REFERENCES:
cf. "The Old Polina" (tune)
File: RySm156
===
NAME: Save Your Money When You're Young
DESCRIPTION: Singer describes his wasteful youth as a lumberjack and impoverished old age, advising listeners to "Save your money when you're young, you'll need it when you're old." He advises married men to stay home, away from grogshops, and single men to marry.
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: age poverty drink warning money logger
FOUND_IN: US(MW) Canada(Ont)
REFERENCES: (4 citations)
Rickaby 7, "Save Your Money When You're Young" (1 text, 1 tune)
Beck 40, "Save Your Money When You're Young" (1 text)
Fowke-Lumbering #61, "Save Your Money While You're Young" (1 text, 1 tune)
DT, SAVEMONY
Roud #2325
RECORDINGS:
Jim Doherty, "Save Your Money While You're Young" (on Lumber01)
File: Be040
===
NAME: Save Your Money While You're Young: see Save Your Money When You're Young (File: Be040)
===
NAME: Saville the Brave Man
DESCRIPTION: "Saville the brave man, while other men trembled, Defied the fierce wind and the wild raging sea." In spite of storm warnings he and MacKenzie take Alma to fish the banks. Watchers from Cape Spry thought Alma could not be saved but Saville brings her in
AUTHOR: unknown
EARLIEST_DATE: 1968 (Ives-DullCare)
KEYWORDS: fishing sea ship storm
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Dibblee/Dibblee, p. 51, "Saville the Brave Man" (1 text, 1 tune)
Ives-DullCare, pp. 174-177,254, "Saville the Brave Man" (1 text, 1 tune)
Roud #12468
NOTES: Cape Spry is on the east coast of Kings, Prince Edward Island. - BS
File: Dib051
===
NAME: Savourneen Deelish
DESCRIPTION: "Oh the moment was sad when my love and I parted." The singer is called to fight across the ocean. The singer fights but saves his money and booty. When peace is declared he returns home to find she had died.
AUTHOR: George Coleman (1762-1836) (source: Moylan)
EARLIEST_DATE: 1791 (Coleman's play _The Surrender of Calais_, according to Moylan)
KEYWORDS: love war separation death soldier
FOUND_IN: Ireland
REFERENCES: (2 citations)
Moylan 173, "Savourneen Deelish" (1 text, 1 tune)
O'Conor, p. 13, "Savourneen Deelish" (1 text)
BROADSIDES:
LOCSheet, sm1851 680750, "Savourneen Deelish Aileen Oh," William Hall and Son (New York), 1851; also sm1851 491570, "Savourneen Deelish" (tune)
LOCSinging, as203250, "Savourneen Deelish Eileen Oge," H. De Marsan (New York), 1861-1864 
Bodleian, Harding B 18(433), "Savourneen Deelish Eileen Oge," H. De Marsan (New York), 1864-1878; also Harding B 11(3432), "Savourna Deelish" or "The Moment was Sad"; Harding B 11(2993), Firth c.14(215), "Eileen Oge!" or "Savourneen Deelish"
NOTES: Moylan: "The song was immensely popular during the 19th century.... 'Savourneen Deelish' is an anglicization of ''s a mhuirnin dilis', literally 'and my own true love', the first phrase of the chorus of several Irish language songs."
Broadside Bodleian Harding B 18(433) and LOCSinging as203250: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
The popularity of the song may well be explained by its familiar theme. In Ireland there were few jobs available, especially to Catholics, except working on their parents' farm. And a young man without property, having no prospects, could not marry. So he either waited until his father died and he inherited some land, or he could join the army. And, in those days, that usually meant a long stay far in a foreign land, with no communications with home; even if both he and his love were literate (unlikely), the mail was expensive and unreliable. - RBW
File: Moyl173
===
NAME: Saw Ye My Savior?
DESCRIPTION: An account of the death of Jesus. The opening verse states "He died on Calvary, to atone for you and me." The song goes on to mention the darkness on the cross, the earthquake, the pain, and his forgiveness
AUTHOR: unknown
EARLIEST_DATE: 1940 (Flanders/Olney)
KEYWORDS: dying Jesus religious Easter
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Olney, pp. 122-123, "Saw You My Saviour" (sic.) (1 text, 1 tune)
ST FO122 (Partial)
Roud #4679
NOTES: "Calvary" -- this name is not used in modern English versions of the New Testament. The King James version used it in Luke 23:33 (from Latin Caluaria)
"Darkness" -- "From noon on, darkness came over the whole land until three in the afternoon" (Matt. 27:45 NRSV; cf.Mark 15:33, Luke 23:44)
"The solid rocks were rent" -- "At that moment [when Jesus died]... the earth shook, and the rocks were split" (Matt. 27:51)
"Thus behold my hands and side" -- [Jesus] said to Thomas, 'Put your finger here and see my hands. Reach out your hand and put it in my side'" (John 20:27)
"I will forgive them" -- "Father, forgive them, for they do not know what they are doing" (Luke 23:34 -- however, most of the oldest and best manuscripts omit this phrase)  - RBW
File: FO122
===
NAME: Sawmill Song, The
DESCRIPTION: "Mel Clark gets the cream of the berries, Tom Melanson don't think it no fun, Little Joe Dyer, in the pit a-hollerin', Wonders why the damn' thing don't run." The singer describes the work done (perhaps not very efficiently) in the sawmill
AUTHOR: Dana Cate ?
EARLIEST_DATE: 1939 (Linscott); informant claims to have written it c. 1909
KEYWORDS: work nonballad technology
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 280-283, "The Sawmill Song" (1 text, 1 tune)
Roud #3741
File: Lins280
===
NAME: Sawney Ogilvie's Duel with His Wife
DESCRIPTION: "Good people, give ear to the fatalest duel That Morpeth e'er saw since it was a town... Poor Sawney... Miscarried and married a Scottish tarpawlin." Sawney ruins his prospects with his marriage; his wife regularly abuses him
AUTHOR: Thomas Whittle
EARLIEST_DATE: 1900 (Stokoe/Reay); Whittle reportedly died 1736
KEYWORDS: marriage hardtimes abuse humorous
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 124-125, "Sawney Ogilvie's Duel With His Wife" (1 text, 1 tune)
Roud #3156
File: StoR124
===
NAME: Saxon Shilling, The
DESCRIPTION: The martial parades "dazzled village youths to-day Will crowd to take the Saxon Shilling." Fools sell themselves "to shame and death," "crush the just and brave." "Irish hearts! why should you bleed, To swell the tide of British glory"?
AUTHOR: Kevin T. Buggy (Source: Zimmermann)
EARLIEST_DATE: 1842 ("The song was first printed in the _Belfast Vindicator_ in 1842," according to Zimmermann)
KEYWORDS: army recruiting Ireland nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann 49, "The Saxon Shilling" (1 text, 1 tune)
BROADSIDES:
Bodleian, Harding B 19(68), "The Saxion Shilling" [only misspelled in the title], unknown, n.d.; also 2806 c.15(39), "The Saxion Shilling" [only misspelled in the title]
NOTES: Broadsides Bodleian Harding B 19(68) and Bodleian 2806 c.15(39) are duplicates. The last two lines are identically mangled.
Zimmermann: "The man who enlisted as a soldier was given the 'King's shilling' by a recruiting officer."
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "The Saxon's Shilling" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001)) - BS
One suspects that author Buggy never missed any meals, which was the main reason Irish youth enlisted in the army. Though his source of income certainly wasn't his writing; I have been unable to find anything else he wrote, and he is not mentioned in Patrick C. Power's _A Literary History of Ireland_. - RBW
File: Zimm049
===
NAME: Say, Darling, Say
DESCRIPTION: Song starts out with two verses of "Hush, Little Baby," but veers off: "All I've got is you in mind/Wouldn't do nothing but starch and iron"; "Starch and iron will be your trade/And I can get drunk and lay in the shade" Chorus: "Say, darling, say"
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Ernest V. Stoneman)
KEYWORDS: work drink dancetune nonballad
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #470
RECORDINGS:
Ernest V. Stoneman, "Say, Darling, Day" (on Stonemans01); Ernest V. Stoneman, Willie Stoneman, and the Sweet Brothers, "Say Darling Say" (Gennett 6733 [as by Justin Winfield]/Supertone 9400 [as by Uncle Ben Hawkins], 1929; rec. 1928)
CROSS_REFERENCES:
cf. "Hush, Little Baby" (lyrics, tune)
NOTES: Roud, unsurprisingly, lumps this with "Hush Little Baby," since it has common lyrics and the tunes are close (though this is usually done much faster than "Hush Little Baby"). But the different ending, and the chorus, is enough to separate them in my book and in Paul Stamler's. - RBW
File: RcSyDaSa
===
NAME: Says T'auld Man tit Oak Tree: see Says the Old Man to the Oak Tree (File: BGMG071)
===
NAME: Says the Old Man to the Oak Tree
DESCRIPTION: "Says t'auld man t' the (old/oak) tree, Young and lusty was I when I kenn'd thee; I was young and lusty, I was fair and clear, Young and lusty was I mony a lang year, But sair fail'd am I, sair fail'd now, Sair fail'd am I sen I kenn'd thou."
AUTHOR: unknown
EARLIEST_DATE: 1785 (Gammer Gurton's Garland)
KEYWORDS: age
FOUND_IN: 
REFERENCES: (2 citations)
Baring-Gould-MotherGoose #71, p. 80, "(Says t'auld man tit oak tree)"
DT, MANOAK
CROSS_REFERENCES:
cf. "Sair Fyel'd, Hinny"
ALTERNATE_TITLES:
The Old Man and the Oak. A North Country Son (Ritson's title)
NOTES: Several versions of "Sair Fyel'd, Hinny" include this lyric essentially intact -- and in Northumbrian dialect. But I don't know if this split off and became a Mother Goose rhyme on its own, or if that song swallowed it. My decision to split them was very tentative. - RBW
File: BGMG071
===
NAME: Scandalize My Name
DESCRIPTION: "I met my preacher the other day, I gave him my right hand, And just as soon as my back was turned, He scandalized my name. Do you call that religion (x3)...." The singer continues with other examples of those who defame him
AUTHOR: unknown
EARLIEST_DATE: 1910 (recording, Kitty Cheatham)
KEYWORDS: religious nonballad lie accusation
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 369, "Scandalize My Name" (1 text)
RECORDINGS:
Kitty Cheatham, "Scandalize My Name" (Columbia A5224, 1910)
Dizie Jubilee Singers, "Don't You Scandalize My Name" (Cameo 914, 1926)
Golden Crown Quartet, "Scandalize My Name" (OKeh 8739, 1929; on VocalQ2)
Kentucky Juibilee Quartet, "Do You Call That Religion" (OKeh 8509, 1927)
Mitchell Christian Singers, "They Scandalized My Name" (Melotone M-13162/Conqueror 8457, 1934/Banner 33195, 1935)
Monroe Brothers, "Do You Call That Religion?" (Bluebird B-7055, 1937)
Sunset Four Quartette, "Do You Call That Religion" (Paramount 12221, 1924)
NOTES: This is sometimes listed, e.g. in the Folksinger's Wordbook, as a religious song. It has a religious theme (since it catalogs those who do not practice religion as the singer thinks they should), but is not really a religious piece but a complaint. - RBW
File: FSWB369
===
NAME: Scant of Love, Want of Love: see Maids When You're Young Never Wed an Old Man (File: K207)
===
NAME: Scantling Line, The: see Fox River Line, The (The Rock Island Line) [Laws C28] (File: LC28)
===
NAME: Scarboro Sand (The Drowned Sailor) [Laws K18]
DESCRIPTION: A Scarborough girl learns that her sailor love has been lost at sea. She asks the waters to bring her love ashore. She finds the body, kisses it, and dies. The two are buried in "Robin Hood's Churchyard."
AUTHOR: unknown
EARLIEST_DATE: before 1853 (broadside, Bodleian Johnson Ballads 1956)
KEYWORDS: sea death burial drowning
FOUND_IN: US(SE) Britain(England(Lond,North),Scotland(Aber)) Canada(Newf)
REFERENCES: (9 citations)
Laws K18, "Scarboro Sand (The Drowned Sailor)"
Warner 151, "Scarborough Sand" (1 text, 1 tune)
Sharp-100E 37, "The Drowned Lover" (1 text, 1 tune)
BrownII 105, "Scarboro Sand (Robin Hood Side)" (1 text)
Chappell-FSRA 39, "In Robin Hood's Churchyard" (1 text, 1 tune)
Ord, pp. 332-333, "Scarborough's Banks" (1 text)
Peacock, pp. 722-725, "Strawberry Tower" (2 texts, 2 tunes)
Karpeles-Newfoundland 44, "Arbour Town" (1 text, 1 tune)
DT 561, SCARSAND
Roud #185
RECORDINGS:
Sam Larner, "In Scarboro' Town" (on SLarner01; on Voice02 as "In Scarborough Town"); "The Drowned Lover" (on SLarner02)
Frank Verrill, "Stowborough Town" (on Voice12)
BROADSIDES:
Bodleian, Johnson Ballads 1956, "Stow Brow," John Ross (Newcastle), 1847-1852; also Harding B 11(3208), "Stow Brow"
ALTERNATE_TITLES:
Strawbello Strand
NOTES: The reference to "Robin Hood's Churchyard" is almost certainly a reference to the village of Robin Hood's Bay, Yorkshire; some versions of the song set the events in that town rather than in Scarborough. 
I do not know that the two Larner recordings are in fact different -- these two compilations drew from the same collection of field tapes -- but as the titles are given as different I thought it prudent to separate them. - PJS
File: LK18
===
NAME: Scarborough Fair: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Scarborough Settler's Lament
DESCRIPTION: "Away wi' Canada's muddy creeks And Canada's fields of pine. Your land of wheat is a goodly land, but ah! it isna mine!" The Scottish settler thinks back with sadness to the home he left behind -- but awakes in Canada, "three thousand miles 'frae hame.'"
AUTHOR: Sandy Clandenning
EARLIEST_DATE: 1960
KEYWORDS: emigration homesickness Canada
FOUND_IN: Canada
REFERENCES: (3 citations)
Fowke/Mills/Blume, pp. 94-95, "A Scarborough Settler's Lament" (1 text, 1 tune)
Fowke/MacMillan 29, "The Scarborough Settler's Lament" (1 text, 1 tune)
DT, SCARSET*
Roud #4521
CROSS_REFERENCES:
cf. "Spancil Hill" (theme)
cf. "That Dear Old Land" (theme)
cf. "The Glenshesk Waterside" (theme)
cf. "Farewell to Sweet Glenravel" (theme)
cf. "Och, Och, Eire, O!" (theme)
cf. "The Call of Home" (theme)
cf. "A Shamrock from Tiree" (theme)
cf. "Farewell to the Banks of the Roe" (theme)
cf. "Banks of the Roe" (theme)
cf. "The Shamrock Shore (The Maid of Mullaghmore)" (theme)
cf. "Maguire's Brae" (theme)
cf. "Sweet Loughgiel" (theme)
cf. "Juberlane" (theme)
cf. "Glen O'Lee" (theme)
cf. "Sweet Glenbush" (theme)
cf. "The Hills of Donegal" (theme)
cf. "O, Derry, Derry, Dearie Me" (theme)
cf. "Cloughwater/The Shamrock Shore" (theme)
cf. "The Little Old Mud Cabin on the Hill" (theme)
cf. "Norah McShane" (theme)
cf. "Bonnie Lyndale" (theme)
NOTES: Sandy Clandenning settled in Scarborough (near Toronto) in 1840. He set these words to the first half of the tune "Of A' the Airts the Wind Can Blaw." It has also been sung to "The Irish Emigrant's Lament." - RBW
File: FMB094
===
NAME: Scarborough's Banks: see Scarboro Sand (The Drowned Sailor) [Laws K18] (File: LK18)
===
NAME: Schaladi: see Young Charlotte (Fair Charlotte) [Laws G17] (File: LG17)
===
NAME: Schlof Mayn Kind (Sleep My Child)
DESCRIPTION: Yiddish: The mother urges her little child to sleep. She tells the child that someday it will understand why she weeps. Father has gone to America, seeking to earn the money to let them all emigrate. Till then, baby can only sleep and mother can only wait
AUTHOR: Words: Sholom Aleichem
EARLIEST_DATE: 1950
KEYWORDS: family lullaby separation emigration foreignlanguage
FOUND_IN: 
REFERENCES: (1 citation)
Scott-BoA, pp. 287-289, "Schlof Mayn Kind (Sleep My Child)" (2 texts (1 English, 1 Yiddish), 1 tune)
NOTES: There seem to be two Yiddish songs by that title: this one (which is more completely titled "Schlof Mayn Kind, Mayn Treyst, Mayn Sheiner") and another that is sometimes called "Shlof Mayn Kind, Shlof Keseyder." [For which see the _Folksinger's Wordbook_, p. 408. - RBW] In the latter, the mother sings to the child bitterly about the differences between rich and poor; emigration is not mentioned. - PJS
File: SBoA287
===
NAME: Schnooglin'
DESCRIPTION: "Schnooglin'" is the process of keeping warm by necking, the singer asserts, adding the warning not to let a boy an inch above your knee.
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: bawdy warning
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Cray, pp. 252-253, "Schnooglin'" (1 text, 1 tune)
Roud #10289
File: EM252
===
NAME: School Days
DESCRIPTION: "'Tis sweet to go back in memory To days of youth so dear to me When we could find a secluded spot And gather the blue forget-me-not." The singer recalls when "life was smooth as a poet's rhyme."  He fondly remembers the old schoolhouse and childhood
AUTHOR: Edgar Hamm?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: nonballad youth
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 251-252, "School Days" (1 text)
NOTES: This sounds so nineteenth-century-parlor-song, it's uncanny. But I don't know of any sheet music version. - RBW
File: ThBa250
===
NAME: School Days of Long Ago
DESCRIPTION: "Still sits the schoolhouse by the road Close by the old oak tree, Where many a boy has took a dose Of grim old hickory tea." The singer describes the strict methods of the old school, and laments the laziness of the students
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 872, "School Days of Long Ago" (1 text)
Roud #7538
File: R872
===
NAME: Schooner Blizzard, The
DESCRIPTION: The singer warns his comrades "not to sail in those mean packets where they put no food on board." He describes a trip that began with rotten food and no heat and ended with the steward jumping ship to get married
AUTHOR: Henry Burke and a shipmate
EARLIEST_DATE: 1951
KEYWORDS: sailor hardtimes marriage warning
HISTORICAL_REFERENCES: 1889 - Reported date of this voyage of the Blizzard
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 198-200, "The Schooner Blizzard" (1 text, 1 tune)
Roud #9428
File: Doe198
===
NAME: Schooner E. A. Horton: see The E. A. Horton [Laws D28] (File: LD28)
===
NAME: Schooner Fred Dunbar, The [Laws D14]
DESCRIPTION: A sailor speaks of his vessel's travels, all the while advising the girls about the pleasures and advantages of going out with sailors
AUTHOR: Amos Hanson
EARLIEST_DATE: 1933
KEYWORDS: sea sailor travel
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Laws D14, "The Schooner Fred Dunbar"
DT 832, FREDDUNB*
Roud #2237
File: LD14
===
NAME: Schooner Helson
DESCRIPTION: "The vessel 'Schooner Helson' from Newport sailed away Arriving safe at Georgetown Without mishap that day." A storm on the way home wrecks the schooner. All three of the crew drown and only one body is found, "washed up by the waves"
AUTHOR: Charlie Howlett
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: drowning sea ship storm wreck sailor
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, p. 46, "Schooner Helson" (1 text, 1 tune)
Roud #12470
NOTES: Newport and Georgetown are on the east coast of Kings, Prince Edward Island. Newport is a few miles north of Georgetown. - BS
File: Din046
===
NAME: Schooner Kandahar, The
DESCRIPTION: The Kandahar's trip starts out happily, but then the vessel springs a small leak and runs into a smallpox epidemic. Despite a threat of quarantine, the ship reaches the Indies, then has a quiet trip back to Nova Scotia
AUTHOR: Sepley Collin
EARLIEST_DATE: 1931
KEYWORDS: ship sea disease
HISTORICAL_REFERENCES: 1896 - Voyage of the Kandahar
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 196-198, "The Schooner Kandahar" (1 text, 1 tune)
Roud #4085
NOTES: This song is item dD42 in Laws's Appendix II. - RBW
File: Doe196
===
NAME: Schooner Marion Rogers, The
DESCRIPTION: Marion Rogers sails for the North from St John's and is lost near Trinity in a snow storm. The crew of seven is lost in "the most awful shipwreck, the worst one of the year"
AUTHOR: unknown
EARLIEST_DATE: 1978 (Lehr/Best)
KEYWORDS: death sea ship storm wreck
HISTORICAL_REFERENCES: Nov 27, 1938 - Marion Rogers stranded (total loss) at Lighthouse Rocks reef in Trinity Harbour (Northern Shipwrecks Database)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 72, "The Schooner Marion Rogers" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Ravenal" (tune)
SAME_TUNE:
The Ravenal (file: LeBe092)
File: LeBe072
===
NAME: Schooner Mary Ann, The: see Bound Down to Newfoundland [Laws D22] (File: LD22)
===
NAME: Scolding Wife (I), The
DESCRIPTION: "I married me a scolding wife Some forty years ago And ever since I've led a life Of misery and woe." The abused husband details the various ways his wife chastises, injures, and neglects him
AUTHOR: unknown
EARLIEST_DATE: 1931 (Gardner/Chickering)
KEYWORDS: husband wife abuse injury shrewishness
FOUND_IN: Britain(England(South)) US(MW,NE,So)
REFERENCES: (4 citations)
Randolph 397, "The Scolding Wife" (1 text, 1 tune)
Kennedy 214, "The Scolding Wife" (1 text, 1 tune)
Beck 80, "My Scolding Wife" (1 text)
Gardner/Chickering 179, "A Scolding Wife" (1 short text plus mention of 1 more)
Roud #2132
RECORDINGS:
Margaret MacArthur, "The Scolding Wife" (on MMacArthur01)
CROSS_REFERENCES:
cf. "The Scolding Wife (IV)" (subject)
NOTES: The notes in Henry/Huntington/Herrmann observe that this has the same subject and metrical pattern as "The Scolding Wife (IV)." But there seem to be no common lyrics at all; I (hesitantly) declare them separate. The chorus of this song runs something like
For she worries (or "hurries") me, she flurries me,
It is her heart's delight
To warm me with the fire-shovel
Round the room at night (or "in the middle of the night"). - RBW
File: R397
===
NAME: Scolding Wife (II), The: see The Dumb Wife (Dumb, Dumb, Dumb) [Laws Q5] (File: LQ05)
===
NAME: Scolding Wife (III): see The Holly Twig [Laws Q6]; also The Wife Wrapped in Wether's Skin [Child 277] (File: LQ06)
===
NAME: Scolding Wife (III), The
DESCRIPTION: "Oh, you've often heard it asked Why a woman talks so fast Oh, she runs around with every bit of news." The singer claims "a woman's tongue will never take a rest"; she talks while he works. He advises marrying a wife who is "blind, deaf, and dumb."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: husband wife
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 201, "The Scolding Wife" (1 text plus mention of 1 more)
Roud #6585
NOTES: I should perhaps assign this song the keyword "humorous," since it was probably intended to be funny. But it isn't; it's just a whine. - RBW
File: BrII201
===
NAME: Scolding Wife (IV)
DESCRIPTION: "Come all ye sprightly sporting youths, wherever you may be, You'll never know your misery till married that you'll be." The singer describes all the ways in which his wife makes his life miserable, and hopes she dies before she kills him
AUTHOR: unknown
EARLIEST_DATE: 1926 (Sam Henry collection)
KEYWORDS: husband wife fight marriage courting abuse
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H145, p. 503, "The Scolding Wife" (1 text, 1 tune)
Ord, p. 151, "The Bad Wife" (1 text)
Roud #5556
CROSS_REFERENCES:
cf. "The Scolding Wife (I)" (subject)
cf. "The Sporting Bachelors" (plot)
NOTES: The notes in Henry/Huntington/Herrmann observe that this has the same subject and metrical pattern as "The Scolding Wife (I)." But there seem to be no common lyrics at all; I (hesitantly) declare them separate. The chorus of the Henry text is
For she's aye, aye scowlin', an' she's aye scowlin' me,
She's for everlasting scowlin' and she canna let me be.
Roud lumps this with "The Sporting Bachelors," and I cannot deny the close similarity in themes. But the two appear somewhat different in both form and emphasis. - RBW
File: HHH145
===
NAME: Scolding Wife (IV), The: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Scornful Dame, The: see Come Write Me Down (The Wedding Song) (File: K126)
===
NAME: Scotch Lassie, The: see Nae Bonnie Laddie tae Tak' Me Away; also Queen Mary (Auld Maid's Lament) (File: HHH230A)
===
NAME: Scotland's Burning
DESCRIPTION: "Scotland's burning, Scotland's burning, Look out, look out, Fire, fire, fire, fire, Pour on water, pour on water."
AUTHOR: unknown
EARLIEST_DATE: 1910 (Brown)
KEYWORDS: nonballad
FOUND_IN: US(NE,SE)
REFERENCES: (3 citations)
BrownIII 150, "Scotland's Burning" (1 text)
Linscott, p. 283, "Scotland's Burning" (1 text, 1 tune)
Silber-FSWB, p. 412, "Scotland's Burning" (1 text)
Roud #3752
NOTES: No doubt some enterprising folklorist has attributed this to one or another of Scotland's various political crises (e.g. the period between the death of Alexander III and the accession of Robert the Bruce). Me, I think it's just a round. - RBW
File: FSWB412D
===
NAME: Scots Wha Hae (Bruce Before Bannockburn)
DESCRIPTION: "Scots wha hae wi' Wallace bled, Scots, wham Bruce has aften led, Welcome to your gory bed Or to victory!" As the English army of Edward approaches, the Scots are encouraged to "do or dee" to retain their freedom
AUTHOR: Robert Burns
EARLIEST_DATE: 1800 (Currie)
KEYWORDS: battle Scotland war freedom political
HISTORICAL_REFERENCES: 1286 - Death of Alexander III of Scotland
1290 - Death of his granddaughter Margaret "Maid of Norway"
1292 - Edward I of England declares John Balliol king of Scotland
1296 - Edward deposes John Balliol
1297 - William Wallace, the Guardian of Scotland, defeats the English at Stirling Bridge
1298 - Edward defeats Wallace at Falkirk. Wallace forced into hiding
1305 - Capture and execution of Wallace (August 23)
1306 - Robert Bruce declares himself king of Scotland
1307 - Death of Edward I
1314 - Battle of Bannockburn. Robert Bruce defeats Edward II of England and regains Scottish independence
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Silber-FSWB, p. 299, "Scots Wha Ha'e Wi' Wallace Bled" (1 text)
DT, SCOTWHAE*
BROADSIDES:
NLScotland, RB.m.169(138), "Scots, wha hae wi Wallace bled," J. Pitts (London), 1820-1845; also L.C.Fol.70(47a), "Scots wha hae," unknown (London)
CROSS_REFERENCES:
cf. "The Day of Waterloo" (tune)
SAME_TUNE:
The Day of Waterloo (Ord, p. 303)
NOTES: Titled, in Currie's publication, "Bruce to his Troops on the eve of the Battle of Bannock-burn."
By the time of Bannockburn, the Scots had been struggling against the English for twenty years, with relatively slight success overall. It was not the accession of Robert Bruce that turned the tide, but rather the death of the strong English king Edward I. His successor, Edward II, was much weaker. When Edward II finally was induced to fight the Scots, he did little more than throw his troops at Bruce's army, leading to a catastrophic and unnecessary defeat.
Although Bannockburn was more Edward's loss than Bruce's victory, it became the defining event in the Scottish story, and hence the inspiration for this poem of Burns's (though there is no reason to think Bruce ever said anything like this). - RBW
File: FSWB299
===
NAME: Scow on Cowden's Shore, The: see The Scow on the Cowden Shore (File: Doe234)
===
NAME: Scow on the Cowden Shore, The
DESCRIPTION: The singer (expressly identified as Larry Gorman) sings of "the scow on the Cowden shore." He describes the international crew of loggers, including several of the more peculiar characters, and speaks of the quest for liquor
AUTHOR: words: Larry Gorman/music & additional words: Willis Norrad
EARLIEST_DATE: 1948 (Manny/Wilson)
KEYWORDS: logger drink nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Doerflinger, pp. 234-236, "The Scow on the Cowden Shore" (3 texts, 2 tunes)
Manny/Wilson 42, "The Scow on Cowden Shore" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 180-182, "The Scow on Cowden's Shore" (1 text, 1 tune)
ST Doe234 (Partial)
Roud #4529
NOTES: During log drives, the boss of the drive, the cook, and other non-participants would usually follow the logs in scows. Since the boat carried their provisions, the logdrivers were often highly alert to its progress. - RBW
"Cowden Shore was part of the Cowden farm, where Scottish immigrants of that name settled in the early nineteenth century.... Cowden Shore was conveniently near the Sou'West Boom, where the logs driven down the [Southwest Miramichi River] were stored, awaiting distribution to their owners." - BS
File: Doe234
===
NAME: Scranky Black Farmer, The
DESCRIPTION: "At the top o' the Garioch, in the lands o' Leith-hall, A cranky black farmer in Earlsfield did dwall; Wi' him I engaged a servant to be...." The singer describes the weary work and the bad company; when his time is up, he intends to return to the seaside
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: work farming hardtimes
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 213-214, "The Scranky Black Farmer" (1 text)
Roud #2872
File: Ord213
===
NAME: Screwing In Song
DESCRIPTION: "Before I work for a dollar a day. Down below, wey-hey, hey-hey. Grease my screws and put 'em away, Down below, wey-hey, hey-hey"
AUTHOR: unknown
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: nonballad shanty
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Smith/Hatt, p. 45, "Screwing In Song" (1 text)
Roud #9416
NOTES: Smith/Hatt: "Cargoes were pressed down ... by screws." - BS
File: SmHa045
===
NAME: Scripture in the Nursery: see Green Grow the Rushes-O (The Twelve Apostles, Come and I Will Sing You) (File: ShH97)
===
NAME: Sea Apprentice, The
DESCRIPTION: "When I first went a sea-apprentice bound, I sailed the salt seas all round and round." The singer falls in love with Anne. The captain calls him foolish; she will take another while he is at sea. But he offers her tokens, and she promises to wait
AUTHOR: unknown
EARLIEST_DATE: 1928 (Greenleaf/Mansfield)
KEYWORDS: love courting separation sailor
FOUND_IN: Ireland Canada(Mar,Newf)
REFERENCES: (5 citations)
Greenleaf/Mansfield 107, "The Prentice Boy" (2 texts)
Peacock, pp. 575-578, "A Prentice Boy in Love" (2 texts, 2 tunes)
SHenry H739, p. 291, "The Sea Apprentice" (1 text, 1 tune)
Creighton-NovaScotia 139, "Prentice Boy" (1 text, 1 tune)
DT 579, PRENTICE
Roud #1671
CROSS_REFERENCES:
cf. "The Doffin' Mistress" (tune)
SAME_TUNE:
The Doffin' Mistress (File: K220)
ALTERNATE_TITLES:
Bonny Anne
NOTES: The Digital Tradition version of this song, from Creighton, is listed as Laws M12, but it appears to be this song (Creighton also has a version of Laws M12, which may explain the confusion). - RBW.
File: HHH739
===
NAME: Sea Captain (II), The: see The Maid on the Shore (The Fair Maid by the Sea Shore; The Sea Captain) [Laws K27] (File: LK27)
===
NAME: Sea Captain and the Squire, The [Laws Q12]
DESCRIPTION: The captain leaves his new bride to be seduced by a squire. The night the captain returns, all the women of the house give birth. The wife explains her state (the male servants had impregnated the maids); her captain forgives her (!) "for the joke's sake"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: seduction pregnancy separation adultery
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws Q12, "The Sea Captain and the Squire"
Combs/Wilgus 121, pp. 138-140, "There Was a Sea Captain" (1 text)
DT 734, SEACAPT SEACAPT2
Roud #947
BROADSIDES:
NLScotland, APS.4.86.3, "The Sea Captain," unknown, after 1820
CROSS_REFERENCES:
cf. "A War Bird's Burlesque" (plot)
File: LQ12
===
NAME: Sea Crab, The
DESCRIPTION: A man stows a crab (lobster) in the chamber pot while his wife is asleep. She gets up to relieve herself; the crab grabs her "by the flue." He seeks to free her; the crab grabs his nose. Caught in this predicament, they send for a doctor to free them
AUTHOR: unknown
EARLIEST_DATE: c. 1620 (Percy Folio Manuscripts)
KEYWORDS: animal bawdy humorous husband injury marriage
FOUND_IN: Canada (Ont) Britain(England,Scotland) US (Ap,MA,MW,Ro,SE,So,SW)
REFERENCES: (6 citations)
Cray, pp. 1-4, "The Sea Crab" (2 texts, 2 tunes)
Randolph-Legman I, pp. 66-73, "The Sea Crab" (4 texts, 1 tune)
Sharp-100E 77, "The Crabfish" (1 text, 1 tune)
Kennedy 196, "The Crab-Fish" (1 text, 1 tune)
Hugill, pp. 277-278, "Whiskey Johnny" (2 texts, version "D" of "Whiskey Johnny) [AbEd, p. 206]
DT, CRAYPOT, SHECRAB
ST EM001 (Full)
Roud #149
CROSS_REFERENCES:
cf. "Cod Fish Song"
ALTERNATE_TITLES:
The Crayfish
The Fishy Crab
The Lobster
The Old She-Crab
NOTES: This is one of the oldest of English language traditional ballads. F.J. Child deliberately excluded it from his canonical ESPB, presumably because of its indelicate nature. - EC
Kennedy says of this piece, "...it seems likely to be either French in origin or in imitation of French balladry (at any rate this is a chance to disown it as an English composition)." - RBW
Sharp's version differs from the canonical one in several ways, aside from having been cleaned up. The main theme of the song is that the woman is sick, and craves the crab, so the man goes and buys one. She goes to smell it, and it bites her, then him. Same song, very different emphasis. -PJS
File: EM001
===
NAME: Sea Ghost, The: see The Sailor and the Ghost [Laws P34A/B] (File: LP34)
===
NAME: Sea Gulls and Crickets
DESCRIPTION: Famine threatens Mormon pioneers in the winter of 1849; spring brings new shoots, but crickets sweep down "like fog on a British coast." The pioneers battle them in vain, but flocks of seagulls arrive and devour the crickets; the harvest is saved
AUTHOR: unknown
EARLIEST_DATE: 1952 (recording, L. M. Hilton)
KEYWORDS: rescue farming harvest disaster animal bird bug pioneer settler
FOUND_IN: US(Ro)
REFERENCES: (0 citations)
Roud #10833
RECORDINGS:
L. M. Hilton, "Sea Gulls and Crickets" (on Hilton01)
File: RecSgaC
===
NAME: Sea-Longing: see An Iounndrain-Mhara (Sea-Longing) (File: K011)
===
NAME: Sea-Tangle, The: see An Sgeir-Mhara (The Sea-Tangle, The Jealous Woman) (File: K003)
===
NAME: Sea, The
DESCRIPTION: "The sea, the sea, the open sea, The blue, the fresh, the ever-free, Without a mark, without a bound..." "I love, oh how I love to ride On the fierce foaming bursting tide...." The old seaman looks back on a tumultuous but happy life
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal by William Histed of the Cortes)
KEYWORDS: sailor sea  nonballad age
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 63-64, "The Sea" (1 text, 1 tune)
Roud #2019
NOTES: To me this looks like a professional piece which Histed copied down in his journal for some reason. But Huntington's notes left me with just enough doubt to include the song here. - RBW
File: SWMS063
===
NAME: Seaboard Air Line
DESCRIPTION: "Seaboard Air Line Never on time; At half past nine Your headlight shines; In all my dreams Your whistle screams; You are the idol of my heart, Seaboard Air Line."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: train love
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 238, "Seaboard Air Line" (1 short text)
Roud #15773
CROSS_REFERENCES:
cf. "Sweet Adeline" (tune)
File: Br3238
===
NAME:  Seagull of the Land-Under-Waves, The: see Snow Gull (File: KFrI084)
===
NAME: Sealchie Song, The: see The Great Silkie of Sule Skerry [Child 113] (File: C113)
===
NAME: Sealer Lad, The (The Fisherman's Son to the Ice is Gone)
DESCRIPTION: "The sealer lad from his home is gone, On board his ship you'll find him." The singer recalls the good old days of sealing, noting that now a load of seals "scarce pays Alfred's duty." He hopes the rich man at home will not longer profit
AUTHOR: unknown
EARLIEST_DATE: 1900 (Burke & Oliver)
KEYWORDS: hunting hardtimes
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 69, "The Sealer Lad" (1 text); compare p. 134, "The Fisherman's Son to the Ice is Gone" (1 text)
NOTES: No tune is indicated for this, but the form strongly implies "The Minstrel Boy."
Since the first publication is in Burke and Oliver's _The People's Songster, Buyers' Guide and Gems of Poetry and Prose,_ there is a good chance it's by John Burke.
The second text cited from Ryan/Small, "The Fisherman's Son to the Ice is Gone," slightly changes the occupation of the hero, and is much shorter -- but the two are clearly adaptions of each other. Either they're traditional, and one song, or, more likely, they aren't traditional, and might as well be lumped. - RBW
File: RySm069
===
NAME: Sealer's Call
DESCRIPTION: "I must go up to the ice again, To the fields of purest white." The singer, though his hair has turned white, still hears the call of the seal, and will return to the work even though the pay is small, the cold terrible, and the comforts few
AUTHOR: Solomon Samson ?
EARLIEST_DATE: 1962 (A Glimpse of Newfoundlad in Poetry and Pictures)
KEYWORDS: hunting ship travel work nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 14, "The Sealer's Call" (1 text)
NOTES: Not traditional that I can tell, and not a song either. Just one of those things editors inflict upon songbooks.
This seems clearly based on John Masefield's "Sea Fever" ("I must go down to the sea again, To the lonely sea and sky"), which has inspired other localizations as well. - RBW
File: RySm014
===
NAME: Sealer's Love Letter, A
DESCRIPTION: "Dear Miss: -- I know I can't mail this; Forgive me, it's all I can do, Out here at the ice-fields in Winter... For it's Easter good wishes I'm sending." He recalls leaving her to work as a sealer, compares their lives, and sends good wishes
AUTHOR: unknown
EARLIEST_DATE: 1978 (Ryan/Small)
KEYWORDS: love separation nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 91, "A Sealer's Love Letter" (1 text)
File: RySm091
===
NAME: Sealer's Reply to His Wife, A
DESCRIPTION: "Now that March month has come, And spring's in the air, The old seals are swimming Up North to their lair... So Maggie my darling I must leave you alone." The old sealer explains to his wife the lure of the seal hunt, and promises to stay home someday
AUTHOR: Solomon Samson?
EARLIEST_DATE: 1963 (A Glimpse of Newfoundland in Poetry and Pictures)
KEYWORDS: hunting age
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 153, "A Sealer's Reply to His Wife" (1 text)
NOTES: Explained as a 60-year-old sealer's answer when his wife tried to keep him from going to the ice. - RBW
File: RySm153
===
NAME: Sealer's Song (I)
DESCRIPTION: "The Block House Flag is up today to welcome home the stranger."  The sealing fleet is returning. The ships are named, their feats recounted [how they "kill their foe"," i.e. the seals], and they go home to parties and dancing
AUTHOR: unknown
EARLIEST_DATE: 1955 (Doyle)
KEYWORDS: bragging return hunting ship party dancing humorous
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Doyle3, pp. 52-53, "Sealer's Song" (1 text, 1 tune)
Blondahl, pp. 73-74, "The Sealer's Song" (1 text, 1 tune)
Ryan/Small, pp. 33-34, "Sealer's Song" (1 text, 1 tune)
ST Doyl3052 (Partial)
Roud #7307
NOTES: A very widely cited song, though the author is unknown. The list of captains mentioned implies a date in the period between 1865 and 1880. For Captain William Jackman, see "Captain William Jackman, A Newfoundland Hero." Chafe reports that Captain Bowman later became a member of the House of Assembly. - RBW
File: Doyl3052
===
NAME: Sealer's Song (II), The
DESCRIPTION: "The Terra Nova, Captain Kean, With two hundred and three men, Went through the gap this morning To try their luck again." A total of 20 ships and captains set out for the ice. The singer hopes they all return safely and with large loads of seals 
AUTHOR: Johnny Burke
EARLIEST_DATE: 1978 (Ryan/Small)
KEYWORDS: hunting ship moniker nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 79, "The Sealer's Song" (1 text\)
CROSS_REFERENCES:
cf. "First Arrival -- 'Aurora' and 'Walrus' Full" (ships)
cf. "Arrival of the 'Grand Banks' and 'Virginia Lake' With Bumper Trips" (ships)
cf. "Arrival of 'Aurora,' Diana,' 'Virginia Lake' and 'Vanguard,' Loaded" (ships)
NOTES: Although this deals with the same subject, and even some of the same ships, as "The Sealer's Song (I)," the two are clearly distinct: This deals with the departure of the ship, that with their return. - RBW
File: RySm070
===
NAME: Sealer's Strike of 1902, The (The Sealers Gained the Strike)
DESCRIPTION: "Attention, all ye fishermen, and read this ballad down, And hear about the sealer's strike the other day in town." The sealers, led by "brave Colloway," unite and present their demands. A. B. Morine secures their demands
AUTHOR: probably Johnny Burke
EARLIEST_DATE: 1925 (Murphy, Songs Sung by the Old Time Sealers of Many Years Ago)
KEYWORDS: ship hunting strike labor-movement
HISTORICAL_REFERENCES: Mar 8, 1902 - Beginning of the Sealer's Strike
Mar 12, 1902 - Sealers' demands granted
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 64, "The Sealer's Strike of 1902"; p. 63, "The Sealers Gained the Strike" (2 texts); also p. 66, "The Luck Went With the Sealers Since Brave Colloway Led the Strike" (1 text, a sequel to the above)
NOTES: Although all sources for this are printed and literary, the divergences between the two texts in Ryan and Small may imply oral transmission. Murphy seemingly was unaware of the attribution to Burke. - RBW
File: RySm064
===
NAME: Sealers Gained the Strike, The: see The Sealer's Strike of 1902 (The Sealers Gained the Strike) (File: RySm064)
===
NAME: Sealers of Newfoundland, The
DESCRIPTION: "Ho! We be the Sealers of Newfoundland! We clear from a snowy shore, Out into the gale with our steam and sail...." The singer describes life on a sealing voyage, and tells how tough the sealers are -- and how they rejoice to return home
AUTHOR: George Allan England
EARLIEST_DATE: 1924 (England, Vikings of the Ice)
KEYWORDS: hunting ship nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 108, "The Sealers of Newfoundland" (1 text, 1 tune)
File: RySm108
===
NAME: Sealers of Twillingate and New World Island, The
DESCRIPTION: The poet recalls the hardships faced by the sealers of 1862, then turns to the modern hunt, as SPCA planes fly overhead. He warns against actual interference with the hunt, and declares seal hunting both good commerce and a good source of food
AUTHOR: John C. Loveridge
EARLIEST_DATE: 1973 (Loveridge, Story in Pictures and Poetry of the 1973 Seal Hunt....)
KEYWORDS: hunting animal political nonballad technology
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 150-151, "The Sealers of Twillingate and New World Island" (1 text)
NOTES: Despite this song's vicious and inflated rhetoric, seal hunting has of course been restricted in the last 30 years -- in part because of opposition from animal rights' groups, but mostly because the sealers have destroyed the seal populations, and have been forced to cut back to preserve the herds.
Seals were indeed an important food source to the Newfoundland fishermen -- and even more to the Inuit. According to Bob Bartlett (who should know; see his biography under "Captain Bob Bartlett"), "The seal is the one indispensible animal of the Arctic. The flesh is by no means disagreeable, though it has a general flavor of fish, which constitutes the seal's chief food" (see p. 54 of _The Last Voyage of the Karluk_, as told to Ralph T. Hale; published 1916; now available with a new introduction by Edward E. Leslie as _The Karluk's Last Voyage_). - RBW- RBW
File: RySm150
===
NAME: Sealers, The [Laws D10]
DESCRIPTION: Four ships set out to seal. After a four day voyage, they arrive at the ice. On their very first day they take nine hundred pelts. Having filled their quota, they head for home
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: ship work hunting
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Laws D10, "The Sealers"
DT 613, SEALERS
Roud #2234
File: LD10
===
NAME: Sealers' Ball, The
DESCRIPTION: The sealers get their money at the wharf, more at the store, and "a couple of gallons" on Saturday evening. After the dance Jack Burke's girl was with Jim McGee. When their fight was over "they found the lady she'd a-gone."
AUTHOR: unknown
EARLIEST_DATE: 1962 (Peacock)
KEYWORDS: courting fight hunting shore dancing drink party humorous
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Peacock, pp. 94-95, "The Sealers' Ball" (1 text, 1 tune)
Ryan/Small, pp. 123-124, "The Sealer's Ball" (1 text, 1 tune)
ST Pea094 (Partial)
Roud #9957
ALTERNATE_TITLES:
Be Ye Much of a Hand Aboard a Vessel
File: Pea094
===
NAME: Sealing Cruise of the Lone Flier, The
DESCRIPTION: The song chronicles the life of sealers traveling from Twillingate to St. John's then north to the ice fields for seals. Miscellaneous mishaps and achievements are told during the song and many names and factual information mentioned.
AUTHOR: (supposedly the whole crew in question)
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: sea travel hunting
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 123, "The Sealing Cruise of the Lone Flier" (1 text, 1 tune)
Doyle2, pp. 14-15, "The Sealing Cruise of the Lone Flier" (1 text, 1 tune)
Blondahl, pp. 76-77, "The Sealing Cruise of the Lone Flier" (1 text, 1 tune)
Ryan/Small, pp. 126-128, "The Sealing Cruise of the Lone Flier" (1 text, 1 tune)
ST Doy14 (Partial)
Roud #7308
NOTES: The cruise in question is reported to have taken place from March 10 to April 25, 1929.
Very formulaic introduction of the "come-all-ye" variety with the singer assuring that he will neither "offend" the listener or run too long. [This even though Doyle's version runs 16 verses! - RBW] This is a very typical humble attitude of singers from Newfoundland as shown in many songs. - SH
File: Doy14
===
NAME: Sealing Fifty Years Ago
DESCRIPTION: "'Four hundred sail of shipping fine Could then be seen at anchor Awaiting time to fall in line And for a sou'west spanker." Fifty years ago, they caught 600,000 seals a year; now, they catch half as much "with hearts not half so gay."
AUTHOR: James Murphy
EARLIEST_DATE: 1901 (The Duke of York Songster and Christmas Advertiser)
KEYWORDS: hunting nonballad hardtimes recitation
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 63, "Sealing Fifty Years Ago" (1 text)
File: RySm063
===
NAME: Sealing Fleet, The
DESCRIPTION: "What means this hurrying to and fro -- This busy stirring scene? "This scene laid now before you Is not of war or strife But 'tis a fight of honest men... They go to catch the northern seal...." The sealers are described; the singer wishes them well
AUTHOR: unknown
EARLIEST_DATE: 1861 (The Newfoundland Express)
KEYWORDS: hunting nonballad orphan
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 135, "" (1 text, apparently to the tune "Garryowen")
File: RySm135
===
NAME: Sealing Trip of the S. S. Greenland 1891, The
DESCRIPTION: "All ye who love old Newfoundland And her Sons who plow the sea... I will sing to you A song about the Greenland And her hardy sailing crew." The singer praises Captain Henry Dawe, describes the efficient steamer, and tells of a good seal hunt
AUTHOR: unknown (said to be by "one of her crew")
EARLIEST_DATE: 1891 (Harbour Grace Standard)
KEYWORDS: hunting ship
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 35-36, "The Sealing Trip of the S. S. Greenland 1891" (1 text, 1 tune)
File: RySm035
===
NAME: Seaman and His Love, A (The Welcome Sailor) [Laws N29]
DESCRIPTION: The singer hears a girl wailing for her love, gone these seven years at sea. He offers a token from her love, saying he is dead and she should marry whoever carries it. She says she will mourn forever. The stranger reveals himself as her missing love
AUTHOR: unknown
EARLIEST_DATE: 1620 (Stationer's Register -- apparently)
KEYWORDS: love separation brokentoken
FOUND_IN: US(MW) Ireland Canada(Mar,Newf)
REFERENCES: (8 citations)
Laws N29, "A Seaman and His Love (The Welcome Sailor)"
Gardner/Chickering 53, "A Seaman and His Love" (1 text)
SHenry H581, pp. 318-319, "The Love Token" (1 text, 1 tune)
Peacock, pp. 530-533, "Jimmy and Nancy" (2 texts, 2 tunes)
Creighton-Maritime, p. 58, "Down by the Seaside" (1 text, 1 tune)
PBB 77, "The Valiant Seaman's Happy Return to His Love, After a Long Seven Years' Absence" (1 text, presented as traditional though it includes references to Hero and Leander, "Ulisses" and Penelope, and Dido and Aeneas. Presumably it is a broadside reworking of a traditional text, this being the best candidate for the original)
BBI, ZN2883, "When Sol could cast no light"; ZN2884, "When Sol did cast no light"
DT 763, SEAMLOVE
Roud #604
BROADSIDES:
Bodleian, Douce Ballads 2(236a), "The Valiant Sea-Mans Happy Return to His Love, After a Long Seven Years Absence," P. Brooksby (London), 1672-1696; also Wood E 25(153), "The Valiant Sea-Mans Happy Return to His Love, After a Long Seven Years Absence"; Douce Ballads 2(237b), "The Valiant Seamans Happy Return to His Love, After a Long Seven Years Absence"
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there, especially N34
SAME_TUNE:
"I Am So Deep In Love" or "Through the Cool Shady Woods" (per broadsides Bodleian Douce Ballads 2(236a), Bodleian Wood E 25(153), Bodleian Douce Ballads 2(237b))
NOTES: Bodleian Douce Ballads 2(236a) broadside seems to be the version cited above for PBB 77; the theme and some lines match Creighton-Maritime but, as the comment for PBB 77 notes, there are a lot of additional frills.
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "The Love Token" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001)) - BS
File: LN29
===
NAME: Seaman of Plymouth, The
DESCRIPTION: A sailor must go to sea before he can wed Susan. When she refuses to marry a rich man, her parents send her to Holland. The sailor, now rich, accidentally meets her; they return home; she disguises herself from her parents and they are wed
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders/Brown)
LONG_DESCRIPTION: A sailor and beautiful Susan are to wed, but she becomes sick; he is forced to sail away. While he is gone, her parents try to wed her to a rich man; when she refuses, they send her to Holland. The sailor returns, having become rich, and is told she is dead. He sails away in grief, is shipwrecked in Holland, meets her, and they return home to wed. The girl arrives in disguise; her parents continue their play-acting. At last she reveals herself, and all ends happily
KEYWORDS: love courting sailor separation betrayal money disguise reunion marriage trick
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, pp. 141-147, "The Seaman of Plymouth" (1 text, 1 tune, very long and quite clumsy; there is probably a broadside version in its very recent ancestry)
ST FlBr141 (Partial)
Roud #2811
File: FlBr141
===
NAME: Sean a Duir a'Ghleanna
DESCRIPTION: The first verse describes an unsuccessful fox hunt: "for royalty is banished" Sean meets beautiful Anna who invites him to "take compassion" He takes off his beaver hat and, answering her invitation, introduces himself as "a Galway man by extraction"
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Harding B 15(149b))
KEYWORDS: courting beauty hunting
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 81, "Sean a Duir a'Ghleanna" (1 text, 1 tune)
BROADSIDES:
Bodleian, Harding B 15(149b), "John Adwire Anglanna," H. Such (London), 1863-1885; also Harding B 11(4385), "John Adwire Anglanna"; 2806 b.9(41), 2806 b.11(44), Harding B 19(42), "John O'Dwyer-a-Glana"
CROSS_REFERENCES:
cf. "After Aughrim's Great Disaster" (form)
NOTES: The name of the song in both OLochlainn and the Bodleain broadsides is from the last line: "I'm a Galway man by extraction, bred in Connamara, And [song title] they call me by name." It's easiest to find versions from the first line which is always close to "One morning I started From the arms of Morpheus."
The ornate descriptions and the ending with an introduction to a beautiful woman remind me of Thomas Moore's "Rich and Rare Were The Gems She Wore." Adding to my suspicion that there is more nationalism coded here than I understand is the OLochlainn note that 'the late Canon Sheehan wrote a fine song "After Aughrim's great disaster" founded on this ballad.' 
In this connection see the Mudcat Cafe threads re "After Aughrim's Great Disaster" and "Sean O'Duibhir A Ghleanna." The text of "Sean O Duibhir An Ghleanna" ("Sean O'Dwyer of the Glen") listed there is either the source or derivative of this song and is clearly a song of desperation; the source there is Danny Spooner and Mick Farrell 'In Limbo and Other Songs and Places' Anthology AR003. The text of "After Aughrim's Great Disaster" refers to the battle of July 12, 1691: "Ah, Sean o Duibhir an Ghleanna, we were worsted in the game." - BS
File: OLoc081
===
NAME: Sean Treacy
DESCRIPTION: "We often heard our fathers tell How in the Fenian times The noblest of Tipperary's sons Imprisoned spent their lives." The police pursue Treacy; he kills two before being slain himself. The song reports, "He died for Ireland free."
AUTHOR: unknown
EARLIEST_DATE: 1962 (Galvin)
KEYWORDS: Ireland rebellion police death IRA
HISTORICAL_REFERENCES: Oct 14, 1920 - death of Sean Treacy (Tracey)
FOUND_IN: Ireland
REFERENCES: (1 citation)
PGalvin, pp. 65-66, "Sean Treacy" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Tipperary Far Away" (subject: the death of Treacy)
cf. "The Station of Knocklong" (for other activities of Treacy)
NOTES: This English-language song conclude with the ironic words, "In our Gaelic tongue we'll tell our sons How brave Sean Treacy died."
It might be more interesting to start by telling why Treacy was pursued. According to the distinctly pro-Irish historian Calton Younger, "Two Irish policement were shot dead at Soloheadbeg, on January 21st, 1919....
"[E]ight men of the south Tipperary Brigade of what was soon to be widely known as the Irish Republican Army... lay in ambush for five days waiting for a cart of gelignite [an explosive].
"[T]he car was guarded by two unwary constables, MacDonnell and O'Connell.... [Both] were popular enough in the district. With them were two employees of the South Tipperary County Council.... [They] were shot down by Sean Treacy, second-in-command of the South Tipperary Brigade." (Younger, _Ireland's Civil War_, p. 85).
Robert Kee, in _Ourselves Alone_, being volume III of _The Green Flag_, p. 58, says of the reaction to this incident, "The two Irish constables, both Catholics, one a widower with four children, were very popular locally and had never had any connection with political prosecutions. Their deaths aroused widespread indication and horror, and there was a poignant moment at the inquest when one of McDonnell's sons asked if they had been given any time to surrender the explosives or if they had had a dog's chance."
It may be that the two made an attempt at resistance. But there is no question: Treacy was a terrorist. Fighting for an Irish republic, but a terrorist. In fact, in  Younger's view at least, he was the prototype: "[Treacy and Dan Breen] were the first to steel themselves to kill, to acquire the kind of mentality that men must acquire to win freedom" (p. 87).
The popular reaction was less positive. Kee p. 58 adds, "The action was condemned as a crime at the masses throughout Tipperary the following Sunday and the Archbishop of Cashel in Thurles Cathedral proclaimed it an offense against the law of God.... [A]nother cleric, Monsignor Ryan, cried, 'God help poor Ireland if she follows this deed of blood.
"Nevertheless, in spite of an offer of [a thousand pound reward], the killers were able to vanish without a trace until an even more sensational appearance three months later."
Their bloody work did have some effect. Kee, p. 59, notes, "[t]heir objects were often more successfully served by the British authorities' reaction to Volunteer  exploits than by the military results of the exploits themselves." Which, of course, is exactly what happened with the Easter Rebellion, too: The Irish despised the initial rebellious act, but despised the severe British response even more.
After many months on the run for this and other incidents (see also the notes to "The Station of Knocklong" and "Tipperary Far Away"), Treacy finally died in a shoot-out with police.  According to Younger, p. 121, "they had caught up with him, bringing an armoured car and two lorry loads of auxiliaries." Treacy opened fire, killing at least two of the attackers; they responded with machine gun fire, killing Treacy and two bystanders.
Younger adds that the woman "who identified his body saw that it had been impeccably laid out, and a soldier on guard gave her a lock of Treacy's hair." But Younger does not cite a single source with regard to the death of Treacy; I wonder if parts, incluing the hair, might not be taken from this song and "Tipperary Far Away" (which mentions the hair business).
Kee, p. 116, adds that he "easily became a hero as legendary as Cuchulain." And yet, of eight histories I consulted, Kee is the only one to mention Treacy in three contexts (Knocklong, Soloheadbeg, and his death). One mentions Soloheadbeg and his death, two mention only Soloheadbeg (one of them mentioning him also in his role as part of the hit squad led by Michael Collins), one tells of Knocklong, and the rest don't mention him at all. - RBW
File: PGa065
===
NAME: Seanduine Doighte, An: see The Burnt-Out Old Fellow [An Seanduine Doighte] (File: K045)
===
NAME: Search and Rescue, The
DESCRIPTION: On August 14, 1955, Daniel Morris and his wife are cod fishing off Souris. The engine dies. They anchor off Cape Spry's rocks in a heavy wind. They are finally rescued by two Mounties, Leonard MacDonald, and his big engine boat.
AUTHOR: Mrs. Dan Morris
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: rescue fishing sea ship storm
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 27-29, "The Search and Rescue" (1 text, 1 tune)
Roud #12476
NOTES: Souris is in the northeast corner of Kings, Prince Edward Island. - BS
File: Dib027
===
NAME: Searching for Lambs
DESCRIPTION: a young man meets a girl and asks her where she is going. She is going to feed her father's "tender lambs." He begs her to stay with him. They court for long. (He hopes that) they marry.
AUTHOR: unknown
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: sheep courting marriage love
FOUND_IN: Britain(England) Ireland
REFERENCES: (3 citations)
Sharp-100E 48, "Searching for Lambs" (1 text, 1 tune)
SHenry H548, p. 341, "One Morning Clear" (1 text, 1 tune)
DT 474, SRCHLAMB
ST LO09A (Partial)
Roud #576
CROSS_REFERENCES:
cf. "Branded Lambs" [Laws O9] (theme)
NOTES: For the rather vexed relationship of this song with "Branded Lambs" [Laws O9], see the notes to that song. - RBW
File: LO09A
===
NAME: Searching for Young Lambs: see Searching for Lambs (File: LO09A)
===
NAME: Sebastopol (Old England's Gained the Day; Capture and Destruction of Sebastopol; Cheer, Boys, Cheer)
DESCRIPTION: "Cheer lads, cheer! the enemy is quaking ... our foes we did defeat, ... Sebastopol is taken." Pellisier and Simpson lead the French and English "their cannons loud did rattle ... and the flags of France and England waved on Sebastopol."
AUTHOR: unknown
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: army battle war England France Russia shanty
HISTORICAL_REFERENCES: Sep 9, 1855 - Fall of Sevastopol following an 11 month siege
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Smith/Hatt, p. 31, "Old England's Gained the Day" (1 text)
Hugill, pp. 428-429, "Sebastopol" (1 text, 1 tune) [AbEd, pp. 322-323]
ST SmHa041 (Partial)
Roud #8293
BROADSIDES:
Bodleian, Firth b.26(215) , "Capture and Destruction of Sebastopol" ("Cheer lads, cheer! the enemy is quaking"), A. Ryle and Co. (London), 1855?; Firth b.25(586), "Capture and Destruction of Sebastopol"
CROSS_REFERENCES:
cf. "Newfoundland and Sebastopol" (subject, theme)
cf. "Cheer, Boys, Cheer!" (tune, per broadsides Bodleian Firth b.26(215) and Bodleian Firth b.25(586))
NOTES: Bodleian, Harding B 26(95), "Cheer, Boys Cheer, for the Fall of Sebastopol" ("Cheer lads cheer, for Brittannia's sons none bolder"), J. Moore (Belfast), 1846-1852 [not possible] is a similar broadside.
Smith/Hatt has this fragment as a capstan shanty. - BS
Hugill also has it as a capstan shanty, and calls it a "broken-down version of the original march, or rather of its chorus. The original march tune was known as the 'Loth-to-depart.'" - [RBW, BS]
There are quite a few other broadsides floating around called "Cheer, Boys, Cheer," celebrating other events. I haven't seen any evidence that they're traditional. - RBW
File: SmHa041
===
NAME: Section Gang Song
DESCRIPTION: "Oh, captain, captain, I'm goin' away to leave you (x3), By next payday, oh captain, next payday." The singer talks of work on the section gang, complains about not being paid, and declares that he will leave
AUTHOR: unknown
EARLIEST_DATE: 1927 (T. C. I. Section Crew, according to Cohen)
KEYWORDS: worksong railroading nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Cohen-LSRail, p. 647, "Section Gang Song" (1 text)
Roud #17785
RECORDINGS:
T. C. I. Section Crew, "Section Gang Song" (Paramount 12478, 1927)
NOTES: According to Cohen, this is one of only two railroad worksongs released on a commercial 78 (the other being "Track Linin'," which appears to be a version of "Can'cha Line 'Em"). He thinks they may be the earliest worksong recordings of any sort. - RBW
Almost, but not quite; Robert Winslow Gordon was recording sea chanteys in the San Francisco Bay Area in the early 1920s" - PJS
File: LSRai647
===
NAME: See See Rider: see Easy Rider (File: LxU022)
===
NAME: See That My Grave Is Kept Clean
DESCRIPTION: Singer, dying, asks that his grave be kept clean, that his grave be dug with a silver spade, and that he be lowered with a golden chain.
AUTHOR: probably Blind Lemon Jefferson
EARLIEST_DATE: 1928 (recording, Blind Lemon Jefferson)
KEYWORDS: death dying funeral nonballad religious floatingverses
FOUND_IN: US(Ap,SE,So)
REFERENCES: (5 citations)
Asch/Dunson/Raim, p. 92, "See That My Grave Is Kept Clean" (1 text, 1 tune)
Cohen/Seeger/Wood, pp. 114-115, "Sad and Lonesome Day" (1 text, 1 tune)
Courlander-NFM, p. 139, "(One Kind Favor)" (1 text)
Gilbert, p. 81, "See That My Grave Is Kept Clean" (1 partial text)
Darling-NAS, pp. 300-301, "See That My Grave Is Kept Clean" (1 text)
Roud #7382
RECORDINGS:
[Joe] Evans & [Arthur] McClain, "Two White Horses in a Line" (Oriole 8081/Perfect 182/Romeo 5081, 1931; on BefBlues1)
Blind Lemon Jefferson, "See That My Grave Is Kept Clean" (Paramount 12608B, 1928; on AAFM3; improperly listed as "Two White Horses" on the CD reissue cover though not in the notes; also on Jefferson01, JeffersonCD01)
Mike Seeger, "Sad and Lonesome Day" (on MSeeger01)
Hobart Smith, "See That My Grave Is Kept Clean" (on LomaxCD1704)
Ruby Vass, "Lonesome Day" (on Persis1)
ALTERNATE_TITLES:
Two White Horses In a Line
NOTES: In 1870, Gus Williams composed an item "See that My Grave's Kept Green"; I have no idea whether it affected  this song. - RBW
I've seen the sheet music for Williams's piece, and the only thing it has in common with this song is the title phrase.  The rest is a sentimentally melancholy bit of Victoriana. - PJS
For those who want to hear the song itself, there are several 78 recordings, one by Bela Lam & his Greene County Singers (OKeh 45126, 1927) and a variety by the Carter Family (as "Sad and Lonesome Day": Victor 23835, 1933;  Melotone 7-04-53/Conqueror 8735, 1937; Zonophone [Australia] 4379, n.d.). - RBW, PJS
File: ADR92
===
NAME: See the Waters A-Gliding: see One Morning in May (To Hear the Nightingale Sing) [Laws P14] (File: LP14)
===
NAME: See the Woman at the Well
DESCRIPTION: "Jesus going through the land and on his way got thirsty; He stopped at the well in Canaan's land The town was called S(y)myrna." The story of Jesus and the Woman of Samaria, with chorus, "Oh, there's no one can love you like Jesus."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: Bible religious Jesus
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 208-211, "See the Woman at the Well" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Jesus Met the Woman at the Well" (subject)
cf. "The Maid and the Palmer" [Child 21] (subject)
cf. "Lift Him Up That's All" (subject)
NOTES: Although this doubtless sounds like a version of "Jesus Met the Woman at the Well," it appears from the lyrics that they are separate.
For the story of Jesus and the Woman of Samaria, see John 4:5-26. This song follows that account fairly closely except for the name of the town. John 4:5 gives the location of Jacob's Well as "Sychar" (well, a few unimportant manuscripts read something else, but none read Smyrna, a town in Asia Minor mentioned in the first two chapters of the Revelation to John). The King James Bible in any case says "Sychar." - RBW
File: ThBa208
===
NAME: See This Pretty Little Girl of Mine: see King William was King James's Son (File: R543)
===
NAME: See-Saw, Marjorie Daw
DESCRIPTION: "See, saw, Margery Daw, The old hen flew over the malt house, She counted her chickens one by one, Still she missed the little white one, And this is it, this is it, this is it."
AUTHOR: unknown
EARLIEST_DATE: 1962 (Baring-Gould-MotherGoose)
KEYWORDS: chickens nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #578, p. 233, "(See, saw, Margery Daw)"; cf. #622, p. 247, "(See saw, Margery Daw)"; #624, p. 248, ("See Saw, Margery Daw)"
Roud #13028
NOTES: in 1873, T. B. Aldrich wrote a story about Marjorie Daw (who did not actually exist). I don't know if the story inspired the rhyme or vice versa. - RBW
File: BGMG578
===
NAME: See, See, The Cape's In View: see So It's Pass (File: CrNS056)
===
NAME: Seeds of Love, The
DESCRIPTION: The singer "sowed the seeds of love to bloom all in the spring." She asks the gardener to choose flowers for her; she does not like his offers, but chooses the rose. This in turn brings her to the willow tree
AUTHOR: unknown
EARLIEST_DATE: 1689 (cited in Sharp; first full text from Campbell, 1816)
KEYWORDS: gardening seduction
FOUND_IN: US(MW) Britain Australia
REFERENCES: (7 citations)
Eddy 28, "Once I Had Plenty of Thyme" (2 texts, 1 tune, both texts being mixed with "In My Garden Grew Plenty of Thyme")
Sharp-100E 33, "The Seeds of Love" (1 text, 1 tune)
Kennedy 167, "The Seeds of Love" (1 text, 1 tune)
Meredith/Anderson, pp. 162-163, "The Red Rose Top" (1 text, 1 tune, linked by the authors to this tune, although it's so short it might be part of "In My Garden Grew Plenty of Thyme")
Meredith/Covell/Brown, pp. 55, "The Seeds of Love" (1 fragmentary text, 1 tune, with some words similar to "The Seeds of Love" though the only surviving verse looks more like a courting song)
MacSeegTrav 54, "The Seeds of Love" (1 text, 1 tune)
DT,  (THYMTH2) (RUETHYME*)
Roud #3
RECORDINGS:
George Maynard, "The Seeds of Love" (on Maynard1, Voice10)
BROADSIDES:
Bodleian, Harding B 11(1657), "I Sowed the Seeds of Love ("I sowed the seeds of love it was all in the spring"), J. Pitts (London), 1819-1844; also Harding B 11(3855)[many lines illegible; title damaged], "I Sow[ed the] Seeds [of love]"; Firth c.18(98), 2806 c.17(381), "Seeds of Love"
CROSS_REFERENCES:
cf. "In My Garden Grew Plenty of Thyme" (plot, lyrics)
cf. "The Gowans Are Gay"
cf. "The Wanton Seed" (theme)
NOTES: In flower symbolism, the rose stood for love and the willow for weeping. For a catalog of some of the sundry flower symbols, see the notes to "The Broken-Hearted Gardener." - RBW
File: K167
===
NAME: Seeing Nellie Home
DESCRIPTION: "In the sky the bright stars glittered; On the bank the pale moon shone. It was from Aunt Dinah's quilting party I was seeing Nellie home." The singer professes his love for Nellie on the way. Evidently they get married, because they are now old together
AUTHOR: Words: F. Kyle / Music: John Fletcher
EARLIEST_DATE: 1856 (sheet music)
KEYWORDS: love courting age party
FOUND_IN: US(SE)
REFERENCES: (4 citations)
RJackson-19CPop, pp. 229-232, "When I Saw Sweet Nellie Home" (1 text, 1 tune)
BrownIII 289, "Seeing Nelly Home" (1 text)
Silber-FSWB, p. 254, "Seing Nellie Home (Aunt Dinah's Quilting Party)" (1 text)
DT, NELLHOME
ST RJ19229 (Full)
Roud #5492
RECORDINGS:
Floyd County Ramblers, "Aunt Dinah's Quilting Party" (Victor V-40331, 1930; Bluebird B-5107, 1933)
Haydn Quartet, "Aunt Dinah's Quilting Party" (Victor 2456, 1903)
Lester McFarland & Robert Gardner, "Seeing Nellie Home" (Brunswick 199, 1928; rec. 1927)
ALTERNATE_TITLES:
Aunt Dinah's Quilting Party
NOTES: The early history of this song is slightly confused. It first appeared in 1856, but evidently in an unauthorized edition perhaps taken from a minstrel troupe performance.
In 1859 the composer, John Fletcher, issued an official edition -- complete with complaints about the previous editions. Yet in this text Nelly was not brought home from "Aunt Dinah's quilting party" but "from an august evening party." Jackson thinks this an error; it strikes me as possible that this was a deliberate change intended to differentiate the editions. Even stranger, the cover of the 1859 edition calls the girl "Nellie," but inside she is "Nelly." One can only suppose that neither she nor her swain could read too well.
Even the name of the author varies; the 1856 edition calls her(?) Frances Kyle; the 1859 edition omits the name; in 1884 the name is given variously as Frances and Francis. - RBW
File: RJ19229
===
NAME: Seeing Nelly Home: see Seeing Nellie Home (File: RJ19229)
===
NAME: Seeing the Elephant (When I Left the States for Gold)
DESCRIPTION: "When I left the states for gold, Everything I had I sold." The singer encounters various troubles (and Mormons) on the way west, and warns, "Leave, you miners leave... Take my advice, kill off your lice...." (To the tune of "De Boatman Dance")
AUTHOR: Words: David Robinson? John A. Stone?/Music: Daniel Decatur Emmett
EARLIEST_DATE: 1912 (Belden)
KEYWORDS: travel hardtimes gold warning
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 347, "When I Left the States for Gold" (1 text)
Roud #7773
CROSS_REFERENCES:
cf. "De Boatman Dance" (tune)
NOTES: The history of this is a bit obscure. It was David "Doc" Robinson who founded the "Seeing the Elephant" show in San Francisco in 1850. But this song, to the tune of "De Boatman Dance," appeared in _Put's Original California Songster_. I can't tell whether Put worked on something Robinson wrote, or just commemorated his performances.  - RBW
File: Beld347
===
NAME: Seimidh Eoghainin Duibh (Dark-Haired Jimmy Owen)
DESCRIPTION: The singer describes the fine clothing she would place on Jimmy Owen. She says how the girls would fight over him. She wishes he had been in battle with O'Donnell. She looks back on the days of a united Ireland, and thinks that Jimmy would have been king
AUTHOR: unknown
EARLIEST_DATE: 1962 (collected by Peter Kennedy)
KEYWORDS: foreignlanguage love clothes beauty royalty
HISTORICAL_REFERENCES: 1598 - The Tyrone/O'Donnell Rebellion
FOUND_IN: Ireland
REFERENCES: (1 citation)
Kennedy 46, "Seimidh Eoghainin Duibh (Dark-Haired Jimmy Owen)" (1 text, 1 tune)
NOTES: Kennedy describes this as "an entirely local song from west Donegal" (though the tune is known in Scotland). He is probably right; I've never seen any other versions. But the band Scartaglen (the group in which Connie Dover got her start) recorded a version, apparently derived from Kennedy, so I thought we should include the song just because people might look it up.
For the background on the rebellion referred to in this song, see the notes to "O'Donnell Aboo (The Clanconnell War Song)." - RBW
File: K046
===
NAME: Seizure of the E J Horton: see The E. A. Horton [Laws D28] (File: LD28)
===
NAME: Selling the Cow: see The Crafty Farmer [Child 283; Laws L1] (File: C283)
===
NAME: Seno Wreck, The: see The C. & O. Wreck (1913) [Laws G4] (File: LG04)
===
NAME: Serafina
DESCRIPTION: Halyard shanty. "In Callyo there lives a girl named Serafina" who works very hard drinking, smoking, and robbing sailors of their money and clothes.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty bawdy whore warning robbery trick
FOUND_IN: West Indies South America
REFERENCES: (2 citations)
Hugill, pp. 397-398. "Serafina" (1 text, 1 tune) [AbEd, pp. 302-303]
DT, SERAFINA*
NOTES: Hugill says this is a "notorious" shanty from the west coast of South America, but this was the first time it had been printed because it was so hard to clean up. - SL
File: Hugi397
===
NAME: Sergeant Small
DESCRIPTION: "Oh, I wish I were about fourteen stone And only six foot tall. I'd take the train back north, Just to beat up Sergeant Small."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: train police railroading
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 209, "Sergeant Small" (1 text, 1 tune)
NOTES: Meredith's informant, Muriel Whalan, explained that Sergeant Small made a minor career during the depression of posing as a bagman in order to catch other travellers riding the rods of trains. - RBW
File: MA209
===
NAME: Sergeant Tally-Ho
DESCRIPTION: Singer boasts of his travels; he's courted all over America, England, France and Spain. The colonel's wife, hearing of his prowess, wishes to see "the naked truth", so he pulls out his "lusty pin;" she says, "You shall be my handy man."
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording, Warde Ford)
LONG_DESCRIPTION: Singer boasts of his wide travels, saying he's courted all over America, England, France and Spain. The colonel's wife, having heard of his prowess, wishes to see "the naked truth", so he pulls out his "lusty pin" as she leads him to the bedroom, saying, "You shall be my handy man." And, frustratingly, there the only recorded version of the song ends.
KEYWORDS: sex bragging request army travel bawdy
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Warde Ford, "Sargeant Tally-Ho" (AFS 4100 B1, 1938; tr.; in AMMEM/Cowell)
NOTES: I've not seen this anywhere else, and neither has Ed Cray. The magnificent tune is distinctly British-sounding. - PJS
File: RcSTH
===
NAME: Sergeant, He Is the Worst of All, The
DESCRIPTION: "The sergeant, the sergeant he is the worst of all; He gets us up in the morning before the early call, With squads right, and squads left, and left front into line; Then the slimy son of a gun, he gives us double time."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: army soldier
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, p. 435, "The Sergeant, He Is the Worst of All" (1 short text, 1 tune)
File: San435
===
NAME: Sergeant's Lamentation, The
DESCRIPTION: The Sergeant of Grouse Hall answers the hackler's song. He rejects its accusations but acknowledges that the song is "the source of all my grief and shame." "This curst Grouse Hall caused my downfall" He would know the song writer before he leaves.
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: prison drink Ireland humorous police
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 39A, "The Sergeant's Lamentation" (1 text, 1 tune)
Roud #3070
CROSS_REFERENCES:
cf. "The Hackler from Grouse Hall" (prequel to this ballad)
cf. "Moses Ritoora-li-ay" (theme)
NOTES: "The hackler was a distiller of high quality Poitin in 19th century Ireland" (source: Hearing before Trademark Trial and Appeal Board, US Patent and Trademark Office, January 6, 2000 in re United Distillers plc "On December 16, 1996 United Distillers plc filed an intent-to-use application to register the mark HACKLER on the Principal Register for 'alcoholic beverages, namely, distilled spirits, except Scotch whisky, and liqueurs.'....) 
Apparently the more common definition is "one that hackles [to chop up or chop off roughly]; esp: a worker who hackles hemp, flax, or broomcorn." (source: _Webster's Third New International Dictionary of the English Language Unabridged_, 1976); its this last definition that OLochlainn follows.
OLochlainn notes to "The Hackler from Grouse Hall" and its answer, "The Sergeant's Lamentation," explain the Sergeant's deeds and the references to people named in both songs and happenings in County Cavan. His source for notes is the singer.
The occurrences appear to be during Arthur Balfour's tour as Chief Secretary of Ireland in the late 1880s [1887-1891; his repressive methods earned him the nickname "Bloody Balfour" - RBW]. See for example the reference to the 1888 imprisonment of Father McFadden of Donegal in Derry Prison "for an agrarian speech" (source: Chapters of Dublin History site, _Letters and Leaders of my Day_ Chapter XXII "Parnellism and Crime" (1887-8), by T.M. Healy). I'd guess, no doubt naively, that the issue here is moonshining to defeat high alcohol taxation. - BS
The other possibility for the date is 1902-1905, when Balfour was prime minister in succession to his uncle Lord Salisbury. Gladstone's proposals for Irish Home Rule had of course failed, but the issue never entirely went away, and the Liberals were increasingly in favor of it in the early twentieth century.
Supporting this dating is the fact that, during the Balfour administration, there was a movement for "tariff reform" -- i.e. lowering of duties within the British Empire, which would have made it easier for the Irish to export to England. Balfour tried to calm the controversy, but succeeded mostly in turning his party purely protectionist, thus making the Liberals even more popular with the Irish, since they were more likely to favor both Home Rule and Free Trade. So the song might well look forward to the 1906 election which shunted the Conservatives from power. - RBW
File: OLoc039A
===
NAME: Sergent, Le
DESCRIPTION: Canadian French: The young boy runs off to America to fight the hated British. He joins the army and is made a sergeant, but is wounded and returns home. His father, who warned him against leaving, says "I told you so!"
AUTHOR: unknown
EARLIEST_DATE: 1961
KEYWORDS: soldier injury home Canada foreignlanguage
HISTORICAL_REFERENCES: 1775-1776: American attack on Canada. The chief battle of the campaign was fought outside Quebec on December 31, 1775
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 60-61, "Le Sergent" (1 text, 1 tune)
NOTES: During the American Revolution, the Colonials made an abortive attack on Canada, thinking that the French inhabitants would rebel against the British. It didn't happen; the French generally preferred the British (who at least guaranteed their religious liberty) to the unknown quantity that was the Americans. The Colonial assault failed before Quebec.
A few Canadians, however, decided they hated the British enough to return south with the Colonials and fight. As this song shows, those who stayed at home felt these soldiers to be more than a little foolish. - RBW
File: FMB060
===
NAME: Servant Man: see The Rejected Lover [Laws P10] (File: LP10)
===
NAME: Serves Them Fine
DESCRIPTION: Singer tells how back in 1920, "The mills ran good and everyone had plenty;" in 1925, mountain people came to work there. Now it's 1930, and more people are unemployed than working. Singer tells fellow mountaineers to go back home and live as they used to
AUTHOR: Dave McCarn
EARLIEST_DATE: 1931 (recording, David McCarn)
KEYWORDS: warning factory unemployment hardtimes
FOUND_IN: 
REFERENCES: (1 citation)
Cohen/Seeger/Wood, pp. 234-235, "Serves Them Fine" (1 text, 1 tune)
RECORDINGS:
David McCarn, "Serves 'em Fine" (Victor 23577, 1931)
New Lost City Ramblers, "Serves Them Fine" (on NLCR09) (NLCR12)
NOTES: Mountain people moved to industrial towns in the boom of the 1920s, as the agricultural economy was already depressed; many of them were then stranded when the Depression hit industry. - PJS
File: CSW234
===
NAME: Set Down, Servant
DESCRIPTION: "'Set down, servant.' I can't set down... my soul's so happy that I can't set down." The servant describes the various things God promises: A long white robe, a starry crown, a golden waistband, etc. An angel is instructed to supply all these
AUTHOR: unknown
EARLIEST_DATE: 1947
KEYWORDS: religious nonballad
FOUND_IN: 
REFERENCES: (3 citations)
Lomax-FSUSA 105, "Set Down, Servant" (1 text, 1 tune)
Lomax-ABFS, pp. 584-585, "Set Down, Servant" (1 text, 1 tune)
Silber-FSWB, p. 367, "Set Down, Servant" (1 text)
Roud #10076
File: LxU105
===
NAME: Set You Down, My Own True Love: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: Settin' on a Rail
DESCRIPTION: "As I went out by the light of the moon... Thar I spies a fat raccoon A-settin' on a rail." The singer pulls the coon off a rail and fights with it. In at least one version, the singer is a slave who helps his master on toward death
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal fight slave
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 177-179, "Settin' on a Rail" (2 texts, 1 tune)
ST ScNF177B (Partial)
CROSS_REFERENCES:
cf. "Davy Crockett" (lyrics)
NOTES: This shares a first line with a few versions of "Davy Crockett," which also involves a bare-hands fight with a coon -- but the overall form and feel is different enough that I think they're separate song which has cross-fertilized a little. - RBW
File: ScNF177B
===
NAME: Settin' Side that Road
DESCRIPTION: "I'm settin' side that road with a ball and chain on my leg (x2), If I had my way I'd catch-a that westbound train." "That judge gave me six months because I didn't want to work (x3)."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: work prison
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scott-BoA, pp. 314-315, "Settin' Side that Road" (1 text, 1 tune)
File: SBoA314
===
NAME: Seven Blessings of Mary, The: see The Seven Joys of Mary (File: FO211)
===
NAME: Seven Brethren, The: see Earl Brand [Child 7] (File: C007)
===
NAME: Seven Brothers, The: see Earl Brand [Child 7] (File: C007)
===
NAME: Seven Cent Cotton and Forty Cent Meat
DESCRIPTION: The cotton farmer complains about dreadful prices; with "Seven cent cotton and forty cent meat, How in the world can a poor man eat?" With everything he has wearing out, replacements are too expensive. (He sees improvements under Roosevelt)
AUTHOR: Bob Miller & Emma Dermer
EARLIEST_DATE: 1928 (recording, Bob Ferguson)
KEYWORDS: poverty hardtimes food clothes farming political money
FOUND_IN: US
REFERENCES: (3 citations)
Botkin-AmFolklr, pp. 877-878, "Seven-Cent Cotton and Forty-Cent Meat" (1 text, 1 tune)
Silber-FSWB, p. 117, "Seven Cent Cotton And Forty Cent Meat" (1 text)
DT, SVNCENT*
RECORDINGS:
Vernon Dalhart, "Eleven Cent Cotton" (Victor V-40050, 1929; Bluebird B-8406, 1940) (Harmony 821-H [as Mack Allen], 1929; rec. 1928) (Edison N-20001, 1929)
Bob Ferguson, "Eleven Cent Cotton, Forty Cent Meat, pts. 1 & 2" (Columbia 15297-D, 1928)
Bob Miller, "'Leven Cent Cotton And Forty Cent Meat" (Radiex 5044, c. 1929); "Eleven Cent Cotton And Forty Cent Meat" (Okeh 45475, 1930)
Carson Robison, "'Leven Cent Cotton, Forty Cent Meat" (Champion 15746, 1929) (Pathe Actuelle 32438/Cameo 9092 [both as Carson Robison's Trio], 1929)
Pete Seeger, "Seven Cent Cotton and Forty Cent Meat" (on PeteSeeger13, AmHist1)
Hank Smith [pseud. for Al Bernard] "Eleven Cent Cotton and Forty Cent Meat" (Vocalion 5318, 1929)
CROSS_REFERENCES:
cf. "The Flies Are On the Tummits" (theme of poor living for farmers)
NOTES: The 1928 recording by Bob Ferguson (recorded in August of that year) might seem to throw doubt on the authorship claim of Bob Miller. But his recording is on Radiex, part of the Grey Gull family of records, and dating those records is notoriously difficult and uncertain. For the moment, though, I've assigned the Earliest Date to the Ferguson recording, as it's the earliest for which we have unambiguous information.
Also, there's some ambiguity about Miller's 1930 OKeh recording; one source lists the title as "Four Cent Tobacco and Forty Cent Meat.
Interesting that most of these recordings appeared in 1928-1929, just *before* the stock market crash that most urbanites see as the beginning of the Great Depression. But times had been hard on the farms for several years before then. - PJS
And, of course, demand for recordings fell dramatically after the crash, so nobody was producing new versions.
Incidentally, low cotton prices were not a new phenomenon, and neither were wild price fluctuations. According to  Allan Nevins, _The Ordeal of the Union: Fruits of Manifest Destiny 1847-1852_ [volume I of _The Ordeal of the Union_] (Scribners, 1947), p. 242, cotton in 1845 sold in the American south for sixteen cents a pound. By 1848, when the total production was half again as large, the price dropped to a mere four and a half cents a pound. - RBW
File: BAF877
===
NAME: Seven Gypsies in a Row: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Seven Gypsies on Yon Hill: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Seven Joys of Mary, The
DESCRIPTION: The carol relates the (five, seven, nine) joys that Mary had: bearing Jesus, raising him, seeing his success and miracles, observing his crucifixion and resurrection, etc.
AUTHOR: unknown
EARLIEST_DATE: 1833 (Sandys)
KEYWORDS: carol Jesus religious
FOUND_IN: US(Ap,NE) Canada(Mar) Britain(England) Ireland
REFERENCES: (11 citations)
Flanders/Olney, pp. 211-213, "The Seven Joys of Mary" (1 text, 1 tune)
Creighton/Senior, pp.275-278 , "The Joys of Mary"; "The Blessings of Mary" (2 texts, 1 tune)
Creighton-Maritime, pp. 172-173, "The Blessings of Mary" (1 text, 1 tune)
OBB 105, "The Twelve Good Joys" (1 text)
OBC 70, "Joys Seven" (1 text, 1 tune)
JHCox 135, "The Twelve Joys" (1 text)
BrownII 51, "The Twelve Blessings of Mary" (1 text)
Lomax-FSNA 123, "The Seven Blessings of Mary" (1 text, 1 tune)
Silber-FSWB, p. 363, "The Seven Blessings of Mary" (1 text)
DT, SEVNJOYS* SEVNJOY2
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 107-110, "Seacht Suailci Na Maighdine Muire" ("The Seven Beatitudes of the Virgin Mary") [Gaelic and English]
Roud #278
BROADSIDES:
Bodleian, Douce adds. 137(19), "The Seven Joys," T. Bloomer (Birmingham), 1817-1827; also Harding B 7(34), Johnson Ballads 2833, Douce adds. 137(61), Harding B 7(28), Harding B 7(7), Harding B 7(66), Firth b.27(211), "The Seven Joys"; Harding B 7(65), Harding B 7(63), Harding B 7(30), "The Joys"
ALTERNATE_TITLES:
Joys Seven
NOTES: The notion of counting Mary's joys apparently goes back to at least the fourteenth century. In the liturgical poem "Marie Moder, Wel Thee Be!" we find a reference to Mary's "joyes five" (poem known from some fifty texts. For full text see MS. Rawlinson liturgical g.2. or the printing as #46 in Stevick-100MEL).
Although the number of joys in traditional texts runs as high as twelve, I suspect the original had about seven. This is because so many of the joys in the long texts are forced, even unbiblical. We can demonstrate this point by marching down the joys compiled in Brown and Cox:
One -- To think that her son Jesus Was God's eternal son: Luke 1:15
Two -- Could read the Bible through. Luke 2:46-47 shows Jesus, as a boy, discussing scripture, but it doesn't say he read it. It's likely enough that he could read, though; most Jewish children could, and Luke 4:17fff. shows him reading from Isaiah.
Three -- Could make the blind to see. Repeated references to this; the most primitive is perhaps in Mark 8:22-30.
Four -- Could turn the rich to poor. No known Biblical evidence of this. James 5:1 says "Your riches have rotted," and Jesus has warnings for the rich (e.g. the Wise Fool, Luke 12:16-21), but we don't see Jesus doing anything about it, unless it's a reference to cleansing the Temple (Mark 11:15-17, etc.)
Five -- Could make the dead alive. See, e.g., the raising of Lazarus, John 11.
Six: -- Brown (cf. Cox) "Heal the lame and sick." Numerous examples. But we also see "bear the crucifix," which is complicated. John says he bore his own cross (John 19:17), but the other gospels say Simon of Cyrene bore it (Mark 15:21, etc.)
Seven -- Carried the keys of heaven. Not biblical, and of course the issue of who will be saved is a controversial one.
Eight -- Brown: "Make the crooked straight. Cox: "Open the gates of heaven." Obviously an attempt to force an explanation
Nine -- Turn water to wine. The wedding at Cana, John 2.
Ten -- Brown: "Was a friend to sinful men." Compare the sinner washing Jesus's feet, Luke 7:37-50, etc. Cox: "Could write without a pen." Perhaps a reference to John 8:6 (a passage not found in the earliest manuscripts), but singularly inept in any case.
Eleven -- Could open the gates of heaven. Haven't we been here before?
Twelve -- Brown: "Came down to earth to dwell." Basic doctrine. Cox: "Done all things well." Allusion to Mark 7:37 or parallel. - RBW
The Bell/O Conchubhair melody is not the one I know but O Conchubhair's notes make the connection. Here the seven joys are (1) That she bore Him in a lowly byre (2) That she travelled with Him along the road (3) That He'd gone by reading His book (4) When he turned the water into wine (5) When He made the dead to live (6) When He redeemed the world with his blood (7) When He raised her to heaven alive. - BS
File: FO211
===
NAME: Seven Long Years (II): see My Father Gave Me a Lump of Gold (Seven Long Years) (File: R834)
===
NAME: Seven Long Years (III): see The Prisoner's Song (File: FSC100)
===
NAME: Seven Long Years I've Been Married: see For Seven Long Years I've Been Married (File: RcFSLYBM)
===
NAME: Seven Long Years in State Prison: see The Prisoner's Song (I) (File: FSC100)
===
NAME: Seven Long Years(IV): see For Seven Long Years I've Been Married (File: RcFSLYBM)
===
NAME: Seven Old Ladies
DESCRIPTION: Seven old ladies, to the tune of "Oh, Dear, What Can the Matter Be," encounter various difficulties in the lavatory.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: humorous scatological age derivative
FOUND_IN: Australia Britain(England) US(MA,SW)
REFERENCES: (2 citations)
Cray, pp. 119-122, "Seven Old Ladies" (1 text, 1 tune)
DT, SEVENOLD*
Roud #10227
CROSS_REFERENCES:
cf. "Oh, Dear, What Can the Matter Be" (tune & meter)
File: EM119
===
NAME: Seven Sailor Boys, The: see Willie o Winsbury [Child 100] (File: C100)
===
NAME: Seven Sleepers, The: see Earl Brand [Child 7] (File: C007)
===
NAME: Seven Virgins, The (The Leaves of Life)
DESCRIPTION: The singer, (Thomas), meets seven virgins, including the Virgin Mary. They are seeking Jesus, who is being crucified. Mary asks Jesus why he must suffer so; Jesus tells her it is for the sake of humanity. He dies. The singer commends God's charity
AUTHOR: unknown
EARLIEST_DATE: 1847
KEYWORDS: Bible Jesus religious dialog
FOUND_IN: Britain(England(West))
REFERENCES: (5 citations)
Leather, pp. 187-188, "The Seven Virgin, or, Under the Leaves" (1 text plus an excerpt, 1 tune)
OBB 111, "The Seven Virgins" (1 text)
OBC 43, "The Seven Virgins" (1 text, 1 tune)
PBB 4, "The Seven Virgins" (1 text)
DT, SVNVIRG SVNVRG2
Roud #127
RECORDINGS:
May Bradley, "Under the Leaves" (on Voice11)
CROSS_REFERENCES:
cf. "Tam Lin" [Child 39] (tune)
NOTES: The details here are generally from the Gospel of John. Only in John is Mary present at the cross, and John is the only gospel in which Thomas has a speaking role (though he was popular in the Apocryphal Gospels). Jesus's last words ("sweet mother, now I die," or similar) are perhaps closer to the fourth gospel ("it has been finished/completed/perfected," 19:30) than any of the other gospels.
In addition, Jesus's instruction to his mother to take John as her son is found only in the fourth gospel (John 19:26-27, though in fact the disciple involved is not named there; in fact, John is not even mentioned in the fourth gospel, though he is widely believed to be the "beloved disciple" referred to in chapter 19).
One might note that there was a legend that John and his brother James were Mary's nephews and Jesus's first cousins. - RBW
File: OBB111
===
NAME: Seven Years: see The Maid and the Palmer [Child 21] (File: C021)
===
NAME: Seven Years I Loved a Sailor: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: Seven Years in Dublin
DESCRIPTION: "My parents reared me tenderly I being their only heir, I lived with my grandmother, Of me she took great care, Seven years in Dublin I was taught in the academy, My learning might have served a knight Or a lord of high degree"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: home
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 108, "Seven Years in Dublin" (1 fragment, 1 tune)
Roud #2781
NOTES: The current description is all of the Creighton-SNewBrunswick fragment. - BS
File: CrSNB108
===
NAME: Seven Years O'er Young
DESCRIPTION: "'Twas in between twa  bonnie woods and valleys Where I and my love aye met so rare" that the man asks the singer if she will wed. She says she is "seven years o'er young to wed." But he finally lures her into his arms, then says he has another love
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting sex abandonment
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 170-171, "Seven Years O'er Young" (1 text, 1 tune)
Roud #564
CROSS_REFERENCES:
cf. "Pretty Little Miss" [Laws P18] (plot)
NOTES: This is a bit of a problem song. Roud lumps it with "Pretty Little Miss" [Laws P18]. I have to wonder if MacColl and Seeger's "Too Young" might not also be this. This song has effectively the same plot as Laws P18, but no similarity in lyrics. Laws, however, admits that P18 is textually unstable.
The only additional point is that Laws does not cite this song with P18 (or anything else, e.g. P19, "Tripping o'er the Lea," which also has some contact with this song). On that basis, I split them -- but it's a very uncertain question, and readers probably need to study the matter carefully. - RBW
File: Ord170
===
NAME: Seven Yellow Gipsies, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Seventeen Come Sunday [Laws O17]
DESCRIPTION: The singer meets a pretty young girl. He gets acquainted by asking questions: "What are you doing?" "Where do you live?" "How old are you?" "May I visit you tonight?" She agrees to the meeting; they have their fun despite her mother's opposition
AUTHOR: unknown
EARLIEST_DATE: 1792 (Burns)
KEYWORDS: questions courting nightvisit
FOUND_IN: US(Ap,MA,MW,SE) Canada(Mar,Newf) Britain(England(Lond,North,South),Scotland) Ireland
REFERENCES: (19 citations)
Laws O17, "Seventeen Come Sunday"
Eddy 74, "My Pretty Maid" (2 texts)
Warner 52, "Hi Rinky Dum" (1 text, 1 tune, much worn down; there is no nightvisit, and the two mutually decide against marriage)
BrownIII 11, "Where Are You Going, My Pretty Maid" (2 texts, both very short)
Lomax-FSNA 106, "How Old Are You, My Pretty Little Miss?" (1 text, 1 tune -- a badly eroded version)
FSCatskills 128, "Where Are You Going, My Pretty Fair Maid?" (1 text, 1 tune)
Creighton/Senior, pp. 164-165, "I'm Scarce Sixteen Come Sunday" (1 text plus 2 fragments, 1 tune)
Creighton-Maritime, p. 32, "I'm Seventeen Come Sunday" (1 text, 1 tune)
Creighton-SNewBrunswick 16, "Seventeen Come Sunday" (1 text, 1 tune)
Peacock, pp. 284-286, "I'll Be Seventeen Come Sunday" (2 texts, 2 tunes)
SharpAp 127, "I'm Seventeen Come Sunday" (4 texts, 4 tunes)
Sharp-100E 61, "I'm Seventeen Come Sunday" (1 text, 1 tune)
JHCox 126, "My Pretty Maid" (1 text)
JHCoxIIA, #25, pp. 99-100, "The Modesty Answer" (1 text, 1 tune, in which the girl asks her mother if she may marry, is refused, and decides to run away to North Carolina and eat cream and honey!)
SHenry H152, pp. 266-267, "I'm Seventeen 'gin Sunday"; H793, pp. 267-268, "As I Gaed ower a Whinny Knowe"; H785, p. 399, 'My Darling Blue-Eyed Mary" (3 texts, 3 tunes)
MacSeegTrav 44, "Seventeen Come Sunday" (1 text, 1 tune)
Ford-Vagabond, pp. 99-102, "My Rolling Eye" (1 text, 1 tune)
Darling-NAS, pp. 128-129, "Seventeen Come Sunday"; "When Cockle Shells Make Silver Bells" (1 text plus a fragment)
DT 334, YONHIGH* ROCKYMT (TROOPRM2* -- apparently a cross between this piece and Child 299)
Roud #277
RECORDINGS:
Harry Cox, "Seventeen Come Sunday" (on HCox01)
Mary Delaney, "New Ross Town" (on IRTravellers01)
Seamus Ennis, "As I Roved Out" (on FSB1)
Bob Hart, "Seventeen Come Sunday" (on Voice10)
Joe Heaney, "Who Are You, My Pretty Fair Maid" (on Voice01)
Ken Peacock, "I'll be Seventeen Come Sunday" (on NFKPeacock)
Jean Ritchie & Doc Watson, "Where Are You Going?" (on RitchieWatson1, RitchiteWatsonCD1)
Tony Wales, "Seventeen Come Sunday" (on TWales1)
BROADSIDES:
Bodleian, Firth b.34(67), "Seventeen Come Sunday," J. Paul and Co. (London), 1838-1845; also Johnson Ballads 547, Firth b.34(264), Firth c.14(204), Harding B 11(690), "Seventeen Come Sunday"; Harding B 11(1732), "I'm Seventeen Come Sunday"
CROSS_REFERENCES:
cf. "Rolling in the Dew (The Milkmaid)"
cf. "The Overgate" (tune, theme)
cf. "Courting the Widow's Daughter (Hard Times)" [Laws H25] (plot)
cf. "Fly Around My Pretty Little Miss" (floating lyrics, some tunes)
cf. "I Love My Love (I)  (As I Cam' Owre Yon High High Hill)" (lyrics)
ALTERNATE_TITLES:
Sixteen Come Sunday
Flash Girls and Airy Too
NOTES: There are versions of this song which have mixed with "Trooper and Maid" [Child 299]; these generally file under that ballad and are sometimes known as "As I Roved Out." The Sam Henry text "My Darling Blue-Eyed Mary" has lost the key question about the girl's age, but the rest is clearly this song. - RBW
File: LO17
===
NAME: Seventy-Two Today: see I'm Seventy-Two Today" (File: R433)
===
NAME: Sewing Machine, The
DESCRIPTION: A soldier visits "the Heidelberg whore." He has sex with her, that is, he sews on her "sewing machine," and ends up cursing her for giving him "the clap and the blue-balls too."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy disease curse soldier
FOUND_IN: US
REFERENCES: (1 citation)
Cray, pp. 406-407, "The Sewing Machine" (1 text, 1 tune)
Roud #10406
CROSS_REFERENCES:
cf. "The Fire Ship" (plot) and references there
cf. "Charlotte the Harlot I, II, III, IV"
NOTES: The reference to the Heidelberg whore suggests this song or version dates from the post World War II occupation of Germany. [It was] probably inspired by "Charlotte the Harlot." - EC
File: EM406
===
NAME: Sexual Life of the Camel, The
DESCRIPTION: A sophisticated exposition of the supposed mating habits of the "Clipper Ship of the Desert" -- added comments about the homosexual proclivities of naval personnel, hedgehogs, Harvard, Yale, Oxford, and Cambridge.
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: bawdy humorous animal homosexuality
FOUND_IN: Australia Britain(England) US(MW,SW)
REFERENCES: (1 citation)
Cray, pp. 243-245, "The Sexual Life of the Camel" (2 texts, 1 tune)
Roud #10122
File: EM243
===
NAME: Sgeir-Mhara, An (The Sea-Tangle, The Jealous Woman)
DESCRIPTION: Scots Gaelic. A woman weaves a tangle of gold to bind another by the water. The bound woman awakes to find herself in danger of drowning. She begs for pity, but finds none, for her or her babes; the other will sleep with her man that night
AUTHOR: unknown
EARLIEST_DATE: 1917 (Kennedy-Fraser)
KEYWORDS: jealousy murder drowning children foreignlanguage
FOUND_IN: Britain(Scotland(Hebr)
REFERENCES: (2 citations)
Kennedy 3, "A Bhean Iadach (The Jealous Woman)" (1 text+English translation, 1 tune)
Kennedy-Fraser II, pp. 55-63, "The Sea-Tangle, or, The Sisters (An Sgeir-Mhara)" (1 text+English translation, 1 tune)
CROSS_REFERENCES:
cf. "The Twa Sisters [Child #10]" (plot)
cf. "The Ghost's Bride" (theme)
NOTES: The Kennedy and Kennedy-Fraser texts between them parallel almost the entire plot of "The Twa Sisters": Kennedy's text is the exchange between the jealous sisters, while Kennedy-Fraser is a tale of the murder attempt. The two have only slight overlap, but it seems clear they are fragments of a longer item.
If the references in Kennedy are to be believed (and they often aren't), this must be one of the most popular songs in the Hebrides; he lists fifteen versions from as far afield as Nova Scotia. - RBW
File: K003
===
NAME: Sh-Ta-Ra-Dah-Dey (Snagging the Klacking)
DESCRIPTION: "Sh-ta-ra-dah-dey, sh-ta-dey, Times is mighty hard. A dollar a day is all they pay For work on the boulevard." Alternately, "Hip-fa-lad-di-dee/Graybacks/Are mighty thick/A dollar a day/Is all they pay/For snaggin'/The Klacking Creek."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: work lullaby hardtimes lumbering nonballad logger worksong
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Sandburg, pp. 36-37, "Sh-Ta-Ra-Dah-Dey" (1 short text, 1 tune)
Beck 23, "Snaggin' the Klacking" (1 short text)
Roud #6515 and 8861
NOTES: While Beck gives no information about the circumstances under which the song was sung, it sounds enough like a worksong that I've given it that keyword. - PJS
Whereas Sandburg lists his as a lullaby. I can't prove that these two are the same song -- but they're too similar to separate until fuller versions come along. - RBW
File: San036
===
NAME: Shab-i-da Ru-dy: see I'll Not Marry at All (File: E072)
===
NAME: Shack Bully Holler
DESCRIPTION: "Raise up, boys, raise up -- Breakfas' on de table an a coffee's gittin' col'." Bits and pieces of life in a levee camp: Poor food, not enough sleep, hard work, hard-driving White bosses. Much of the piece is recited rather than sung
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: work food hardtimes nonballad recitation
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 45-46, "Shack Bully Holler" (1 text, 1 tune)
Roud #15531
File: LxA045
===
NAME: Shad, The
DESCRIPTION: Fragment: "Bait a hook to catch a shad/The first thing he bit was my old Dad/Pulled her away with all my might/Trying for to get the old man out/Fishpole broke and I got mad/Down to the bottom went old Dad"
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: age fishing death drowning animal father
FOUND_IN: US(SE)
REFERENCES: (1 citation)
SharpAp 254, "The Shad" (1 fragment, 1 tune)
Roud #3663
CROSS_REFERENCES:
cf. "Lulu (II)" (lyrics)
NOTES: Fragment it may be, but it has a coherent story. Most of the lyrics appear as floaters in "Lulu (II)," but that's a nonballad with a thoroughly different gestalt, and I assume the words floated over there on their own. - PJS
File: ShAp2254
===
NAME: Shades of the Palmetto, The: see The Dying Ranger [Laws A14] (File: LA14)
===
NAME: Shadow of the Pines
DESCRIPTION: The singer recalls walking with his love in the shadow of the pines. But "some hasty words were spoken...." and she departed in anger. Now he awakens from his dreams calling her name, and hopes that she will forgive him
AUTHOR: Hattie Loomis & G. O. Lang ?
EARLIEST_DATE: 1895
KEYWORDS: love separation loneliness
FOUND_IN: US(SE)
REFERENCES: (1 citation)
McNeil-SFB1, pp. 135-136, "Shadow of the Pines" (1 text, 1 tune)
Roud #4289
RECORDINGS:
Archibald & Fish, "In the Shadow of the Pines" (CYL: Edison [BA] 2073, n.d.)
Carter Family, "In the Shadow of the Pines" (Decca 5539, 1938; Montgomery Ward M-8003, 1939)
[Byron] Harlan & [Frank] Stanley, "In the Shadow of the Pines" (Columbia 258, 1901)
Kelly Harrell, "In the Shadow of the Pine" (Victor 20657, 1927; on KHarrell02)
Carl Harris, "In the Shadow of the Pine" (Challenge 229, 1927)
Herb Jennings, "In the Shadow of the Pine" (Champion 15209, 1927)
Earl Johnson & his Dixie Entertainers [or Dixie Clodhoppers], "In the Shadow of the Pine" (OKeh 45192, 1928; rec. 1927)
Buell Kazee, "In the Shadow of The Pines" (Brunswick 216/Vocalion 5221, 1928)
M. O. [Murray?] Keller, "In the Shadow of a Pine" (Brunswick 188, 1927)
Bascom Lamar Lunsford, "In the Shadow of the Pines" (on BLLunsford01)
Fiddlin' Doc Roberts Trio, "In the Shadow of the Pines" (Silvertone 5006 [possibly as Dock Roberts, his real name]/Gennett 6025, 1927; Supertone 9252, 1928; rec. 1926) (Conqueror 8208, 1933; Conqueror 8566, 1935)
Connie Sides, "In the Shadow of the Pine" (Columbia 15009-D, rec. 1924)
Ernest Stoneman, "In the Shadow of the Pine" (OKeh 45048, 1926) (Pathe 32380/Perfect 12459, 1928)
NOTES: The liner notes to the Kelly Harrell album mention "somebody's happy idea of having Harrell sing the last line of the chorus out of tempo." This seems, however, to be a traditional approach to the song -- Lunsford also breaks the tempo, although in a different way. - RBW
File: MN1135
===
NAME: Shady Grove
DESCRIPTION: The singer talks about courting (in) Shady Grove. There is no particular plot. A typical chorus runs, "Shady Grove my little love, Shady Grove I say, Shady Grove my little love, I'm bound to go away." Shady Grove may be a place or a girl's name
AUTHOR: unknown
EARLIEST_DATE:  1916 (Cecil Sharp collection); +1893 (JAFL6)
KEYWORDS: courting love nonballad
FOUND_IN: US(Ap,SE,SW)
REFERENCES: (10 citations)
Sharp/Karpeles-80E 57, "Betty Anne" (1 text, 1 tune -- an odd version which seems to have some foreign elements mixed in, and with the tune moved from minor to Mixolydian)
Lomax-FSNA 120, "Shady Grove" (1 text, 1 tune)
BrownIII 485, "Shady Grove" (2 texts, neither much like the standard version of this song, but even less like anything else); also 97, "Uncle Joe Cut Off His Toe" (3 texts plus mention of 2 more, but "B" is probably "Shady Grove"; "A" is an incredible mix with verses typical of "Raccoon," "If I Had a Scolding Wife," a "Liza Jane" song, a mule song, and "Shady Grove"); also 111, "Wish I Had a Needle and Thread" (7 text, of which only "E" is really substantial; it is certainly the "Italy" version of "Going Across the Sea." The other fragments contain verses typical of "Shady Grove," "Old Joe Clark," and others); also 286, "Fly Around, My Blue-Eyed Girl" (4 texts; "A"-"C" are "Fly Around, My Pretty Little Miss," but the "D" text is mostly "Shady Grove")
Ritchie-SingFam, pp. 46-47, "Shady Grove" (1 text, 1 tune)
Ritchie-Southern, p. 37, "Shady Grove" (1 text, 1 tune)
Randolph 358, "Now I Am a Big Boy" (2 texts, both fragments; the "A" text is associated with this ballad, though -- as only a single verse -- it could go anywhere)
SharpAp 88, "Betty Anne" (1 text, 1 tune, with lyrics from "Shady Grove," "Fly Around, My Pretty Little Miss" and "Going Across the Sea")
Cohen/Seeger/Wood, p. 195, "Shady Grove" (1 text, 1 tune)
Silber-FSWB, p. 152, "Shady Grove" (1 text)
DT, BETTYANN* SHADYGRV*
Roud #4456
RECORDINGS:
Clarence Ashley & New River Jack Burchett, "Shady Grove" (on Ashley03, WatsonAshley01)
Rufus Crisp, "Shady Grove"  (on Crisp01)
Goldie Hamilton, "Shady Grove" (AAFS 2787 A2)
Kentucky Thorobreds, "Shady Grove" (Paramount 3080, 1928; Broadway 8184 [as Old Smokey Twins], n.d.; rec. 1927)
J. M. Mullins, "Shady Grove" (AAFS 1566 A)
J. W. Russell, "Shady Grove" (AAFS 3162 B1)
Kilby Snow, "Shady Grove" (on KSnow1)
Pete Steele, "Shady Grove" (on PSteele01)
The Virginia Dandies [alternate name for Walter "Kid" Smith & The Carolina Buddies], "Shady Grove" (Crown, unissued, 1931)
Vernie Westfall, "Shady Grove" (AAFS 4118 B1)
CROSS_REFERENCES:
cf. "Black-Eyed Susie (Green Corn)" (floating lyrics)
cf. "Going Across the Sea" (floating lyrics)
cf. "Kansas Cyclone" (tune)
cf. "Don't Get Trouble in Your Mind" (floating phrase)
cf. "Pig at Home in the Pen" (floating lyrics)
cf. "Mary from Dungloe" (floating verse)
ALTERNATE_TITLES:
Little Betty Ann
File: SKE57
===
NAME: Shady Road to Clane, The
DESCRIPTION: The singer describes an idyllic spot on "the shady road from Bodenstown to Clane." He meets a beautiful maid who asks "is this the shady road to Clane?" He assures her it is. She leaves. He is dejected. He must find "the maid that stole my heart"
AUTHOR: John Dennis (source: OLochlainn-More)
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: love beauty separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 77, "The Shady Road to Clane" (1 text, 1 tune)
Roud #9769
File: OLcM077
===
NAME: Shake Hands with Mother Again
DESCRIPTION: "Now, if I would be a-living when Jesus comes, And know the day and the hour, I'd like to be a-standing at mother's tomb...." The singer hopes Jesus will tell him to "shake hands with mother again"; he will tell her that of his life and never again part
AUTHOR: unknown
EARLIEST_DATE: 1934 (recording, Asher Sizemore & Little Jimmie)
KEYWORDS: religious death nonballad
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #5741
RECORDINGS:
Happy Valley Family, "Shake Hands With Mother Again" (Perfect 6-03-54, 1936)
J. E. Mainer's Mountaineers, "Shake Hands With Mother Again" (Bluebird B-6596, 1936)
Frank Proffitt, "Shake Hands with Mother Again" (on FProffitt01)
Asher Sizemore & Little Jimmie, "Shake Hands with Mother Again" (Bluebird B-5568, 1934)
File: RcSHWMAg
===
NAME: Shaker Funeral Hymn
DESCRIPTION: "Our brother's gone, he is no more, He's quit our coast, he's left our shore, He's burst the bonds of mortal clay, The spirit's fled and soars away." All alike are told to be prepared; the righteous will triumph over death
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: religious nonballad death
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 38, "Shaker Funeral Hymn" (1 text, 1 tune)
Roud #66670
NOTES: The final reference to the sting of death and the victory of the grave is a reference to 1 Corinthians 15:55 (itself citing Hosea 13:14 as it occurs in the Greek Old Testament).
The citation exactly matches the King James Version -- which, however, is translated from an inferior Greek text. The earliest Greek manuscripts read "Where, O death, is your victory; where, O death, is your sting"; another important group reads "Where, O death, is your sting, where, O Hades [i.e. "grave"], is your victory"; still a third has "Where, O death, is your sting; where, O death, is your victory."
(If anyone actually cares about these things, the reading victory... death... sting is supported by P46 [second or third century], by the great fourth century Vatican manuscript B, by the first hand of the fourth century Sinai manuscript, by C of the fifth century, and by the first hand of the major manuscript 1739, as well as many Latin texts; the so-called "Western" manuscripts D F G, from the sixth century and after, read sting... death.... victory; several interesting manuscripts of the ninth and tenth centuries, with the symbols 0121 0243 33 and the second hand of 1739, read victory... hades... sting; the King James reading sting... hades... victory is read by probably at least 90% of all manuscripts, but the earliest appear to be the seventh century correctors of the Sinai and Alexandrian manuscripts, which are regarded as being of little value.) - RBW
File: LoF038
===