===
VERSION 2.3
===
Name: 1861 Anti Confederation Song, An: see Anti-Confederation Song (File: FJ028)
===
NAME: 1913 Massacre
DESCRIPTION: In Calumet, Michigan, striking copper miners and their children are having a Christmas celebration; strike-breakers outside bar the doors then raise a false fire alarm. In the ensuing stampede, seventy-three children are crushed or suffocated
AUTHOR: Woody Guthrie
EARLIEST_DATE: 1945 (recording by author)
KEYWORDS: lie strike death labor-movement mining disaster children
FOUND_IN: US
REFERENCES: (3 citations)
Greenway-AFP, pp. 157-158, "1913 Massacre"
Silber-FSWB, p. 306, "The 1913 Massacre" (1 text)
DT, MASS1913*
RECORDINGS:
Woody Guthrie, "1913 Massacre" (Asch 360, 1945; on Struggle 1, Struggle2)
CROSS_REFERENCES:
cf. "One Morning in May (To Hear the Nightingale Sing)" (tune)
NOTES: In the late 19th/early 20th century, the rapid expansion of the electrical industry created great demand for copper, for which the chief source was the mines in the upper peninsula of Michigan. Bitter strikes resulted as the miners, under the leadership of the Western Federation of Miners, demanded decent pay and safer working conditions.
Guthrie's description of the events of 1913 is dead-on accurate, according to the residents of Calumet; Italian Hall, where the disaster occurred, was still standing in the early 1980s, but has since been torn down. - PJS
File: FSWB306A
===
NAME: '31 Depression Blues
DESCRIPTION: Coal miner tells of hard times in the Depression. Miners go to work hungry, ragged and shoeless and are cheated of their pay. The Supreme Court rules the National Recovery Act unconstitutional. The singer urges listeners to join the U.M.W.
AUTHOR: Credited to Ed Sturgill
EARLIEST_DATE: 1968 (recording, New Lost City Ramblers)
LONG_DESCRIPTION: Singer, a coal miner, tells of hard times in the Great Depression of the 1930s. Miners go to work hungry, ragged and shoeless; when they go to the office for scrip, they're told they're behind and owe the company as the scale boss cheats them of their pay. The National Recovery Act offers hope, but the Supreme Court rules it unconstitutional. Roosevelt declares a bank holiday; John L. Lewis wins the miners' battle; the singer urges listeners to join the U.M.W., saying the Depression is now gone
KEYWORDS: strike mining work hardtimes labor-movement
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
New Lost City Ramblers, "'31 Depression Blues" (on NLCR15, NLCRCD2)
Ed Sturgill, "'31 Depression Blues" (Big Pine 677M-7157, n.d.)
CROSS_REFERENCES:
cf. "Bright Sunny South" (tune)
cf. "Sixteen Tons" (lyrics)
SAME_TUNE:
Three Stripped Gears, "1931 Depression Blues" (OKeh 45553, 1931)
NOTES: Well, we have a conundrum here. I'd be prepared to suggest that the Sturgill song is based on the Three Stripped Gears' recording, but not having heard the latter, I refrain for now. If this turns out to be the case, I suppose it should get its own listing.
Sturgill's last verse incorporates lines from Merle Travis's "Sixteen Tons." - PJS
File: Rc31DB
===
NAME: 900 Miles: see Nine Hundred Miles (File: LxU073)
===
NAME: A Begging We Will Go: see A-Begging I Will Go (File: K217)
===
NAME: A Chur Nan Gobhar As A' Chreig (For Herding the Goats from the Rock)
DESCRIPTION: Gaelic. For herding the goats from the rock I would prefer the kilt. If I could have my choice I would prefer the kilt.
AUTHOR: unknown
EARLIEST_DATE: 1950 (Creighton-Maritime)
KEYWORDS: foreignlanguage clothes nonballad animal
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 177, "Flushing the Goats" (1 text, 1 tune)
NOTES: The translation is from the Celtic Lyrics Corner site. - BS
File: CrMa177
===
NAME: A Diller, A Dollar
DESCRIPTION: "A diller, a dollar, A (ten o'clock) scholar, What makes you come so soon? You us'd to come at ten o'clock, and now you come at noon."
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammer Gurton's Garland)
KEYWORDS: 
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 465, "A diller, a dollar" (1 text)
Baring-Gould-MotherGoose #81, p. 82, "(A diller, a dollar)"
NOTES: I know of absolutely no traditional collections of this item, and I have no idea what it means. But reading it in Baring-Gould, I remember the first two lines from somewhere, with a fragment of a tune (plus, according to Cyn Collins, _West Bank Boogie_, Triangle Park, 2006, there was in the Sixties and Seventies a folk music bar/club at the University of Minnesota called the "Ten O'Clock Scholar"), so I am very tentatively including the piece in the Index. - RBW
File: BGMG081
===
NAME: A Drink in the Morn
DESCRIPTION: Dan O'Reilly explains to the judge the benefits of drinking "twenty or thirty" poteen between morning, when it "is good for the sight," and night. "In winter or summer, in June or July, I'll be punching all day till I die"
AUTHOR: unknown
EARLIEST_DATE: 1929 (for USBallinsloeFair, according to site irishtune.info, Irish Traditional Music Tune Index: Alan Ng's Tunography, ref. Ng #2615)
KEYWORDS: drink humorous nonballad
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Packy Dolan and The Melody Boys, "A Drink in the Morn" (on USBallinsloeFair)
File: RcADItM
===
NAME: A Fal-De-Lal-Day: see The Girl In Portland Street (File: Hugi054)
===
NAME: A Is for Apple Pie
DESCRIPTION: Alphabet song, beginning "A is/stands for apple pie, B baked/bit it" and perhaps ending "And don't you wish you had a piece of apple pie?"
AUTHOR: unknown
EARLIEST_DATE: 1671 (Some Observations upon the Answer to an Enquiry into the Grounds & Occasions of the Contempt of the Clergy)
KEYWORDS: food nonballad wordplay
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 874, "A Is for Apple Pie" (3 texts plus an excerpt, but the "D" text is "The Average Boy")
Opie-Oxford2 1, "A was an apple-pie" (1 text)
Baring-Gould-MotherGoose #611, pp. 240-241, "(A was an apple-pie)"
Roud #7539
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
NOTES: The first six lines of this piece appear in John Eachard's 1671 pamphlet "Some Observations upon the Answer to an Enquiry into the Grounds & Occasions of the Contempt of the Clergy."
It first appears as an educational tool in Mary Cooper's 1743 spelling book, "The Child's New Play-thing," and was common in nineteenth century texts (often under the title, "The Tragical Death of an Apple Pie" or similar). - RBW
File: R874
===
NAME: A Is for Apple Pie (II): see The Average Boy (File: R874A)
===
NAME: A La Claire Fontaine
DESCRIPTION: French: The singer wanders by a clear fountain. He bathes, and hears a bird's song in the trees. He tells the nightingale that it has no cares. He, on the other hand, lost his love because he refused to give her the roses he had picked
AUTHOR: unknown
EARLIEST_DATE: 1865 (apparently referred to in 1608)
KEYWORDS: courting love separation foreignlanguage
FOUND_IN: Canada(Que) France
REFERENCES: (6 citations)
Fowke/Johnston, pp. 134-135, "A La Claire Fontaine" (1 text, 1 tune)
Fowke/MacMillan 55, "A La Claire Fontaine" (1 English and 1 French text, 1 tune)
Silber-FSWB, p. 333, "A La Claire Fontaine (By Yonder Flowing Fountain)" (1 French text with English translation by Arthur Kevess)
Kennedy 97, "Au Bord d'une Fontaine ['Twas There Beside a Fountain]" (1 text + English translation, 1 tune)
DT, ALACLAIR*
ADDITIONAL: Grace Lee Nute, _The Voyageur_, Appleton, 1931 (reprinted 1987 Minnesota Historical Society), pp. 105-107, "A La Claire Fontaine" (1 text plus English translation, 1 tune)
NOTES: This song has been called "The unofficial anthem of French Canada." - RBW
File: FJ134
===
NAME: A Robin, Jolly Robin
DESCRIPTION: "(Ah/Hey) Robin, (jolly/gentle) Robin, Tell me how thy (lady/leman) doth And thou shalt know of mine." "My lady is unkinde, perdie, Alack why is she so?" One singer says his lady is constant; the other says women change like the wind
AUTHOR: Sir Thomas Wyatt?
EARLIEST_DATE: 1765 (Percy) (quoted by Shakespeare in "Twelfth Night")
KEYWORDS: love nonballad betrayal
FOUND_IN: 
REFERENCES: (3 citations)
Percy/Wheatley I, pp. 185-187, "A Robyn Jolly Robyn" (1 text)
ADDITIONAL: Noah Greenberg, ed., An Anthology of English Medieval and Renaissance Vocal Music, pp. 84-87 (1 text, 1 tune with harmonization)
DT, HEYROBIN*
ST Perc1185 (Full)
NOTES: Often (though not universally) credited to Sir Thomas Wyatt (1503?-1542), and obviously well-known by the time Shakespeare wrote "Twelfth Night" (circa 1600); it is quoted by the Clown in IV.ii.71f. The music is credited to Williams Cornysh(e) (died c. 1523). The Cornysh(e) music first appears in British Library MS. Add. 31922.
It's not likely that this is a traditional song, but there are strong variations in the words (and Shakespeare's version does not look original); I include it because it was recorded on the "New Golden Ring," and people might think it traditional.
Wyatt had an incredibly complex career during the reign of Henry VIII (among other things, he was involved with Anne Boleyn before Henry noticed her), and is credited, among other things, with introducing the sonnet to England. - RBW
File: Perc1185
===
NAME: A Robyn Jolly Robyn: see A Robin, Jolly Robin (File: Perc1185)
===
NAME: A Saint-Malo, Beau Port de Mer (At Saint Malo Beside the Sea)
DESCRIPTION: French: Three ships are at anchor at St. Malo. Three women come to buy grain. They ask the merchant what his prices are. He asks for more than they can pay. They say so; he says he will give the grain away if he can't sell it that day. The women approve
AUTHOR: unknown
EARLIEST_DATE: 1946
KEYWORDS: bargaining commerce foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (2 citations)
Fowke/Johnston, pp. 16-17, "A Saint-Malo, Beau Port de Mer (At Saint Malo Beside the Sea)" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 14-15 "A St. Malo, beau port de mer" (1 text, 1 tune)
NOTES: Fowke report that St. Malo was the home port of Jacques Cartier, the French explorer who in 1534 named the St. Lawrence river. For this reason, the very name of the port evokes Quebec's history and patriotism.
The town itself is in Brittany, on the coast not far from the border with Normandy, and was often used as a privateering base for raids on Britain and the like. - RBW
File: FJ016
===
NAME: A St. Malo, beau port de mer: see A Saint-Malo, Beau Port de Mer (At Saint Malo Beside the Sea) (File: FJ016)
===
NAME: A Stor Mo Chroi (Treasure of My Heart)
DESCRIPTION: The singer to his/her love: You'll soon leave for a strange land "rich in its treasures"; "the lights of the city may blind you ... turn away from the throng and the bliss ... come back soon To the love that is always burning" and Erin's shore.
AUTHOR: Brian O'Higgins (Brian na Banban) (1882-1949) (source: notes to IRClare01)
EARLIEST_DATE: 1973 (IRClare01)
KEYWORDS: love emigration parting Ireland nonballad
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #3076
RECORDINGS:
Ollie Conway, "A Stor Mo Chroi" (on IRClare01)
NOTES: Brian O'Higgins is also sometimes credited with "Moses Ritoora-li-ay." Quite a stretch from here to there. - RBW
File: RcAStMC
===
NAME: A was an apple-pie: see A Is for Apple Pie (File: R874)
===
NAME: A-Begging I Will Go
DESCRIPTION: "Of all the trades in England, The begging is the best, For when the beggar's tired, he can lay him down and rest...." The beggar describes the various pleasures of his profession, and declares that he will continue begging
AUTHOR: unknown
EARLIEST_DATE: 1684
KEYWORDS: begging nonballad
FOUND_IN: Britain(England(North,Lond),Scotland(Aber))
REFERENCES: (7 citations)
Kennedy 217, "A-Begging I Will Go" (1 text, 1 tune)
Logan, pp. 164-166, "The Jovial Beggar, a-begging we will go" (1 text)
Chappell/Wooldridge II, pp. 42-43, "A Begging We Will Go" (1 text, 1 tune)
Ford-Vagabond, pp. 267-270, "A-Begging We Will Go" (1 text, 1 tune, very long and conflate)
Ord, pp. 381-382, "To the Beggin' I Will Go" (1 text)
DT, ABEGGIN*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 265, "The Happy Beggarman"
Roud #286
RECORDINGS:
Ewan MacColl and Peggy Seeger, "To the Begging I Will Go" (on ENMacCollSeeger02)
BROADSIDES:
Bodleian, Harding B 28(287), "The Beggar," C. Croshaw (York), c.1817
CROSS_REFERENCES:
cf. "Let the Back and Sides Go Bare" (theme)
cf. "The Old Settoo" (theme and some lines)
SAME_TUNE:
Age Renewed by Wedlock/Come All Ye Ancient Women (BBI ZN511)
The Merry Beggars of Lincolns-Inn-Fields/Three beggars met together (BBI ZN2603)
The Papist Prayers/There Is a Holy Father (BBI ZN2427)
The Rambling Roman Catholick/I am a Roman Catholick (BBI ZN1225)
Tradesman's Complaint, "Come hither, brother tradesmen, And hear the news I bring, 'Tis of a Tory minister" (song against the British policies leading to the American Revolution; see Stanley Weintraub, _Iron Tears: America's Battle for Freedom, Britain's Quagmire 1775-1783_, pp. 20-21)
ALTERNATE_TITLES:
To the Begging I Will Go
NOTES: Logan has this from a broadside "Be Valiant Still," with the tune listed as "The old carle to daunton me." Whatever that is; a tune "To Daunton Me" is #182 in the _Scots Musical Museum_.
The notion of begging songs predates even this quite ancient piece; in _A Poetical Rhapsody_, published 1602, we find "In Praise of a Beggar's Life" ("Bright shines the sun; play, beggars, play! Here's scraps enough to serve to-day"), credited to "A.W." - RBW
File: K217
===
NAME: A-Cruising We Will Go
DESCRIPTION: "Behold upon the swelling seas With streaming pennants gay, Our gallant ship invites the waves, While glory leads the way." "And a-cruising we will go." The singer asks the girls to be kind, recalls "Hardy's flag," and hopes for peace with America
AUTHOR: unknown
EARLIEST_DATE: 1948 (Shay)
KEYWORDS: navy ship nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Shay-SeaSongs, pp. 118-119, "A-Cruising We Will Go" (1 text)
Roud #8825
NOTES: Shay gives no information about the origin of this piece, and no tune; I doubt it is traditional, or even a song. It looks to me like some broadside poet's praise of the British  navy.
"Hardy" is presumably Thomas Masterson Hardy (1769-1839), Nelson's chief captain, who was made rear admiral in 1825, served as First Sea Lord 1830-1834, and finally reached the rank of vice admiral in 1837. - RBW
File: ShaSS118
===
NAME: A-Growing (He's Young But He's Daily A-Growing) [Laws O35]
DESCRIPTION: The girl rebukes her father for marrying her to a much younger boy. He tells her the lad is growing. She sends him to school in a shirt that shows he's married, for he is a handsome lad. She soon bears his son. He dies young; she sadly buries him
AUTHOR: unknown
EARLIEST_DATE: 1792 (as "Lady Mary Anne"), based on a text in the Herd manuscript (c. 1776)
KEYWORDS: marriage youth death mourning clothes
FOUND_IN: US(Ap,NE) Canada(Mar,Newf) Britain(Scotland,England(All)) Ireland Australia
REFERENCES: (23 citations)
Laws O35, "A-Growing (He's Young But He's Daily A-Growing)"
Flanders/Olney, pp. 196-197, "Young But Daily Growing" (1 text, 1 tune)
OBB 156, The Trees So High" (1 text)
Warner 60, "Young but Daily Growing" (1 text, 1 tune)
Meredith/Anderson, p. 177, "My Bonny Love is Young" (1 text, 1 tune)
Peacock, pp. 677-678, "He's Young but He's Daily Growing" (1 text, 2 tunes)
Karpeles-Newfoundland 29, "Still Growing" (1 text, 1 tune)
Creighton/Senior, pp. 107-109, "He's Young but He's Daily A-Growing" (2 texts plus 1 fragment, 1 tune)
Creighton-Maritime, pp. 100-101, "He's Young But He's Daily A-Growing" (2 texts, 2 tunes)
SharpAp 72, "Still Growing" (1 text, 1 tune)
Sharp-100E 25,  "The Trees They Do Grow High" (1 text, 1 tune)
Vaughan Williams/Lloyd, p. 99, "The Trees They Grow So High" (1 text, 1 tune)
Scott-BoA, pp. 16-18, "The Trees They Grow So High (The Bonny Boy)" (2 texts,  2 tunes)
Hodgart, p. 147, "Still Growing" (1 text)
Kennedy 216, "Young and Growing" (1 text, 1 tune)
Munnelly/Deasy-Lenihan 40, "The Trees They Do Be High" (1 text, 1 tune)
DBuchan 40, "The Young Laird of Craigstoun" (1 text)
Ord, p. 112, "My Bonnie Laddie's Lang, Lang o' Growing" (1 text)
MacSeegTrav 23, "Long A-Growing" (2 texts, 2 tunes)
Darling-NAS, pp. 132-133, "The Trees They Grow So High" (1 text)
Silber-FSWB, p. 217, "Daily Growing" (1 text)
DT 307, DAILYGRO* LANGGRO*
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, pp. 40-41, "The Trees They Do Grow High" (1 text, 1 tune)
Roud #31
RECORDINGS:
Sean 'Ac Donnca, "The Bonny Boy" (on TradIre01)
Liam Clancy, "Lang A-Growing" (on IRLClancy01)
Nathan Hatt, "He's Young But He's Daily A-Growing" (on MRHCreighton)
Mary Anne Haynes, "Long A-Growing" (on Voice06)
Lizzie Higgins, "Lady Mary Ann" (on Voice17)
Fred Jordan, "The Bonny Boy" (on Voice03)
Tom Lenihan, "The Trees They Do Be High" (on IRTLenihan01)
BROADSIDES:
Bodleian, Harding B 16(156d), "My Bonny Lad is Young, But He's Growing", H. Such (London), 1849-1862; also Firth c.21(19), Harding B 11(4066), "My Bonny Lad is Young, But He's Growing"; Harding B 11(2216), "My Bonny Lads Growing"; Harding B 11(1685), Harding B 15(210b), "My Bonny Lad is Young and Growing"
CROSS_REFERENCES:
cf. "The Days Are Awa That I Hae Seen" (lyrics)
ALTERNATE_TITLES:
Daily Growing
Lady Mary Ann (a rewrite by Robert Burns)
My Bonnie Laddie's Young (But He's Growing Yet)
Young Craigston
NOTES: [A. L. Lloyd writes,] "It is sometimes said that the ballad is based on the actual marriage of the juvenile laird of Craigton to a girl several years his senior, the laird dying three years later in 1634. But in fact the ballad may be older; indeed, there is no clear evidence that it is of Scottish origin. Child marriages for the consolidation of family fortunes [or other political reasons - RBW] were not unusual in the Middle Ages and in some parts the custom persisted far into the seventeenth century. The presenting and wearing of coloured ribbons, once common in Britain, still plays a prominent part in betrothal and marriage in Central and Eastern Europe." - PJS
MacColl and Seeger report this song from 1670 in the Guthrie manuscript. We have been unable to verify this, and they are lumpers. - PJS, RBW
Lizzie Higgins's "Lady Mary Anne" on Voice17 is very close to the Robert Burns text (source: "Lady Mary Anne" on Burns Country site). Munnelly/Deasy-Lenihan 40 is [also] close to "Lady Mary Anne."
Also collected and sung by Ellen Mitchell, "Lady Mary Ann" (on Kevin and Ellen Mitchell, "Have a Drop Mair," Musical Tradition Records MTCD315-6 CD (2001)) - BS
File: LO35
===
NAME: A-Lumbering We Go: see Once More A-Lumbering Go AND Bung Yer Eye (File: Wa031)
===
NAME: A-Rolling Down the River (The Saucy Arabella)
DESCRIPTION: Shanty. "Arabella set her main top-s'l (x3) ... a rollin' down the river." Verses list a full-rigged ship's sails: "The Arabella set her main gans'l/main royal/main skys'l, etc." Second chorus: "Oh, a pumpkin pudden an' a bulgine pie, aboard the Arabella"
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: sailor ship shanty
FOUND_IN: US
REFERENCES: (1 citation)
Hugill, pp. 178-179, "A-Rolling Down the River" (1 text, 1 tune) [AbrEd pp. 144-145]
Roud #8343
CROSS_REFERENCES:
cf. "So Early in the Morning" (tune)
ALTERNATE_TITLES:
The Arabella
Shenandoah
Dave Crockett
NOTES: Hugill says the tune is similar to a minstrel song "So Early in the Morning." - SL
File: Hug178
===
NAME: A-Rovin'
DESCRIPTION: In this cautionary tale, a sailor meets an Amsterdam maid, fondles portions of her body progressively, has sex with her, and catches the pox. She leaves him after he has spent all his money.
AUTHOR: unknown
EARLIEST_DATE: 1917
KEYWORDS: bawdy disease sailor warning whore
FOUND_IN: Britain(England) US(MA,NE,So,SW) Australia
REFERENCES: (15 citations)
Colcord, pp. 87-88, "A-Roving" (1 text, 1 tune)
Harlow, pp. 49-52, "A-Roving" (2 texts, 2 tunes)
Hugill, pp. 48-52, 101, "A-Roving" (6 texts plus 3 fragments, 4 tunes; the 5th text is "Go Rowing," a 1916 Norwegian adaptation by Henrik Wergelands taken from Brochmann's "Opsang Fra Seilskibstiden." p.101 is a version of "A Long Time Ago") [AbrEd pp. 46-48]
Sharp-EFC, XXV, pp. 28-29, "A-Roving" (1 text, 1 tune)
Cray, pp. 64-67, "A-Rovin'" (1 text, 1 tune)
Randolph-Legman I, pp. 124-125, "The Maid of Amsterdam" (1 text, 1 tune)
Doerflinger, pp. 56-58, "A-Roving" (2 texts, 2 tunes)
Bone, pp. 99-103, "Amsterdam" (1 censored text, 1 tune)
Shay-SeaSongs, pp. 80-81, "Maid of Amsterdam (A-Roving)" (1 text, 1 tune)
Linscott, pp. 125-130, "Amsterdam" [1 fragment, 1 tune, censored by the informant)
Meredith/Covell/Brown, p. 96, "A-roving" (1 text, 1 tune)
JHJohnson, p. 51, "The Amsterdam Maid" (1 text)
Silber-FSWB, p. 89, "A-Roving" (1 text)
DT, AROVIN1* AROVIN2*
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'Rovin" is in Part 1, 7/14/1917.
Roud #649
RECORDINGS:
Richard Maitland, "A-Roving" (AFS, 1939; on LC26)
Stanley Slade & chorus: "A'Roving" (on Lomax41, LomaxCD1741)
CROSS_REFERENCES:
cf. "The Fire Ship" (plot) and references there
cf. "All Under the New Mown Hay"
cf. "Yo Ho, Yo Ho" (theme, lyrics)
cf. "Tickle My Toe" (theme)
cf. "The Girl in Portland Street" (plot, theme)
cf. "Baltimore (Up She Goes)" (theme)
NOTES: This is a partial formula song in that the sailor begins at the knee, moves up to the thigh, and then to the "snatch." See "Yo Ho, Yo Ho" ("I Put My Hand") for extended treatment of this formula. - EC
Some similar lines are found in Thomas Heywood's "The Rape of Lucrece" (c. 1607), and Shay traces this piece back to that time, but Doerflinger states that they are not the same song.
The version collected by Meredith from Wally Marshall has an unusual ending; when the singer places his hand upon the girl's breast, she breaks wind, seemingly causing him to abandon the venture. - RBW
File: EM064
===
NAME: A-Roving on a Winter's Night: see My Dearest Dear (File: SKE40)
===
NAME: A-Walking and A-Talking: see The Cuckoo (File: R049)
===
NAME: A, U, Hinny Bird
DESCRIPTION: "Its O, but aw ken well -- A, U, hinny burd, The bonny lass o' Benwell, A, U, A." "She's lang-legg's and mother-like... See, she's raking up the dyke." "The Quayside for sailors... The Castle Garth for tailors...." Additional places round out the song
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: nonballad
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 160-161, "A, U, Hinny Burd" (1 text, 1 tune)
ST StoR160 (Partial)
Roud #235
File: StoR160
===
NAME: A. R. U.
DESCRIPTION: "Been on the hummer since ninety-four, Last job I had was on the Lake Shore, Lost my job in the A.R.U. And I won't get it back till nineteen-two And I'm still on the hog train flagging my meals Ridin' the brake beams close to the wheels."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: railroading hardtimes unemployment strike labor-movement
HISTORICAL_REFERENCES: June 20, 1893 - Socialist Eugene Debs (1855-1926) organizes the A.R.U. (American Railway Union)
June 27, 1893 - A severe decline in the stock market leads to the Panic of 1893. The next year will see severe labor troubles as workers try to survive the economic contraction
May 11, 1894 - The Pullman Strike. The Pullman employees have been squeezed by the company to the point where they can no longer survive
June 26, 1894 - Eugene Debs calls the A.R.U. strike to support the Pullman workers. Roughly 60,000 workers go off the job.
July 2, 1894 - Attorney General Olney, who works with railroad interests, convinces President Cleveland to break the Pullman Strike. Cleveland orders Debs to call off the strike on the grounds that it interferes with the U.S. mail. (Pullman cars, however, do not carry mail.)
July 6, 1894 - Troops fire on the railroad strikers in Kensington, IL
July 10, 1894 - Debs is indicted for defying President Cleveland's injunction (on Dec. 14 he will be sentenced to six months in prison)
Aug 3, 1894 - The Pullman strikers give in
FOUND_IN: US(So)
REFERENCES: (2 citations)
Sandburg, pp. 190-191, "A. R. U." (1 fragment, 1 tune)
Greenway-AFP, p. 57, "A.R.U." (1 text)
NOTES: After the A.R.U. strike of 1894, most of the strikers were blacklisted by the railroad companies. With little else to do, they rode the rods or tried to get jobs under false names -- only to be fired if they were discovered. - RBW
File: San190
===
NAME: A'body's Like to be Married but Me
DESCRIPTION: "As Jenny sat down wi' her wheel b the fire... She said to herself... "Oh! a'body's like to be married but me." She recalls the companions of her youth, perhaps interested then but no longer. She concludes they are worthless -- but still feels unhappy
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford); said to have been printed in the 1802 _Scots Magazine_
KEYWORDS: oldmaid rejection loneliness
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 299-300, "A'body's Like to be Married but Me" (1 text)
Roud #7160
CROSS_REFERENCES:
cf. "The Old Maid's Song (I)" and references there
File: FVS299
===
NAME: Aaron Burr
DESCRIPTION: "Oh, Aaron Burr, what have you done? You've shot great General Hamilton! You hid behind a Canada thistle And shot him with your old hoss-pistol!"
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: homicide political
HISTORICAL_REFERENCES: July 11, 1804 - Duel between Aaron Burr and Alexander Hamilton, resulting in the wounding of the latter; he died the next day
FOUND_IN: US
REFERENCES: (1 citation)
Burt, p. 257, (no title) (1 short text)
NOTES: The duel between Vice President Aaron Burr (1756-1836) and former Treasury Secretary Alexander Hamilton (c. 1756-1804) is the subject of so much folklore that I am not even going to try to cover it. The duel itself arose out of Burr's resentment at Hamilton's (successful) efforts to prevent his election as governor of New York.
Burt claims that this is a "quatrain which was popular for more than half a century," though I can't recall seeing it elsewhere. - RBW
File: Burt257
===
NAME: Abalone
DESCRIPTION: "In Carmel Bay the people say we feed the lazzaroni On caramels and cockle-shells and hunks of Abalone." The virtues of this mollusk are extolled: It cures pain, tastes better than the finest foods, and can be transmitted faster than electricity (?!)
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonsense nonballad animal
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Sandburg, p. 333, "Abalone" (1 text, 1 tune)
Roud #10113
NOTES: The anonymous _Book of Vulgar Verse_ credits a version of this to George Sterling. But the book is apparently some five decades newer than Sandburg, and does not list a more detailed source. In support of this claim, K. LaRoe writes, "I had recently read a reference to The Abalone Song, written by the poet George Sterling in the early 1900s while staying in an artist's colony in Carmel California." - RBW
File: San333
===
NAME: Abandonado, El
DESCRIPTION: Spanish: "The Abandoned." First line: "Me abanonastes, jujer, porque soy muy pobre." The singer's girl is leaving him because he is poor. He admits to character faults. He asks "What am I to do if I am the abandoned one?"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: love courting poverty drink gambling abandonment Mexico foreignlanguage
FOUND_IN: US(So) Mexico
REFERENCES: (2 citations)
Sandburg, pp. 295-297, "El Abandonado" (1 text, 1 tune)
Lomax-ABFS, pp. 364-366, "El Abandonado (The Abandoned One") (1 text plus prose translation, 1 tune)
File: San295
===
NAME: Abdul Abulbul Amir: see Abdul the Bulbul Emir (I) (File: LxA341)
===
NAME: Abdul the Bulbul Emir (I)
DESCRIPTION: The heroic Moslem Abdul and the gallant Russian Ivan Skavinsky Skevar chance to meet. It doesn't take them long to begin duelling, which inevitably results in the deaths of both. Their burials and the mourning for them are described
AUTHOR: credited to Percy French
EARLIEST_DATE: 1877 (copyright under the title "Abdulla Bulbul Ameer")
KEYWORDS: humorous death foreigner
HISTORICAL_REFERENCES: 1853-1854 - Crimean War
FOUND_IN: 
REFERENCES: (6 citations)
Sandburg, pp. 344-346, "Abdul, the Bulbul Ameer" (1 text, 1 tune)
Lomax-ABFS, pp. 341-343, "Ye Ballade of Ivan Petrofsky Skevar" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 128-131, "Abdul Abulbul Amir" (1 text, 2 tunes)
Silber-FSWB, p. 21, "Abdul, The Bulbul Amir" (1 text)
Fuld-WFM, p. 84, "Abdulla Bulbul Ameer"
DT, ABDULBUL*
Roud #4321
RECORDINGS:
Ernest Hare, "Abdul Abulbul Amir" (Edison 52284, 1928)
Frank Crumit, "Abdul Abulbul Amir" (Victor 20715, 1927)
CROSS_REFERENCES:
cf. "Abdul the Bulbul Emir (II)" (tune & meter)
SAME_TUNE:
Frank Crumit, "The Return of Abdul Abulbul Amir" (Victor 22482, 1930)
Frank Crumit, "The Grandson of Abdul Abulbul Amir" (HMV [UK] B-4331, 1933) 
ALTERNATE_TITLES:
Abdul, The Bulbul Ameer
Ivan Skavinsky Skevar
NOTES: Often listed as being of unknown authorship -- probably because French's original composition (set in the Crimean War) was stolen and printed without his name.
Conflict between Russia and the Ottoman Empire was almost constant in the nineteenth century, as the Tsar sought to expand his realm and the feeble Turks tried to hold onto their European possessions. Full-fledged wars were few, however, making it clear that this song refers to the Crimean War (which pitted England, France, and the Ottomans against the Russians).
Abdul's cry, "Allah Akbar," means "God is great," and is a common Islamic slogan. "Bulbul Amir" means "nightingale chieftain" in Turkish -- but it is far from certain that French knew this. - RBW
File: LxA341
===
NAME: Abdul the Bulbul Emir (II)
DESCRIPTION: Abdul the Bulbul Emir and Ivan Stavinsky Stavar engage in a duel to see who can have intercourse with the greatest number of women. At the moment of triumph, Ivan bends over, with dreadful results.
AUTHOR: original version credited to Percy French, 1877
EARLIEST_DATE: original version copyright 1877 as "Abdulla Bulbul Ameer"
KEYWORDS: bawdy parody humorous sex contest homosexuality
FOUND_IN: Australia Canada England New Zealand US(NE,SW)
REFERENCES: (2 citations)
Cray, pp. 210-212, "Abdul the Bulbul" (2 texts, 1 tune)
DT, ABDULBL2*
Roud #4321
CROSS_REFERENCES:
cf. "Abdul the Bulbul Emir (I)" (tune & meter)
NOTES: The ballad here is a bawdy parody of the original, reportedly written by French at Trinity College, Dublin. - EC
For a discussion of the Crimean War setting of the original "Abdul," see that song - RBW
File: EM210
===
NAME: Abdul, the Bulbul Ameer: see Abdul the Bulbul Emir (I) (File: LxA341)
===
NAME: Abdul, the Bulbul Amir: see Abdul the Bulbul Emir (I) (File: LxA341)
===
NAME: Abdulla Bulbul Ameer: see Abdul the Bulbul Emir (I) (File: LxA341)
===
NAME: Abe Lincoln Stood at the White House Gate
DESCRIPTION: "Abe Lincoln stood at the White House Gate... When along came Lady Lizzie Tod, Wishing her lover good speed." Lincoln tries several times to take Richmond, and is foiled each time
AUTHOR: unknown
EARLIEST_DATE: 1917 (Davis)
KEYWORDS: Civilwar parody humorous horse
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Davis-Ballads 20, (No title, but filed as an appendix to "Lord Lovel") (1 text)
Friedman, p. 97, "Lord Lovel" (2 texts, but the "B" text is this)
Darling-NAS, pp. 46-47, "Abe Lincoln Stood at the White House Gate" (1 text, filed under "Lord Lovel")
Roud #6867; also 48
CROSS_REFERENCES:
cf. "Lord Lovel [Child 75]" and references there
NOTES: Abraham Lincoln's wife was Mary Todd; this apparently become "Lizzie Tod[d]" in the ballad.
The song as collected by Davis appears to be a fragmentary account of the various Federal attempts to take Richmond in 1861-1862. The first attempt lasted only "one or two days," seemingly referring to McDowell's Bull Run campaign of 1861. This was followed by McClellan's Peninsular campaign of spring and summer 1862, seemingly not mentioned in the song.
The final stanza refers to Lincoln's "Burnside horse," which "stuck tight in the mire." Ambrose Burnside was in charge at the Battle of Fredericksburg, which may or may not be alluded to, and also commanded the "mud march," clearly the subject of the last line. - RBW
File: DarNS046
===
NAME: Abel Brown the Sailor: see Bollochy Bill the Sailor (File: EM081)
===
NAME: Abie's White Mule
DESCRIPTION: About a moonshiner and how he outwits a marshal. After the revenuer finds the still and starts to take it home, but Abe and "Hanner" (Hannah?) rescue it. Chorus: "Corn liquor [or other drink, e.g. peach brandy] can (get/pull/blow) (a man/you) down."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: drink police rescue
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 117-118, "Abie's White Mule" (1 text)
CROSS_REFERENCES:
cf. "Bad Ale Can Blow a Man Down" (lyrics)
File: thBa117
===
NAME: Abilene
DESCRIPTION: "Abilene, Abilene, prettiest town (you) ever seen, (folks) there don't treat you mean In Abilene, my Abilene." The singer complains about life in the big city, hears the trains, and wishes they were carrying (him) back to Abilene
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: home train nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 48, "Abilene" (1 text)
DT, ABILNE*
CROSS_REFERENCES:
cf. "Ohio River, She's So Deep and Wide" (floating lyrics)
NOTES: Some sources credit this to John D. Loudermilk; others call it traditional. I'm not really sure what to think. There are verses which I think must be composed, and I have yet to see a truly traditional version. But Loudermilk could have touched up a traditional song. - RBW
The song has also been credited to the folk-revival performer Bob Gibson. - PJS
File: FSWB048
===
NAME: Aboard of the Kangaroo: see The Good Ship Kangaroo (File: MA060)
===
NAME: Aboard the Henry Clay
DESCRIPTION: Capstan shanty. Verses tell of a "lime-juice jay" that got drunk and went into a fit. The mate kicks him off the boat and he drowns. Later the mate is found with a knife in his back. Refrains repeat last lines of verses.
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: shanty sailor homicide drink
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 207-208, "Aboard the Henry Clay" (1 text, 1 tune)
Roud #9160
File: Harl207
===
NAME: Aboard the Kangaroo: see The Good Ship Kangaroo (File: MA060)
===
NAME: Aboot the Bush Willy: see About the Bush Willy (File: StoR097)
===
NAME: About the Bush, Willy
DESCRIPTION: "Aboot the bush, Willy, aboot the bee-hive, Aboot the bush, Willy, I'll meet thee belyve." "Then to my ten shillings Add you but a groat; I'll go to Newcastle And buy a new coat." The singer describes the prices of clothing
AUTHOR: unknown
EARLIEST_DATE: 1882 (Bruce/Stokoe)
KEYWORDS: clothes nonballad
FOUND_IN: Britain(England(North))
REFERENCES: (3 citations)
Stokoe/Reay, p.  97, "Aboot the Bush, Willy" (1 text, 1 tune)
Baring-Gould-MotherGoose #240, pp. 153-154, "(About the bush, Willy)"
DT, BUSHWILI
Roud #3149
File: StoR097
===
NAME: Abraham Lincoln Is My Name
DESCRIPTION: "Abraham Lincoln is my name, From Illinois I did came, I entered the city in the night, And took my seat by candlelight."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: Civilwar playparty
HISTORICAL_REFERENCES: 1861 - Inauguration of Abraham Lincoln
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 65-66, (no title) (1 fragment)
NOTES: This is probably a fragment of a song about Abraham Lincoln's sneaking into Washington for his inauguration (there were threats of violence, so he arrived in secret and disguise). But all that is left in Thomas is a fragment seemingly used as a singing game.
The likelihood is high that it is based on a traditional item of some sort:
(Name) is my name
(Country) is my nation
(Somewere) is my dwelling (place)
And Christi is my salvation OR And Death's my destination.
Walter de la Mare, _Come Hither_, revised edition, 1928; prints a version of this as (32) in the notes on poem #470 (with Elizabeth Waters of Wales being the protagonist), and Alfred Bester's acclaimed science fiction novel _The Stars My Destination_ also uses this framework as the career summary of the main character Gully Foyle. - RBW
File: ThBa065
===
NAME: Abram Brown the Sailor: see Bollochy Bill the Sailor (File: EM081)
===
NAME: Abroad As I Was Walking: see Down By Blackwaterside (File: K151)
===
NAME: Absalom, My Son: see David's Lamentation (File: FSWB412B)
===
NAME: Accident down at Wann, The
DESCRIPTION: A train hits a buggy sitting on the tracks. The buggy's inhabitants are killed.
AUTHOR: unknown
EARLIEST_DATE: 1981 (Cohen); apparently first printed 1909
KEYWORDS: train wreck death
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, p. 272, "The Accident down at Wann" (notes only)
File: LSRa272F
===
NAME: According to the Act
DESCRIPTION: The song details shipboard life, and how conditions are kept tolerable, for "There's nothing done on a limejuice ship contrary to the Act." The most obvious example is the ration of limejuice, but other rules are also cited
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: work law sailor ship
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 42-43, "According to the Act" (1 text, 1 tune)
Hugill, pp. 58-59, "The Limejuice Ship" (1 text, 1 tune) [AbrEd pp. 54-55]
Roud #8341
CROSS_REFERENCES:
cf. "The Son of a Gambolier" (tune & meter) and references there
ALTERNATE_TITLES:
Limejuice and Vinegar
The Limejuice Ship
NOTES: The British Merchant Shipping Acts regulated most parts of a sailor's life, including the regular rations of lime juice (to prevent scurvy). Hence the title "limey" for British sailors, the word "limejuice tubs" for British ships -- and hence also this song.
Ironically, for the most part it was not lime but lemon juice that was given to sailors. They called it limejuice anyway, probably to make it sound more palatable. - RBW
File: FaE042
===
NAME: Account of a Little Girl Who Was Burnt for Her Religion, An: see The Romish Lady [Laws Q32] (File: LQ32)
===
NAME: Acres of Clams (The Old Settler's Song)
DESCRIPTION: The prospector reports on the sad fate of the gold rush men: "For each man who got rich by mining... hundreds grew poor." He decides to abandon digging and head out to be a farmer near Puget Sound. This, too, proves hard, but he is too poor to move again
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: gold farming poverty settler  derivative
FOUND_IN: US(NW)
REFERENCES: (4 citations)
Lomax-FSUSA 55, "The Old Settler's Song" (2 texts, 1 tune)
Darling-NAS, pp. 283-284, "Acres of Clams" (1 text)
Silber-FSWB, p. 48, "Acres of Clams" (1 text)
DT, OLDSETLR*
Roud #10032
RECORDINGS:
Pete Seeger, "The Old Settler's Song" (on PeteSeeger47); "Acres of Clams, " [parody] (on PeteSeeger47)
CROSS_REFERENCES:
cf. "Rosin the Beau" (tune) and references there
cf. "A Hayseed Like Me" (tune, lyrics)
File: LxU055
===
NAME: Across the Blue Mountain
DESCRIPTION: A married man asks (Katie) to marry him and go "across the Blue Mountain to the Allegheny." Katie's mother tells her to let him stay with his own wife. Katie answers, "He's the man of my heart." (The confused ending may tell of her poverty or abandoment)
AUTHOR: unknown
EARLIEST_DATE: 1962
KEYWORDS: love courting travel abandonment infidelity mother children
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Abrahams/Foss, pp. 14-16, "Across the Blue Mountain" (4 texts, 1 tune)
DT, BLUEMNTN
CROSS_REFERENCES:
cf. "High Germany" (floating lyrics)
NOTES: Abrahams and Foss note that the several versions of this song (they print four, all of which reportedly use the same tune) are from the same area -- central Virginia, on the eastern slope of the Blue Ridge. (The Alleghenies can indeed be seen from the crest of the Blue Ridge.)
Their four versions were all collected in 1962, from an interesting list of sources: Florence Shiflett of Wyatt's Mountain; David Morris, also of Wyatt's Mountain; Effie Morris, of Shiflett Hollow; and Marybird McAllister, of Brown's Cove.
The four versions fall into two types. The two from Wyatt's Cove end with a moralising conclusion (the girl ends up "lame" and perhaps abandoned, and regrets her ending). These stanzas have a slightly different feel from the rest of the song, and are much poorer poetry; one suspects a later addition.
On the other hand, the other two versions do not have a proper resolution; the girl simply wishes she could be with the fellow and "valleys" (envys?) the woman who will be with him.
Portions of the song seem older (e.g. all four versions have as their second verse the stanza "I'll buy you a horse, love, and a saddle to ride," which comes from "High Germany" or something similar). One suspects that a local Blue Ridge balladeer reshaped an older song to describe a now-forgotten local event.
At least, it's probably forgotten. There is a story in Walter R. Borneman's _1812: The War That Forged a Nation_, p. 15, about Harmon Blennerhasset (1765-1831). Born in Ireland, he eloped in 1796 with an 18-year-old girl. Meeting disapproval at home, he sold his estates, moved to the Americas, and after a brief residence in the east, crossed the Alleghenies with the girl. Reading the story, I was instantly and strongly remined of this song.
Of course, the details differ. One difference is substantial: The reason Blennerhasset was shunned was because the girl he eloped with was his niece. And he ended up returning home to England; he was caught up in Aaron Burr's Louisiana conspiracy. I don't really think Blennerhasset inspired this song, but it was interesting enough to form the basis for an idle footnote. - RBW
File: AF014
===
NAME: Across the Hall
DESCRIPTION: "Go straight across the hall To the opposite lady, Swing her by the right hand, Right hand round and back to the left, And balance to your partner."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: playparty nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 536, "Across the Hall" (1 short text, 1 tune)
Roud #7646
File: R536
===
NAME: Across the Rocky Mountain: see Jack Monroe (Jackie Frazer; The Wars of Germany) [Laws N7] (File: LN07)
===
NAME: Across the Western Ocean
DESCRIPTION: "Oh, the times are hard and the wages low, Amelia, where you bound to? The Rocky Mountains is my home Across the western ocean." The emigrants leave poverty behind to set out for better conditions in America. Unusual passengers may be described
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: emigration poverty hardtimes
FOUND_IN: US
REFERENCES: (9 citations)
Colcord, p. 118, "Across the Western Ocean" (1 text, 1 tune)
Harlow, pp. 58-59, "Across the Western Ocean" (1 text, 1 tune)
Hugill, pp. 292-293, "Across the Rockies," "Across the Western Ocean" (2 texts, 1 tune) [AbrEd pp. 215-216]
Sandburg, p. 412, "Leave Her, Bullies, Leave Her" (2 text, 1 tune, but the "A" text is "Leave Her, Johnny, Leave Her")
Shay-SeaSongs, pp. 71-72, "Across the Western Ocean" (1 text, 1 tune)
Scott-BoA, pp. 150-151, "Across the Western Ocean" (1 text, tune referenced)
SHenry H96, p. 96, "It's Time for Us to Leave Her" (1 text, 1 tune -- a fragment, short enough that it could be this or "Leave Her, Johnny, Leave Her")
Silber-FSWB, p. 88, "Across the Western Ocean" (1 text)
DT, WSTOCEAN*
Roud #8234
CROSS_REFERENCES:
cf. "Leave Her, Johnny, Leave Her" (floating lyrics; tune)
cf. "Uncle Bill Teller" (form, lyrics)
NOTES: Shay attempted to find a ship _Amelia_ that might have been the inspiration for the chorus. He found none that fit, and suggested "O'Malley" as a possible emendation. Of course, the other possibility (as he himself admits) is that Amelia is just a girl.
Shay also has an unusual verse, in which the sailor heads across the ocean "To join the Irish army." Shay does not connect this with any sort of militarism; he thinks it applies simply to the mass emigration of the Irish to America. - RBW
File: San412
===
NAME: Across the Western Ocean (II): see Yellow Meal (Heave Away; Yellow Gals; Tapscott; Bound to Go) (File: Doe062)
===
NAME: Across the Western Ocean I Must Wander: see Here's to the Grog (All Gone for Grog) (File: K274)
===
NAME: Across the Wide Missouri: see Shenandoah (File: Doe077)
===
NAME: Adam Bell, Clim of the Clough, and William of Cloudesly [Child 116]
DESCRIPTION: Three outlaws live in the forest. William visits his wife, is arrested, is rescued by the others. They seek pardon from the king, succeed by the queen's intervention, then show their archery prowess, including cleaving an apple on a child's head.
AUTHOR: unknown
EARLIEST_DATE: 1536
KEYWORDS: outlaw pardon royalty
FOUND_IN: Britain(England)
REFERENCES: (4 citations)
Child 116, "Adam Bell, Clim of the Clough, and William of Cloudesly" (2 texts)
Bronson 116,  "Adam Bell, Clim of the Clough, and William of Cloudesly" (1 version, though Bronson questions its connetion with this song)
Percy/Wheatley I, pp. 153-179, "Adam Bell, Clym of the Clough, and William of Cloudesley" (1 text)
OBB 114, "Adam Bell, Clym of the Clough, and William of Cloudesly" (1 text)
Roud #3297
CROSS_REFERENCES:
cf. "Auld Matrons" [Child 249] (theme)
NOTES: For the connection of this song with the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C116
===
NAME: Adam Gorman: see Captain Car, or, Edom o Gordon [Child 178] (File: C178)
===
NAME: Adam in the Garden Pinning Leaves
DESCRIPTION: Chorus "Oh Eve, where's Adam? (x3) Adam in the garden pinning leaves." "I know my God is a God of war/He fought the battle at the Jericho wall"; "The first time God called/Adam refused to answer/And the next time God called/God hollered louder."
AUTHOR: unknown
EARLIEST_DATE: 1934 (field recording, Alberta Bradford & Becky Elsey)
KEYWORDS: nonballad religious gods
FOUND_IN: US(So)
REFERENCES: (4 citations)
Cohen/Seeger/Wood, p. 126-127, "Adam in the Garden Pinnin' Leaves" (1 text, 1 tune)
Courlander-NFM, pp. 43-44, (no name) (partial text)
Silber-FSWB, p. 24, "Adam In The Garden Pinning Leaves" (1 text)
DT, ADAMGRDN
Roud #15647
RECORDINGS:
Alberta Bradford & Becky Elsey, "Adam in the Garden Pinnin' Leaves" (AFS 105 B1, 1934)
McIntosh County Shouters, "Eve and Adam" (on McIntosh1)
New Lost City Ramblers, "Adam in the Garden" (on NLCR10)
CROSS_REFERENCES:
cf. "John the Revelator" (theme)
NOTES: The mention of Adam making clothing of fig leaves occurs in the Bible in Gen. 3:7; God comes after Adam in 3:8-9. The siege of Jericho is described in Joshua 6, with a foreshadowing in Joshua 2. - RBW
File: CSW126
===
NAME: Adams and Liberty
DESCRIPTION: Written for the John Adams campaign, but in praise of American freedom (it never mentions Adams): "Ye sons of Columbia, who bravely have fought For those rights which unstained from your sires have descended" (and so on, for nine weary stanzas)
AUTHOR: Words: Robert Treate Paine, Jr.
EARLIEST_DATE: 1798 (composed)
KEYWORDS: patriotic political nonballad America
HISTORICAL_REFERENCES: 1796 - John Adams's first (successful) Presidential campaign
1797-1801 - Adams's Presidency
1800 - Adams is defeated for re-election by Thomas Jefferson
FOUND_IN: 
REFERENCES: (1 citation)
Spaeth-ReadWeep, pp. 11-14, "Adams and Liberty" (1 text, tune referenced)
CROSS_REFERENCES:
cf. "The Star-Spangled Banner" (tune) and references there
cf. "Jefferson and Liberty" (concept)
cf. "Lincoln and Liberty" (concept)
NOTES: It may reasonably be questioned if anyone actually survived reading (let alone singing) this piece. Paine (whom Spaeth says was regarded as "vain, lazy, and vicious," and a "literary hack") was nonetheless paid $750 for his efforts. (And you thought the Defense Department overpaid for the goods it received.)
If this song has any distinction at all, it is that it is probably the version of the "Anacreon" tune known to Ferdinand Durang, who later fitted the tune to "The Star Spangled Banner." - RBW
File: SRW011
===
NAME: Adams's Crew
DESCRIPTION: A few of the characters on Adams's crew of lumberjacks are described.
AUTHOR: unknown
EARLIEST_DATE: 1886
KEYWORDS: lumbering work logger cook humorous nonballad moniker
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 67, "Adams's Crew" (1 text)
Roud #8843
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. This song was collected from two of the characters chronicled in it. - PJS
File: Be067
===
NAME: Adelita
DESCRIPTION: First line: "Adeilta se llama la ingrata Le qu' era duena de todo mi placer." The soldier says that Adelita is the source of "all my pleasures" who "drives all men to distraction." Now he must go to war; if she deserts him, he will pursue her anywhere
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: Mexico love separation soldier foreignlanguage
FOUND_IN: Mexico US(MW,SW)
REFERENCES: (2 citations)
Sandburg, pp. 300-301, "Adelita" (1 text, 1 tune)
Silber-FSWB, p. 335, "Adelita" (1 text)
File: San300
===
NAME: Adeste Fideles (O Come All Ye Faithful)
DESCRIPTION: Latin: "Adeste fideles, laeti triumphantes, venite, venite in Bethlehem." English: "O come, all ye faithful, Joyful and triumphant, O come ye, O come ye to Bethlehem."
AUTHOR: probably John Francis Wade
EARLIEST_DATE: 1760 (Anglican church office manual); probably written c. 1740
KEYWORDS: religious nonballad foreignlanguage
FOUND_IN: US
REFERENCES: (6 citations)
RJackson-19CPop, p. 1, "Adeste Fideles" (1 text, 1 tune)
Silber-FSWB, p. 380, "O, Come, All Ye Faithful" (1 text)
Fuld-WFM, p. 86, "Adeste Fideles"
DT, ADESTFID*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), p. 45, "O Come, All Ye Faithful" (1 text, 1 tune)
Ian Bradley, _The Penguin Book of Carols_ (1999), #5, "Adeste, Fideles" (1 text); #53, "O Come, All Ye Faithful" (1 text)
RECORDINGS:
Criterion Quartet, "Oh, Come, All Ye Faithful" (Victor 16197-B, 1908)
BROADSIDES:
LOCSheet, sm1871 08939, "Adeste Fideles," Wm. J Bonner & Co (Philadelphia), 1871(tune)
NOTES: The first American printing of this piece (A Latin version of c. 1803) subtitles it "The favorite PORTUGUESE HYMN On the NATIVITY," but there is no particular reason to consider it Portuguese; according to Scholes in _The Oxford Companion to Music_, this title derives in fact from the Portugese Chapel in London.
The piece is believed to have been composed in the early 1740s by John Francis Wade, who also wrote the Latin words. Scholes reports an Irish manuscript of the tune dated 1746, and a variation on the theme was listed as an "Air Anglais" in the French Vaudeville "Acajou" in 1744. The rather loose English translation by Frederick Oakley appeared in 1852, based on Oakley's earlier 1841 translation.
Fuld gives details on other possible sources for both text and tune; all are possible, but not particularly likely. Substantiating details are lacking.
Recent scholarship has brought an interesting twist on this history. According to the _Penguin Book of Carols_, there are six manuscripts of this in the handwriting of John Francis Wade. The one of these thought to be oldest contains a reference to "regem nostrum Jacobum" -- "our King James," i.e. the Jacobite Old Pretender. And, of course, "regem angelorum" is quite close to "regem Angliorem," "King of England." There are also hints of Catholic practice in this manuscript. Whether all this really amounts to anything is, of course, an open question. - RBW
File: RJ19001
===
NAME: Adieu de la Mariee a Ses Parents (The Married Girl's Farewell to her Parents)
DESCRIPTION: French. To make a household you must work to get money to feed a wife and children. Father, you married me to a pig of a drunkard. Cherish and caress him, daughter, and in a short time he will change and you will have your household.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage marriage drink father
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, p. 492, "Adieu de la Mariee a Ses Parents" (1 text, 1 tune)
File: Pea492
===
NAME: Adieu Lovely Nancy: see Farewell, Charming Nancy [Laws K14] (File: LK14)
===
NAME: Adieu Sweet Lovely Nancy
DESCRIPTION: "Adieu sweet lovely Nancy, ten thousand times adieu." The sailor must go over the sea "to seek for something new." He promises (to write, and tells) Nancy that, "Let my body go where it will, my heart will love you still." He hopes for a safe return
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: sailor separation
FOUND_IN: Britain(England) US(MW) Australia Canada(Newf)
REFERENCES: (5 citations)
Eddy 153, (fourth of several "Fragments of Irish Songs")
Peacock, p. 877, "Good-bye My Lovely Annie" (1 text, 1 tune)
Meredith/Anderson, pp. 178-179, "Lovely Nancy" (1 text, 1 tune)
Huntington-Whalemen, p. 260, "(Mary's Cot)" (1 text, mostly from this song though the first verse is "The Rose of Allandale")
DT, SWTNANCY
Roud #165
CROSS_REFERENCES:
cf. "The Whale-Catchers" (lyrics)
cf. "Old Kitarden" (lyrics)
cf. "The Bold Privateer" [Laws O32] (lyrics)
cf. "I Love My Sailor Boy" (lyrics)
File: E153D
===
NAME: Adieu to Bogie Side
DESCRIPTION: The singer calls on the muses to help him "sing sweet Huntly's praise. I leave a girl behind me Whose joy is all my pride, And bid farewell to Huntly And adieu to Bogie side." He bids farewell to friends and lands and hopes the girl will be safe
AUTHOR: possibly John Riddell
EARLIEST_DATE: 1904 (Ford); said to have been printed in _The People's Journal_ in 1878
KEYWORDS: love separation rambling farewell
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ford-Vagabond, pp. 265-266, "Adieu to Bogie Side" (1 text)
Ord, pp. 363-364, "Adieu to Bogie Side" (1 text)
Roud #4593
CROSS_REFERENCES:
cf. "Bogie's Bonnie Belle" (lyrics)
NOTES: For the complicated relationship between this song and "Bogie's Bonnie Bell," see the notes to that song. - RBW
File: FCS265
===
NAME: Adieu to Bon County
DESCRIPTION: "It's a great separation my friends they have caused me." The singer says his friends will regret driving him away. He bids farewell to friends and love. He says he will ramble and seek pleasure. When money is short, he will "chop wood and get more"
AUTHOR: unknown
EARLIEST_DATE: 1934 (Lomax)
KEYWORDS: separation drink party rambling
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Lomax-ABFS, pp. 178-179, "Adieu to Bon County" (1 text, 1 tune)
DT, ADIEUBON
Roud #15553
CROSS_REFERENCES:
cf. "Farewell, Charming Nancy" [Laws K14] (floating lyrics)
cf. "Farewell to Old Bedford" (floating lyrics)
NOTES: The only version of this song I have seen so far is that in the Bayard collection, and it appears incomplete. Why is the singer leaving home? (Parents' opposition?) Why is there so little mention of his lost love?
I have to suspect that this is a worn-down, possibly reworked, version of something else (e.g. "Farewell, Charming Nancy") -- but I can't identify with any real probability what the original song was. It may well go back to the same ancestor as "Farewell to Old Bedford," but there has been a lot of drift in between. - RBW
File: LxA178
===
NAME: Adieu to Cold Weather: see Farewell He (File: FSC41)
===
NAME: Adieu to Dark Weather: see Farewell He (File: FSC41)
===
NAME: Adieu to Erin (The Emigrant)
DESCRIPTION: "Oh when I breathed a last adieu To Erin's vales and mountains blue...." The singer loves Mary, but Mary "deplores" him; he responds by leaving the country. "Can I forget the fateful day... When nought was left me but to say Farewell my love farewell"
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: love separation emigration rejection
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 255-256, "Adieu to Erin" (1 text, 1 tune)
ST SWMS255 (Full)
Roud #2068
File: SWMS255
===
NAME: Adieu to Lovely Garrison
DESCRIPTION: The singer is far away from home. He bids adieu to the places he spent his youth, describing their beauty. He would return to see them all.
AUTHOR: unknown
EARLIEST_DATE: 1977 (IRHardySons)
KEYWORDS: farewell Ireland nonballad
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #17892
RECORDINGS:
Packie McKeaney, "Adieu to Lovely Garrison" (on IRHardySons)
NOTES: Notes to IRHardySons: "Garrison is in the north of Fermanagh, on the shores of Lough Melvin, just on the border with Co Leitrim."
The places named that I can find are all in Northern Ireland or northern Eire: in Co Fermanagh (Aghamuldowney, Farrancassidy, Lough Erne, Lough Melvin), Co Donegal (Belleek, Camlin Groves, Bundoran, Ballyshannon), Co Leitrim (Kiltyclogher), Co Down (Kilcoo) and Co Louth (Carranmore). The remaining names are Brolagh Bog, Sheehan Mountain and Knockareven. - BS
File: RcAtLoGa
===
NAME: Adieu to Maimuna
DESCRIPTION: Capstan shanty. "The boatmen shout, 'tis time to part, no longer can we stayâ Twas then Maimuna taught my heart how much a glance can say." Four verses describing a tearful farewell, the last two lines of each repeated are as a chorus.
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: shanty parting farewell
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 169-170, "Adieu to Maimuna" (1 text, 1 tune)
Roud #8226
File: Harl169
===
NAME: Adieu to Prince Edward's Isle: see Peter Amberley [Laws C27] (File: LC27)
===
NAME: Adieu to the Banks of the Roe
DESCRIPTION: The singer, admitting his "happiest moments are flown," prepares to depart  Ireland and his home. He bids farewell to everything he can think of -- the countryside, relatives, pastor. He will dig gold in Australia, and hopes he can return home
AUTHOR: James Maxwell ?
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: emigration farewell gold
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H245, pp. 197-198, "Adieu to the Banks of the Roe" (1 text, 1 tune)
File: HHH245
===
NAME: Adieu, Sweet Lovely Jane: see Sweet Jane [Laws B22] (File: LB22)
===
NAME: Admiral Benbow
DESCRIPTION: Despite being badly outnumbered, Benbow prepares for battle (against the French), but captains Kirkby and Wade flee the contest. In the fight that follows, Benbow loses his legs, but orders his face to be turned toward the fight even as he dies 
AUTHOR: unknown
EARLIEST_DATE: 1841
KEYWORDS: battle sea death abandonment
HISTORICAL_REFERENCES: 1702 - Death of Admiral John Benbow in battle in the West Indies
FOUND_IN: Britain(England(South))
REFERENCES: (5 citations)
PBB 76, "The Death of Admiral Benbow" (1 text)
Sharp-100E 87, "Admiral Benbow" (1 text, 1 tune)
Chappell/Wooldridge II, pp. 92-93, "Admiral Benbow" (1 text, 1 tune)
DT, ADBENBOW* ADBENBW2
ADDITIONAL: C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 149, "The Death of Admiral Benbow" (1 text)
Roud #227
NOTES: The story outlined here is true in its general details. John Benbow (1653-1702), commanding the British in the West Indies, and was mortally wounded in battle with the French after two of his captains deserted him (the two were later tried and hanged for cowardice). The battle took place off Cartagena (the one in Columbia, not the one in Spain; see Alfred Thayer Mahan, _The Influence of Sea Power Upon History_, p. 207). Benbow became a naval hero, and several later battleships were named for him.
One version of the story is briefly told in Arthur Herman, _To Rule the Waves_, pp. 245-246. Herman argues that Benbow was wrong and his captains right: The British squadron of six ships was not strong enough to fight the French. But Benbow (who lost only his right leg, not both) lived long enough to order the court martial of the rebellious officers. The leader, Richard Kirkby of the _Defiant_, was executed, as was one of the other captains. This firmly established the principle of obedience to orders no matter how stupid.
Not everyone agrees with Herman's interpretation. Richard Woodman, _A Brief History of Mutiny_, Carroll & Graf, 2005, devotes pp. 48-58 to Benbow and his subordinates, and draws a very different picture.
Benbow was a very unusual admiral, in that he was a "tarpaulin" officer -- that is, one drawn from the ranks of the sailors, rather than a noble who went straight into the officer class (Woodman, p. 48). He spent time as a merchant sailor and a privateer as well as in the navy, and seems to have developed a very high opinion of his own judgment as a result (Woodman, p. 49). Woodman, p. 49, says that the French fleet under Ducasse had a fleet with a total of 258; Benbow's force he lists as having 456 guns.
Anthony Bruce and William Cogar, _An Encyclopedia of Naval History_, 1998 (I use the 1999 Checkmark edition) on p. 40 sum up Benbow's career as follows: "Although Benbow came to be regarded as a hero in popular legend, there remains a doubt about his place in British naval history and whether his high reputation was well deserved."
G. N. Clark, _The Later Stuarts 1660-1714_, corrected edition, Oxford, 1944, p. 317, summarizes the whole incident as follows: "Vice-Admiral John Benbow, with seven English ships, had a good opportunity of attacking a weaker French squadron which remained to operate against English and Dutch commerce. Unfortunately four of his captain failed to join the fight, and it was a failure. Benbow was mortally wounded. Two of the captains were court martialed and shot. There is a still popuar folk-song about this dramatic but unimportant event."
Most texts of this fit the tune of "Captain Kidd" (and the only one I've seen which doesn't appears to have been fiddled with), though the tune in Chappell isn't quite the standard "Captain Kidd." It is also said to be used for "A Virgin Most Pure." We might note that Kidd went to the scaffold at the time Benbow was fighting his fight with the French.
This is not the only song about Benbow; Firth (who calls this one "The Death of Admiral Benbow") prints another, "Admital Benbow," on p. 148. This is said to date from at least 1784, though it appears less popular than this (which seems to have first been printed in Halliwell's _Early Naval Ballads_). - RBW
File: PBB076
===
NAME: Advice to Girls: see On Top of Old Smokey (File: BSoF740)
===
NAME: Advice to Paddy
DESCRIPTION: "Paddy ... join with your protestant brother." "Your foes have long prided to see you divided." If together, your foes won't oppose you. "Then your rights will be granted"; "keep asunder ... you shall live and die slaves"
AUTHOR: Edward Lysaght (source: Moylan)
EARLIEST_DATE: 1887 (Madden's _Literary Remains of the United Irishmen of 1798_, according to Moylan)
KEYWORDS: Ireland nonballad political
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 40, "Advice to Paddy" (1 text, 1 tune)
NOTES: This is one of those sadly ironic songs: Most of the early Irish agitation for independence was led by Protestants (e.g. Wolfe Tone was Protestant). Their attempts at rebellion failed in no small part because the Catholic peasantry was indifferent. (Understandably, since their problems were with landlords; the English government had no direct impact on their hardscrabble lives).
If Moylan's dating is right, though, by the time this was written, the situation had changed. By the late nineteenth century, Britain would have been willing to grant Home Rule in some form -- but the idea always died due to the opposition of Irish Protestants, especially in Ulster. Those people, once at the heart of the rebellion, had by then started to cling to Britain as protection for their rights. - RBW
File: Moyl040
===
NAME: Advice to Sinners
DESCRIPTION: "Oh, Sinner, you'd better take heed to the Savior's word today. You will follow the Christian round and still you will not pray." "Your body has to lie in the ground." "When Gabriel sounds his trumpet, you'll be lost." You get the idea
AUTHOR: unknown
EARLIEST_DATE: 1916 (Brown)
KEYWORDS: religious death sin
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 64, "Advice to Sinners" (1 text)
Roud #7847
NOTES: Evidently the author, like so many other "hymn" writers, had read every verse in the Bible except those dealing with judgment ("Judge not, that you be not judged," Matt. 7:1, etc.), forgiveness ("For if you forgive others their trespasses, your heavenly Father will also forgive you, but if you do not forgive... neither will your Father forgive," Matt. 6:14-15, etc.), and punishment ("Let the one without sin cast the first stone", John 8:7). 
It never ceases to amaze me how many Bibles there are in the world with those verses left out. - RBW
File: Br3064
===
NAME: Advice to the Boys: see The Bald-Headed End of the Broom (File: FaE190)
===
NAME: Ae May Morning: see Tripping Over the Lea [Laws P19] (File: LP19)
===
NAME: Aeroplane Song, The: see The Heavenly Aeroplane (File: R660)
===
NAME: Afore Daylight
DESCRIPTION: The wife complains her husband urinates on the floor rather than in the chamber pot. He replies that his first wife allowed him to defecate in the bed.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: scatological husband wife
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman II, pp. 590-591, "Afore Daylight" (1 text)
File: RL590
===
NAME: African Counting Song
DESCRIPTION: "Ninni nonni simungi, Ninni nonni simungi, Ninni nonno sidubi sabadute simungi. Ninni nonni simungi, Ninni nonni simungi, Ninni nonno sidubi sabadute simungi."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: foreignlanguage nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 19, "African Counting Song" (1 text, 1 tune)
NOTES: Scarborough's informant claimed that this was a counting song from Africa, but if he gave either a translation or a reference to the *part* of Africa, Scarborough failed to record it.
I do note that there are five words. Given what it known about some African counting systems, this raises the possibility that they stand for "one," "two," "three," "four," and "many." But I frankly doubt the whole business. - RBW
File: ScaNF019
===
NAME: After Aughrim's Great Disaster
DESCRIPTION: ""After Aughrim's great disaster, When our foe in sooth was master," a few survivers escape and hope to continue the struggle. The survivors go their separate ways (perhaps into exile), wishing success to their king
AUTHOR: unknown
EARLIEST_DATE: 1962
KEYWORDS: battle death disaster rebellion Ireland separation
HISTORICAL_REFERENCES: July 12, 1691 - Battle of Aughrim. Decisive defeat of Irish Catholic forces
FOUND_IN: Ireland
REFERENCES: (1 citation)
PGalvin, pp. 17-18, "After Aughrim's Great Disaster" (1 text, 1 tune)
Roud #16907
CROSS_REFERENCES:
cf. " Sean a Duir a'Ghleanna" (form)
NOTES: The Battle of the Boyne in 1690 (for which see "The Battle of the Boyne (I)") marked the real end of Jacobite hopes; James II fled to the continent following that battle, the French reduced their already limited commitment, and William III (who had overthrown James) returned to Britain. (It didn't help that the remaining Irish leaders despised each other.)
Many Irish, however, continued in rebellion, retreating to Athlone and Limerick. The British command was turned over to General Ginkel (the "Dutchman" of the song), who captured Athlone on June 30. Most Irish leaders wanted to concentrate on a holding action at Limerick, but St Ruth, the French commander, wanted to fight. He picked a position at Aughrim and waited for Ginkel.
Aughrim was a near-fought thing, but when the English won, they won decisively. St Ruth was dead, Tyrconnell died in August, and only Limerick was left in Irish hands. Sarsfield (Patrick Sarsfield, Earl of Lucan c. 1655-1693), the last real Irish leader and the best soldier of the lot, decided to seek terms while he still had a bargaining position.
On October 3, an agreement was secured under which the rebels could either swear allegiance to William or go into exile. Although William's guarantees included religious freedom, many chose to leave their country. The flight of "The Wild Geese" was in many ways the worst disaster in Irish history to this time. The anniversary of Aughrim continues to be a bitter day in Irish memories.
Sarsfield, having done what he could, joined the French service, and was killed at the Battle of Landen in 1693.
Not everyone was impressed with Sarsfield, to be sure. R. F. Foster, _Modern Ireland 1600-1972_ Penguin, 1988, 1989, p. 
148, notes that he came to everyone's attention for his bravery at the Boyne, but adds that "He was celebrated for his bravery but was notoriously not very bright; jealousy aroused by the Sarsfield mystique exacerbated the indiscipline an dissensions that already rent the Jacobites. On the other hand, his inspirational leadership helped raise Irish morale...."
This should not be confused with the Honorable Emily Lawless's poem 'After Aughrim," for which see, e.g., Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 100-101. - RBW
File: PGa017
===
NAME: After the Ball
DESCRIPTION: A girl asks her uncle why he never married. He recalls the sweetheart he took to a ball. After leaving for a moment, he sees her kissing another man. He abandons her; years later, after she is dead, he learns that the other man was her brother
AUTHOR: Charles K. Harris
EARLIEST_DATE: 1892 (copyright)
KEYWORDS: love courting separation death abandonment
FOUND_IN: US(Ap)
REFERENCES: (7 citations)
Cambiaire, p. 105, "After the Ball" (1 text)
Spaeth-ReadWeep, pp. 169-175, "After the Ball, the Deluge" (1 text plus variants, 1 tune)
Geller-Famous, pp. 64-69, "After the Ball" (1 text, 1 tune)
Gilbert, pp. 260-262, "After the Ball" (1 text)
Silber-FSWB, p. 268, "After The Ball Is Over" (1 text)
Fuld-WFM, p. 87, "After the Ball"
DT, AFTRBALL* (UNFORTU6* -- a parody)
Roud #4859
RECORDINGS:
Fiddlin' John Carson, "After The Ball (Okeh 45669, c. 1933; rec. 1930)
Homer Christopher & Wife, "After the Ball" (OKeh 45041, 1926
Crockett's Kentucky Mountaineers, "After the Ball" (Brunswick 394, rec. 1929)
Vernon Dalhart, "After the Ball" (Columbia 15030-D, 1925) (Edison 51610 [as Vernon Dalhart & Co.], 1925)
Dixon Brothers, "After the Ball" (Montgomery Ward M-7577, 1938)
Tom Darby & Jimmie Tarlton, "After the Ball" (Columbia 15254-D, 1928)
Humphries Brothers, "After the Ball" (OKeh 45478, 1930)
Bradley Kincaid, "After the Ball" (Supertone 9648, 1930) (Conqueror 7984, 1932)
CROSS_REFERENCES:
cf. "After the War Is Over" (tune)
cf. "Tragic Romance" (plot)
cf. "Fatal Rose of Red" (theme)
SAME_TUNE:
After the War is Over (File: R855)
Poor Nellie (Pankake-PHCFSB, p. 143)
NOTES: Gilbert describes how Harris (at the time, according to Geller, an impoverished banjo teacher) wrote this song by blowing an actual incident all out of proportion (he saw a girl distressed at a fight with her lover, but there is no evidence that the quarrel ended their relationship).
The song was one of the most popular of its era; sales of the sheet music earned Harris $48,000 in just its first year in print. - RBW
File: SRW169
===
NAME: After the War Is Over
DESCRIPTION: "Angels are weeping o'er the foreign war... But still they are calling young men to war.... After the war is over, after the world's at peace, many a heart will be aching After the war has ceased. Many a home will be vacant, many a child left alone...."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: war death derivative
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 855, "After the War is Over" (1 short text)
Roud #7530
CROSS_REFERENCES:
cf. "After the Ball" (tune)
File: R855
===
NAME: Afternoon Like This, An
DESCRIPTION: "An afternoon like this it was in tough old Cherokee An outlaw come a-hornin' in an' ask who I might be...." The singer boasts of Indians and outlaws in his background (e.g. Jesse James was his uncle), of learning to swear before learning to talk, etc.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Hoofs and Horns)
KEYWORDS: cowboy outlaw bragging family
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 35, "Cowboy Boasters" (5 texts, 2 tunes; this is the "E" text)
Roud #11217
File: FCW035E
===
NAME: Aged Indian, The (Uncle Tohido)
DESCRIPTION: A hunter, his wife, and his daughter live near Indians. One day, when the hunter is gone, an Indian comes and takes the child from the frantic mother. The child never returns, but teaches the Indian to love and revere the Bible
AUTHOR: unknown
EARLIEST_DATE: 1907 (Belden)
KEYWORDS: Indians(Am.) abduction Bible
FOUND_IN: US(MW,So)
REFERENCES: (2 citations)
Belden, pp. 294-295, "Uncle Tahiah" (1 text)
LPound-ABS, 53, pp. 124-125, "The Aged Indian" (1 text)
Roud #6553
CROSS_REFERENCES:
cf. "The Fair Captive" (plot elements)
ALTERNATE_TITLES:
Uncle Tahia
NOTES: Your guess is as good as mine as to whether this is pro- or anti-Indian. - RBW
File: LPnd124
===
NAME: Aghaloe Heroes: see The Aughalee Heroes (File: Zimm098)
===
NAME: Agincourt Carol, The
DESCRIPTION: King Henry (V) travels to France "wyth grace and myght of chyvalry," captures Harfleur, and wins a great victory at Agincourt, "Wherfore Englonde may call and cry, 'Deo gracias (x2) anglia Rede pro victoria.'"
AUTHOR: unknown
EARLIEST_DATE: before 1500 (Bodleian MS Selden B. 26); hints in chronicles imply that it was sung at Henry V's return to England 1415/16
KEYWORDS: England France battle royalty
HISTORICAL_REFERENCES: 1413 - Accession of Henry V
Aug 11, 1415 - Invasion of France
Sept 22, 1415 - Surrender of Harfleur
Oct 25, 1415 - Battle of Agincourt. Henry V, outnumbered by about 10 to 1, defeats the French, inflicting casualties in the same 10:1 ratio
1422 - Death of Henry V
FOUND_IN: 
REFERENCES: (6 citations)
Percy/Wheatley II, pp. 29-31, "For the Victory at Agincourt" (1 text)
Stevick-100MEL 51, "(The Agincourt Carol)" (1 text)
Chappell/Wooldridge I, pp. 25-30, "The Song of Agincourt" (1 text, 1 tune)
ADDITIONAL: Brown/Robbins, _Index of Middle English Verse_, #2716
Noah Greenberg, ed., An Anthology of English Medieval and Renaissance Vocal Music, pp. 62-65 (1 text, 1 tune with harmonization)
DT, AGINCRT1*
ST MEL51 (Full)
CROSS_REFERENCES:
cf. "King Henry Fifth's Conquest of France" [Child 164] (subject)
ALTERNATE_TITLES:
For the Victory at Agincourt
NOTES: The Latin refrain means, "Thank God, England, for victory."
Henry V had a legitimate claim to the throne of France derived from his great-grandfather Edward III (whose mother had been a French princess). Under English law, he was rightful King of France (or would have been, were it not for the fact that Henry had cousins who were proper heirs to both the thrones of England and France. But that's another story).
The French, however, didn't want an English king, and eventually dredged up the "Salic Law" to prevent succession through the female line. Henry V's predecessors Richard II and the usurper Henry IV had been too busy to do anything about that, but Henry V had the leisure to invade France.
The invasion of 1415 was the first and most spectacular of Henry's campaigns. After taking Harfleur to give him a base in Normandy, he engaged in a great chevauchee (destructive raid in which he burned everything in his path).
The enraged French pursued, and even appeared at one point to have Henry trapped; he reportedly offered terms, which the French foolishly ignored (they thought ten to one odds in their favor were enough to win the day). Henry found a good position and waited for the French to show up. He then used his longbowmen to shatter their army. He proceeded to Calais to return his army to England and prepare his next campaign.
Henry reportedly forbade any musical odes to Agincourt, preferring to give credit to God. He got them anyway (though the clever author here never explicitly credits Henry).
This, the most famous Agincourt piece, appeared very shortly after the campaign. Two copies survive, the more important being MS. Selden B.26 (Bodlian library, with music); the other is at Cambridge.
There is no evidence that this song ever entered oral tradition; it's almost unsingable. But the frequency with which it is quoted argues for its presence here. - RBW
File: MEL51
===
NAME: Agricultural Irish Girl, The
DESCRIPTION: Mary Ann Malone is a big, strong, agricultural Irish girl. At 17, she is not educated -- "doesn't speak Italian" -- but knows "all befits a lady." "She neither paints nor powders, and her figure is her own" She's aggressive. She will strike for her wages.
AUTHOR: J. F. Mitchell (words and music) (source: broadside, LOCSheet sm1885 05879)
EARLIEST_DATE: 1885 (broadside, LOCSheet sm1885 05879)
KEYWORDS: work humorous nonballad
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 66, "The Agricultural Irish Girl" (1 text, 1 tune)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 244, "The Agricultural Irish Girl"
BROADSIDES:
LOCSheet, sm1885 05879, "Mary Ann Malone The Agricultural Irish Girl," Chas. D. Blake (Boston), 1885 (tune)
NOTES: The sheet music version takes place in New York. As O Lochlainn suspects, "probably American" - BS
File: OLcM066
===
NAME: Ah Roop Doop Doop
DESCRIPTION: "'Tis very well done, says Johnny Brown, Is this the way to London town? I'll stand you thus, I'll stand you by, Until you hear the watchman cry: A roop doop doop doop doodle doodle do, A roop doop doop doop doodle doodle do!"
AUTHOR: unknown
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: travel
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 448, "Ah Roop Doop Doop" (1 text)
Roud #7607
File: R448
===
NAME: Ah-Hoo-E-La-E
DESCRIPTION: Javanese sea shanty. "Ah hoo-e, la-e, ah hoo-e, la-e, ah-e, hoo-e, ah hoo-e, la-e ung!" Used as a hauling and loading shanty, with the pull on the syllable "Ung." 
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: shanty foreignlanguage
FOUND_IN: Indonesia
REFERENCES: (1 citation)
Harlow, p. 115, "Ah-Hoo-E-La-E" (1 text, 1 tune)
NOTES: Harlow says he took it down from the coolies singing and can't vouch for the translation. - SL
File: Harl115
===
NAME: Ah! Si Mon Moine Voulait Danser!
DESCRIPTION: French: The young woman wants a monk (the word also means a spinning top) to dance. She offers him a cap, a gown, etc., then a psalter; he apparently refuses each. She says she would offer him more, but he has taken a vow of poverty
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: playparty clergy dancing foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (4 citations)
Fowke/Johnston, pp. 106-107, "Ah! Si Mon Moine Voulait Danser!" (1 text, 1 tune)
Fowke/MacMillan 40, "Ah! Si Mon Moine Voulait Danser!" 1 English & 1 French text, 1 tune)
Silber-FSWB, p. 327, "Ah! Si Mon Moine Voulait Danser!" (1 text)
ADDITIONAL: Grace Lee Nute, _The Voyageur_, Appleton, 1931 (reprinted 1987 Minnesota Historical Society), pp. 136-138, "Ah! Si Mon Moine Voulait Danser" (1 text plus English translation, 1 tune)
File: FJ106
===
NAME: Aiken Drum
DESCRIPTION: Aiken Drum lives in the moon, plays with a ladle, dresses in food including breeches of haggis bags. Willy Wood lives in another town, plays on a razor, eats Aiken Drum's clothes but chokes on the haggis bags
AUTHOR: unknown
EARLIEST_DATE: before 1863 (Halliwell)
KEYWORDS: clothes death food humorous talltale
FOUND_IN: 
REFERENCES: (4 citations)
Opie-Oxford2 7, "There was a man lived in the moon, lived in the moon, lived in the moon" (1 text)
Baring-Gould-MotherGoose #254, pp. 157-158, "(There was a man lived in the moon, lived in the moon, lived in the moon)"
Montgomerie-ScottishNR 97, "(There came a man to our town)" (1 short text)
DT, AIKDRUM* AIKDRUM3*
Roud #2571
NOTES: A haggis bag, I guess, would be a sheep's stomach lining. - BS
The dating on this song is a bit uncertain. The Opies apparently cite 1821 on the basis of Hogg's _Jacobite Relics_ -- but that is the other "Aikendrum" ("Ken ye how a Whig can fight, aikendrum, aikendrum). It is generally claimed that the word "Aikendrum" in that song is derived from the character in this, which would of course make this older -- but I know of no proof of that assertion. Hogg does quote a snippet of what appears to be this song, but the whole thing is awfully thin. - RBW
File: OO2007
===
NAME: Aikendrum
DESCRIPTION: "Ken ye how a Whig can fight?" The ballad gives examples that Whigs can't fight, that Sunderland, who had sworn to clear the land, cannot be found. The song imagines "the Dutchmen" drowned, Jacobite victory, and King James crowned.
AUTHOR: unknown
EARLIEST_DATE: 1821 (Hogg's Jacobite Relics, according to Opie-Oxford2)
KEYWORDS: rebellion Scotland humorous nonballad patriotic Jacobites
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
DT, AIKNDRUM*
Roud #2571
RECORDINGS:
Ewan MacColl and Peggy Seeger, "Aikendrum" (on SCMacCollSeeger01)
CROSS_REFERENCES:
cf. "Ye Jacobites By Name" (tune)
NOTES: Opie 7 quotes the first lines of this song noting that it is "a ballad about the opposing armies before the battle of Sheriffmuir (1715)." The Battle of Sheriffmuir took place November 13, 1715 between the Jacobites and Hanoverians. Told from the Jacobite viewpoint this song does not reflect the outcome of the battle. Both sides claimed victory in this biggest battle of the 1715 Jacobite uprising. - BS
The Digital Tradition lists this to the tune of "Captain Kidd." The two are related, I think, but Ewan MacColl's tune is shifted to minor and has other differences.
I suspect that the song may have been mistranscribed by Hogg. The first line was clearly heard as "Ken ye hoo a Whig can fight, Aikendrum, aikendrum." But "hoo" can be either "how" (as Hogg and the above description) or "who"; the latter makes more sense.
The song refers to "Sunderland," which on its face would appear to be Charles Spencer, Third Earl of Sunderland (1674-1722), a Whig politician who had been one of the leaders of the governments from 1706-1710, and who intrigued for high office under George I as well. In this period, though, he was Lord Lieutenant of Ireland and doing very little other than trying to get higher office out of George I.
It is generally agreed that "Sunderland" is in fact "Sutherland," a Hannoverian general in Scotland who was responsible for guarding Scotland but who was outmanuevered by the Jacobite Sir Donald MacDonald.
Not that the Jacobite success did much good. John Erskine, Earl of Mar (1675-1732), had been part of the government under Queen Anne, but was dismissed after George I took the throne in 1714. He finally cast his lot with the Jacobite forces, and commanded the rebels at Sheriffmuir, the great battle of the 1715 rebellion.
According to Christopher Sinclair-Stevenson, _Blood Royal: The Illustrious House of Hanover (Doubleday, 1980), p. 53, Sheriffmuir took place on a "bitterly cold day." The Jacobites had an overwhelming numerical advantage (usually listed as on the order of 9000 men to the Duke of Argyll's 3500 or so), but Mar had no idea what to do with his troops and the battle -- the only serious clash of the 1715 Jacobite rebellion -- was a tactical draw, with both armies gaining ground on the right and yielding it on the left. Mar, still possessed of his big numerical advantage, didn't even try to hold the field. He proceeded to wander around Scotland for a while, then fled into exile with the Old Pretender James (III).
As for James himself, he hadn't made it to Scotland at the time, and Susan Maclean Kybett (who is, to be sure, rather an anti-Stuart biographer) "wonders why James came to Scotland at all" (Kybett, _Bonnie Prince Charlie_, Dodd Mead, 1988, p. 16). She also notes that James came to be called "Old Melancholy" (which fits), adding that his presence largely quelled what enthusiasm for rebellion there remained._ - RBW
File: RcAikDr1
===
NAME: Aim Not Too High: see references under Fortune My Foe (Aim Not Too High) (File: ChWI076)
===
NAME: Aimee McPherson
DESCRIPTION: Aimee McPherson, radio evangelist, vanishes after a camp meeting; later claiming she was kidnapped. A grand jury investigation uncovers a "love-nest" at Carmel-by-the-Sea. She's jailed and bailed out; her paramour vanishes.
AUTHOR: Words: Unknown/Music: Cab Calloway
EARLIEST_DATE: 1961 (recording, Pete Seeger)
LONG_DESCRIPTION: Aimee McPherson, radio evangelist, vanishes after a camp meeting; upon returning, she claims she was kidnapped. A grand jury investigation uncovers a "love-nest" at Carmel-by-the-Sea, where "the dents in the mattress fitted Aimee's caboose." She's jailed and bailed out; her paramour vanishes. Last lines: "If you don't get the moral then you're the gal for me/'Cause there's still a lot of cottages down at Carmel-by-the-Sea"
KEYWORDS: sex abduction bawdy humorous clergy
HISTORICAL_REFERENCES: 1926 - The "disappearance" of Aimee Semple MacPherson
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 189, "Aimee McPherson" (1 text)
DT, AIMEEMC*
Roud #10296
RECORDINGS:
Pete Seeger, "Aimee McPherson" (on PeteSeeger39)
CROSS_REFERENCES:
cf. "The Hi-De-Ho Man" (tune)
ALTERNATE_TITLES:
Aimee Semple McPherson
The Ballad of Aimee McPherson
NOTES: The song tells the story pretty accurately. - PJS
Aimee Semple MacPherson (1890-1944) was truly larger than life. Born Aimee Kennedy, she married Robert Semple in 1908; he died in China on missionary work in 1910. In 1912 she married Harold MacPherson, whom she divorced in 1921. In 1918, she founded the Foursquare Gospel church (a Pentecostal sect which still exists, though it's not overly large). 1926 saw her disappearance. A third marriage failed in 1931. She died in 1944, of a heart attack or drug overdose. - RBW
File: FSWB189A
===
NAME: Ain' Go'n to Study War No Mo: see Down By the Riverside (Study War No More) (File: San480)
===
NAME: Ain' No Mo' Cane on de Brazos: see Ain't No More Cane on this Brazos (File: LxA058)
===
NAME: Ain' No Mo' Cane on dis Brazis: see Ain't No More Cane on this Brazos (File: LxA058)
===
NAME: Ain't Goin' to Worry My Lord No More: see Ain't Gonna Grieve My Lord No More (File: R300)
===
NAME: Ain't Going to Rain No More: see Ain't Gonna Rain No More (File: R557)
===
NAME: Ain't Gonna Grieve My Lord No More
DESCRIPTION: Chorus: "I ain't gonna grieve my Lord no more...." Verses give conditions for getting into heaven, e.g. "You can't get to Heaven on roller skates, You'll roll right by them pearly gates." Instructs the listener to help the singer get to heaven
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: religious clergy
FOUND_IN: US(SE,So)
REFERENCES: (5 citations)
Randolph 300, "Oh You Caint Go to Heaven" (1 text)
BrownIII 549, "Ain't Goin' to Worry My Lord No More" (1 text, perhaps somewhat adapted (e.g. the second verse is "If you get there before I do... Punch a little hole and pull me through"), but too short and too similar to this to separate)
Silber-FSWB, p. 22, "Ain't Gonna Grieve My Lord No More" (1 text)
Pankake-PHCFSB, pp. 82-84, "I Ain't Gonna Grieve My Lord No More" (1 text, 1 tune -- probably composite, though the conflation may be the work of the informant rather than the Pankakes)
DT, GRIEVLD
Roud #12801
RECORDINGS:
Commonwealth Quartet, "I Ain't Gonna Grieve" (Conqueror 7079, 1928)
Walter "Kid" Smith & Norman Woodlief with Posey Rorer, "I Ain't Gonna' Grieve My Lord Anymore" (Champion 15812 [as by Jim Taylor and Bill Shelby]/Supertone 9494 [as by  Jordan & Rupert]/Conqueror 7277, 1929)
File: R300
===
NAME: Ain't Gonna Let Nobody Turn Me Round: see Keep On a-Walking (Ain't Gonna Let Nobody Turn Me Round) (File: SBoA374)
===
NAME: Ain't Gonna Rain No More
DESCRIPTION: Verses held together by the refrain, "It ain't gonna rain no more." (Either between lines or as a standalone chorus). Examples: "What did the blackbird say to the crow? It ain't gonna...." "We had a cat down on our farm; it ate a ball of yarn...."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: nonsense nonballad animal
FOUND_IN: US(MW,SE,So)
REFERENCES: (8 citations)
Randolph 557, "Ain't Going to Rain No More" (1 short text, 1 tune); also perhaps 275, "The Crow Song" (the "D" fragment might be this piece)
Randolph/Cohen, pp. 409-410, "Ain't Going to Rain No More" (1 text, 1 tune -- Randolph's 557)
BrownIII 430, "Ain't Gonna Rain No More" (5 short texts)
Scarborough-NegroFS, p. 107, "'Tain't Gwine Rain No Mo'" (1 text, 1 tune); also p. 108 (no title) (1 text; the chorus at least goes here though the verses may be from a rabbit-hunting song)
Sandburg, p. 141, "Ain't Gonna Rain" (1 short text, 1 tune)
Scott-BoA, pp. 212-213, "T'ain't Gonna Rain No Mo'" (1 text, 1 tune)
Fuld-WFM, p. 307, "It Ain't Gonna Rain No Mo'"
DT, AINTRAIN
Roud #7657
RECORDINGS:
Al Bernard, "It Ain't Gonna Rain No Mo'" (Puritan 11305, 1923)
[Al] Bernard & [Frank] Ferera, "It Ain't Gonna Rain No Mo'" (Cameo 487, 1924)
Fiddlin' John Carson, "It Ain't Gonna Rain No Mo'" (OKeh 40204, 1924)
Ed Clifford [pseud. for Vernon Dalhart], "It Ain't Gonna Rain No Mo'" (Bell P-279, 1924)
Wendell Hall, "It Ain't Gonna Rain No Mo'" (Victor 19171, 1923) (Edison 51261, 1923)  (Gennett 5271, 1923) (CYL: Edison [BA] 4824, n.d.)
Ernest Hare, "It Ain't Gonna Rain No Mo'" (OKeh 40140, 1924)
[Billy] Jones & [Ernest] Hare "It Ain't Gonna Rain No Mo'" (Columbia 87-D, 1924) (Edison 51430, 1924) (CYL: Edison [BA] 4935 [as "It Ain't Gonna Rain No More"], n.d.).
Gid Tanner & his Skillet Lickers, "It Ain't Gonna Rain No Mo'" (Columbia 15447-D, 1929)
Tune Wranglers, "It Ain't Gonna Rain No Mo'" (Bluebird B-7272, 1937)
CROSS_REFERENCES:
cf. "Ain't No Bugs on Me" (tune, structure)
cf. "Ain't Got to Cry No More"
SAME_TUNE:
The States Song ("What Did Io-way?") (Pankake-PHCFSB, pp. 206-207)
NOTES: A popular version of this piece was published in 1923 as by Wendell W. Hall. Even the cover, however, admits that it was an "old southern melody" -- and since we have traditional versions at least from 1925, there is little doubt that the song is traditional. - RBW
File: R557
===
NAME: Ain't Gonna Study War No More: see Down By the Riverside (Study War No More) (File: San480)
===
NAME: Ain't Got No Place to Lay My Head
DESCRIPTION: "Ain't got no place to rest my head, Oh baby..." "Steamboat done put me out of doors..." "Steamboat done left me and gone." "Don't know what in this world I'm going to do." "Sweetheart's done quit me and he's gone." "Out on the cold frozen ground"
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: river work unemployment home separation
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, pp. 80-81, "Ain't Got No Place to Lay My Head" (1 text, 1 tune)
Roud #10027
File: MWhee080
===
NAME: Ain't Got to Cry No More
DESCRIPTION: "AInt got to cry no more (x2), Blackberries growin' round mah cabin door; Ain't got to cy no more." "I ain't got to cry no more... Pickaninnies rollin' on mah cabin door (sic.)." "Ain't got to cry no more... Possum gittin' fat behin' my cabin door."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: nonballad animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 431, "Ain't Got to Cry No More" (1 text)
Roud #11774
CROSS_REFERENCES:
cf. "Ain't Gonna Rain No More"
File: Br3431
===
NAME: Ain't Gwine to Work No More
DESCRIPTION: "Ain't gwin to work no more, Labor is tiresome shore, Best occupation am recreation, Life's mighty short, you know.... Peter won't know if you're rich or poor, So I ain't gwin to work no more." The singer asserts they need not worry about the future
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: work money
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 234, (no title) (1 short text)
File: ScNF234A
===
NAME: Ain't It a Shame: see It's A Shame to Whip Your Wife on Sunday (File: CSW078)
===
NAME: Ain't It Great to Be Crazy?
DESCRIPTION: Nonsense with chorus: "Boom, boom, ain't it great to be crazy (x2), (Silly and foolish) all day long, Boom, boom...." Example: Way down where the bananas grow, A flea stepped on an elephant's toe... Why don't you pick on someone your own size?"
AUTHOR: unknown
EARLIEST_DATE: 1988
KEYWORDS: nonsense humorous animal nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Pankake-PHCFSB, p. 192, "Ain't It Great to Be Crazy" (1 text)
DT, GRTCRAZY*
Roud #15691
File: DTgrtcra
===
NAME: Ain't It Hard to Be a Nigger: see Hard to Be a Nigger (File: LxA233)
===
NAME: Ain't No Bugs on Me
DESCRIPTION: Nonsense and topical verses; "The night was dark and drizzly/The air was full of sleet/The old man joined the Ku Klux/And Ma she lost her sheet"; Chorus: "There ain't no bugs on me (x2)/There may be bugs on some of you mugs/But there ain't no bugs on me."
AUTHOR: assembled by Fiddlin' John Carson
EARLIEST_DATE: 1928 (recording, Fiddlin' John Carson)
LONG_DESCRIPTION: Nonsense and topical verses; "The night was dark and drizzly/The air was full of sleet/The old man joined the Ku Klux/And Ma she lost her sheet"; "Billy Sunday is a preacher/His church is always full/For the neighbors gather from miles around/To hear him shoot the bull"; "The monkey swings by the end of his tail/And jumps from tree to tree/There may be monkey in some of you guys/But there ain't no monkey in me." Chorus: "There ain't no bugs on me (2x)/There may be bugs on some of you mugs/But there ain't no bugs on me."
KEYWORDS: humorous nonballad nonsense bug
FOUND_IN: 
REFERENCES: (3 citations)
Cohen/Seeger/Wood, p. 226, "Ain't No Bugs on Me" (1 text, 1 tune)
Silber-FSWB, p. 244, "There Ain't No Bugs On Me" (1 text)
DT, AINTNOBG*
Roud #17569
RECORDINGS:
Fiddlin' John Carson, "Ain't No Bugs on Me" (OKeh 45259, 1928)
Fiddlin' John Carson & Moonshine Kate, "Ain't No Bugs on Me" (Bluebird 5652, 1934)
New Lost City Ramblers, "Ain't No Bugs on Me" (on NLCR06) (NLCR16)
CROSS_REFERENCES:
cf. "It Ain't Gonna Rain No Mo'" (tune, structure)
cf. "Jordan is a Hard Road to Travel" (words)
cf. "The Barefoot Boy with Boots On" (floating lyrics)
NOTES: In the 1920s, the Ku Klux Klan attained great influence in the Southeast and Midwest; it took a certain courage to make fun of them in public. Also in the 1920s, the Scopes trial turned Darwinian biology into a courtroom circus; Carson vents anti-evolution sentiments in the "monkey" verse. And Billy Sunday was a popular evangelist of the time. - PJS
This seems to be a modification of "It Ain't Gonna Rain No More," with topical and floating verses inserted by Carson. The resulting song may have gone into oral tradition due to its use in camps.
Incidentally (and not too surprisingly, considering), the bit about humans and monkeys is wrong. While neo-Darwinism does posit that humans are descended from apes, and from monkey-like creatures before that, we are not descended from any living ape species, nor indeed any living monkey. Rather, humans are descended from a sort of proto-ape, which was descended from a proto-primate somewhat like a monkey. According to Richard Dawkins, _The Ancestor's Tale_, Mariner, 2004, p. 137, the last monkeys split from the ape lineage about 25 million years ago, and the earliest split from monkeys was some 40 million years ago (p. 141). The oldest surviving monkey species that still exist are thought to be some 15 million years old. Thus there are a total of some 35 million years of evolution separating us from the existing monkey most closely related to humans. Note that apes aren't monkeys either. Not that that would satisfy an I-don't-do-science type.... - RBW
File: CSW226
===
NAME: Ain't No Grave Can Hold My Body Down
DESCRIPTION: Singer has heard of a city with streets of gold. He has found a throne of grace. Jesus, on the cross, tells his disciples to take his mother home. Cho: "When the high trumpet sounds/I'll be getting up, walking around/Ain't no grave can hold my body down"
AUTHOR: unknown
EARLIEST_DATE: 1942 (recording, Bozie Sturdivant)
LONG_DESCRIPTION: Singer has heard of a beautiful city -- heaven -- with streets paved with gold. He has found a throne of grace, "it will 'point my soul a place." Jesus, hanging on the cross, hears Mary moan. He tells his disciples to take his mother home; singer laments the crucifixion of Jesus. Ch.: "When the high trumpet sounds/I'll be getting up, walking around/Ain't no grave can hold my body down"
KEYWORDS: death dying Bible religious mother Jesus
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #12182
RECORDINGS:
Caudill Family, "Ain't No Grave Gonna Hold My Body Down" (Champion 902, n.d.)
Brother Claude Ely, "There Ain't No Grave Gonna Hold This Body Down" (King 1311, 1954) [he may have also recorded it in 1947]
Bozie Sturdivant, "Ain't No Grave Can Hold My Body Down" (AFS 6639 B1, 1942; on LC10, LCTreas)
NOTES: This is very close to being a nonballad, but there's just enough narrative in the second verse for it to squeak in. It's also one of the masterpieces of the human spirit. - PJS
The reference to the (beloved) disciple caring for Mary mother of Jesus is to John 19:26-27, "When Jesus saw his mother... he said to the [beloved] disciple, 'See! Your mother.' And from then on the disciple took her to his own home." - RBW
File: RcANGCHM
===
NAME: Ain't No More Cane on this Brazos
DESCRIPTION: The singer remarks, "There ain't no more cane on this Brazos, oh-oh-oh; They done ground it all down to molasses, oh-oh-oh." He describes the dreadful conditions faced by the prisoners and wishes he could escape such horrors
AUTHOR: unknown
EARLIEST_DATE: 1934 (field recording)
KEYWORDS: prison abuse punishment death
FOUND_IN: US(So)
REFERENCES: (8 citations)
Scott-BoA, pp. 305-306, "No More Cane on this Brazos" (1 text, 1 tune)
Lomax-FSUSA 92, "Ain't No Mo' Cane on dis Brazis" (1 text, 1 tune)
Lomax-ABFS, pp. 58-59, "Ain' No Mo' Cane on de Brazos" (1 text, 1 tune)
Arnett, p. 144, "No More Cane on This Brazos" (1 text, 1 tune)
Courlander-NFM, pp. 132-133, (no title) (1 text, heavily modified to produce a blues feel)
Darling-NAS, pp. 326-327, "No More Can on this Brazos" (1 text)
Silber-FSWB, p. 65, "Ain't No More Can On This Brazos" (1 text)
DT, CANEBRAZ*
Roud #10063
RECORDINGS:
 Mose "Clear Rock" Platt, "Ain' No More Cane on the Brazos" (AFS 2643 B1, 1939)
CROSS_REFERENCES:
cf. "Go Down, Old Hannah"
cf. "Oughta Come on the River"
NOTES: The amount of common material in this song and "Go Down, Old Hannah" makes it certain they have cross-fertilized. They may be descendants of a common ancestor. But the stanzaic forms are different, so I list them separately. - RBW
File: LxA058
===
NAME: Ain't No Use O' My Workin' So Hard: see Ain't No Use Workin' So Hard (File: DarNS329)
===
NAME: Ain't No Use Workin' So Hard
DESCRIPTION: "Ain't no use of my workin' so hard, darlin' (x2), I got a gal in the (rich/white) folks' yard, She kill me a chicken, She bring me the wing, Ain't I livin' on an easy thing..." "She thinks I'm workin', I'm layin' in bed...."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: work food floatingverses
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Colcord, p. 185, "In De Mornin'" (1 short text, 1 tune)
BrownIII 478, "You Shall Be Free" (1 text, with three verses of this plus one apparent floater and the "Oh, nigger, you shall be free" chorus)
Scarborough-NegroFS, p. 235, "Ain't No Use O' My Workin' So Hard" (1 text, 1 tune; also as a floating verse in the song preceding this one; see also the fragment following) also p. 236, (no title) (1 fragment)
Darling-NAS, pp. 328-329, "Ain't No Use Workin' So Hard" (1 text);
RECORDINGS:
Carolina Tar Heels, "There Ain't No Use Working So Hard" (Victor 20544, 1927)
CROSS_REFERENCES:
cf. "Sugar Babe (III)" (lyrics)
cf. "Mourner, You Shall Be Free (Moanish Lady)" (lyrics)
cf. "Dat's All Right" (lyrics)
cf. "Tell Old Bill" (structure, refrain)
cf. "Cocaine (The Furniture Man)" (lyrics)
NOTES: This is a floating fragment which often joins songs such as the "Talking Blues," "You Shall Be Free," and perhaps "Raise a Ruckus." But it's here because it apparently exists on its own also. - RBW
Yep -- see the Carolina Tar Heels' recording, for one example. - PJS
File: DarNS329
===
NAME: Air Force Alphabet
DESCRIPTION: "A is for those Air Force boys, with hearts so brave and true ... Z is for ... Of all the letters in my song the one that beats them all Is V for Victory, the letter that won't let the old flag fall"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: nonballad wordplay
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 67, "Air Force Alphabet" (1 text, 1 tune)
Roud #159
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
NOTES: Leach-Labrador: "composed in the Canadian Air Force during World War II." - BS
File: LLab067
===
NAME: Airy Bachelor, The (The Black Horse)
DESCRIPTION: The singer warns all bachelors against his mistake. He wanders into town and meets a sergeant, who asks him to enlist. At first he refuses, but the soldier wears him down; at last he accepts. He bids farewell to home, family, and girl
AUTHOR: unknown
EARLIEST_DATE: before 1900 (broadside, Bodleian Harding B 11(816))
KEYWORDS: soldier drink separation bachelor
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H586, p. 80, "The Black Horse" (1 text, 1 tune)
OLochlainn 17, "The Black Horse" (1 text, 1 tune)
McBride 8, "The Black Horse" (1 text, 1 tune)
Hayward-Ulster, pp. 58-60, "The Airy Bachelor" (1 text)
Roud #3027
BROADSIDES:
Bodleian, Harding B 11(816), "The Black Horse," T. Pearson (Manchester), 1850-1899; also 2806 b.9(231), 2806 c.8(141), Harding B 19(8), 2806 c.15(181), 2806 c.8(276), 2806 b.11(12)[some words missing], Harding B 26(60)[lines missing], "The Black Horse"
CROSS_REFERENCES:
cf. "Cashelnagleanna" (tune)
NOTES: Sam Henry gives a brief history of the Black Horse, the regiment named in the song, which was raised in 1688 as the Earl of Devonshire's Horse. Henry reports that it fought at the Boyne, though this is not listed among its battle honours.
It was formally recognized for its part at Blenheim, Ramillies, Oudenarde, Malplaquet, Dettingen, Warburg, various colonial affairs, and finally the First World War, where it fought from 1914 to 1918 (including the Somme and Cambrai). The regiment became the Princess Royal's Own (7th Dragoon Guards) in 1788. The regiment's separate history ended in 1922 when it was combined with the 4th Royal Dragoon Guards; the unit is now the 4th/7th Royal Dragoon Guards, and no longer has the Princess Royal as its honorary colonel. - RBW
File: HHH586
===
NAME: Al Bowen: see The Wreck at Maud (Al Bowen) (File: LSRa272H)
===
NAME: Alabama: see John Cherokee (File: Hugi439)
===
NAME: Alabama Bound (I) (Waterbound II)
DESCRIPTION: "Oh, the boat's up the river And the tide's gone down; I believe to my soul She's (Alabama/water) bound." Lovers are reunited by boat and train, Alabama bound. The Arctic explorer Cook is also mentioned as being Alabama bound to escape the cold.
AUTHOR: unknown
EARLIEST_DATE: 1925 (recording, Charlie Jackson)
KEYWORDS: home return love separation floatingverses
HISTORICAL_REFERENCES: 1776-1779 - Third and last exploratory voyage of Captain Cook, which in 1778 explored the Arctic Ocean north of Siberia and Alaska
1908 - Dr. Frederick Cook claims to reach the North Pole
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Botkin-MRFolklr, p. 598, "Alabama Bound" (1 text, 1 tune)
MWheeler, pp. 27-28, "I'm the Man That Kin Raise So Long" (1 text, 1 tune); p. 53, "Ferd Harold Blues" (1 text, 1 tune); pp. 113-114, "Big Boat's Up the Rivuh" (1 text, 1 tune)
Scarborough-NegroFS, p. 236, (no title) (1 text, which appears more a collection of blues stanzas than an actual song, but verses from songs such as "Boat's Up the River" and "I Got a Gal in de White Folks' Yard")
RECORDINGS:
Arthur "Brother-in-Law" Armstrong, "The Boat's Up the River" (AFS 3979 B3, 1940)
Delmore Brothers, "I'm Alabama Bound" (Bluebird B-8264, 1939)
Roscoe Holcomb, "Boat's Up the River" (on Holcomb1, HolcombCD1)
Charlie Jackson, "I'm Alabama Bound" (Paramount 12289, 1925)
CROSS_REFERENCES:
cf. "Train That Carried My Girl from Town" (floating verses)
NOTES: Not to be confused with the Lead Belly song "Alabama Bound." - RBW
I assign the Holcomb recording to "Alabama Bound (I)" reluctantly, and for want of a better place to put it. He sings the same first verse (with "waterbound" rather than "Alabama bound"); the rest of the song is composed of floating blues verses. - PJS
That seems to be pretty typical, actually. This isn't so much a song as a first verse, a tune, and a bluesy feel. Wheeler's three assorted texts  are examples of the same phenomenon, and Scarborough's has the one verse and four other unrelated blues verses. - RBW
There is also a popular song, "Alabamy Bound," with words and music by Bud De Sylva, Bud Green, and Ray Henderson, published in 1925. As far as I can determine, it's not related to this song. - PJS
There is an interesting problem here in figuring out who is meant by the reference to the Arctic explorer Cook. The Botkin text, from Coleman and Bregman, reads
Doctuh Cook's in town,
Doctuh Cook's in town,
He foun' de No'th Pole so doggone cole
He's Alabama boun'.
This version comes from a book copyright 1942.
But there are two Cooks who explored the Arctic. Admittedly only one was entitled to be called "Doctor," but in the time of the first Cook, the term was used rather more loosely.
Captain James Cook (1728-1779) explored the Labrador and Newfoundland areas in the 1760s, and the Alaskan and Siberian coasts on his last voyage (1776-1779) -- though of course never came anywhere near the North Pole; he only briefly made it above 70 degrees north. Still, his penetration of the Bering Strait in 1778 brought him north of the Arctic Circle and opened the way for exploration of Alaska's North Shore; it was the "Farthest North" in that part of the world for many years, and it would be half a century before anyone made it much north of that mark in any part of the world. Thus it is reasonable to refer to Cook as at leasts approaching the North Pole.
Cook had aslo explored the Antarctic on his previous voyage (1772-1775); that probably brought back more useful information than the third voyage. It wasn't the Arctic, of course, but it was at least as cold. And he lived through it.
On the other hand, Dr. Frederick Cook (who was in fact a medical doctor) made several visits to the Arctic, and in 1908 claimed that he and two Eskimos had reached the North Pole. His claim was subjected to much question (see the notes to "Hurrah for Baffin's Bay"), and is probably to be rejected. He nonetheless ended up as something of a nine day wonder; we have to guess whether his brief fame, or Captain Cook's enduring fame, is more likely to have inspired this song. This would obviously be easier if we had more and better texts of the relevant verse.  - RBW
File: BMRF598
===
NAME: Alabama Bound (II)
DESCRIPTION: "I'm Alabama bound, I'm Alabama bound/And if the train don't stop and turn around/I'm Alabama bound"; "Don't you leave me here... If you must go... leave me a dime for beer"; "Don't you be like me... You can drink... sherry wine and let the whiskey be."
AUTHOR: unknown
EARLIEST_DATE: 1934 (Lomax), but elements at least were part of the 1925 Trixie Smith recording
KEYWORDS: nonballad floatingverses train travel drink abandonment
FOUND_IN: US(So)
REFERENCES: (8 citations)
Lomax-ABFS, pp. 206-209, "Alabama-Bound" (1 text, 1 tune, probably composite)
MWheeler, pp. 54-55, "I'm Alabama Bound" (1 text, 1 tune)
BrownIII 237, "If the Seaboard Train Wrecks I Got a Mule to Ride" (1 4-line text with lyrics seemingly from three different songs, but filed here because of the final line)
Scarborough-NegroFS, pp. 213-214, "Shine Reel" (1 fragment, 1 tune, mentioning being "Alabama Bound" but also mentioning some being on a boat that sank, so it might be part of "Shine and the Titanic")
Cohen-LSRail, pp. 450-451, "Railroad Blues (I)" (1 text, 1 tune, which Cohen apparently considers a separate song by Trixie Smith, but her song seems to have no independent circulation and shares enough lyrics with this piece that I file it here, particularly since the change in tune might be due to the jazz arrangement)
PSeeger-AFB, p. 44 "Alabama Bound" (1 text, 1 tune)
Silber-FSWB, p. 47, "Alabama Bound" (1 text)
DT, ALABOUND*
Roud #10017
RECORDINGS:
Pete Seeger, "Alabama Bound" (on PeteSeeger18) (on PeteSeeger22) (on PeteSeeger43)
Trixie Smith, "Railroad Blues" (Paramount 12262, 1925)
CROSS_REFERENCES:
cf. "Don't You Leave Me Here" (lyrics)
NOTES: This should not be confused with "Alabama Bound (I)." - PJS
Norm Cohen tells Paul Stamler that "Don't You Leave Me Here," a song sung by Jelly Roll Morton, not only shares lyrics with but is a version of this song. In the absence of a definitely traditional version of the latter, we leave the question open. - (PJS, RBW)
There is also a popular song, "Alabamy Bound," with words and music by Bud De Sylva, Bud Green, and Ray Henderson, published in 1925. As far as I can determine, it's not related to this song. - PJS
File: PSAFB044
===
NAME: Alabama Flood, The
DESCRIPTION: A man on the levee warns that a flood is coming. A few are killed; those who have lost loved ones and homes mourn. The singer asks for a helping hand. Ch.: "Down in Alabama/In the water and the mud/Many poor souls are homeless from the Alabama flood"
AUTHOR: listed as "Waite" on some recordings
EARLIEST_DATE: 1929 (recordings, Vernon Dalhart & Andrew Jenkins)
KEYWORDS: grief death river disaster flood
HISTORICAL_REFERENCES: Feb.-March 1929: Heavy rains cause floods in Alabama that leave 15,000 homeless
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Vernon Dalhart, "Alabama Flood" (Columbia 15386-D/Harmony 879-H [as Mack Allen], 1929)
Blind Andy [pseud. for Andrew Jenkins], "Alabama Flood" (OKeh 45319, 1929)
Frank Luther, "The Alabama Flood" (Banner 6369/Conqueror 7346/Challenge 812, 1929)
NOTES: It is a measure of how quickly the music industry operated that the Alabama flood of 1929 reached the peak of its damage on March 15; on March 21 Andy Jenkins and Vernon Dalhart were in the studios recording a song about it, and within a few weeks the records were on sale. - PJS
File: RcAlaFl
===
NAME: Alabama John Cherokee: see John Cherokee (File: Hugi439)
===
NAME: Alabama, The: see Roll, Alabama, Roll (File: Doe035)
===
NAME: Alan Bain: see The Murder of Alan Beyne (File: MA243)
===
NAME: Alan Bane: see The Murder of Alan Beyne (File: MA243)
===
NAME: Alan Maclean
DESCRIPTION: Singer goes to Aulton college; at a wedding, he and Sally Allen go off into the broom. Her father demands his expulsion; the Regent grants it. The singer joins the navy, and bids farewell to Aulton, vowing that if he ever returns he will marry Sally
AUTHOR: unknown
EARLIEST_DATE: 1963 (collected from Charlotte Higgins)
KEYWORDS: courting seduction sex travel ship father lover
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
MacSeegTrav 82, "Alan Maclean" (1 text, 1 tune)
Roud #2511
ALTERNATE_TITLES:
The Minister's Son
File: McCST082
===
NAME: Alarmed Skipper, The (The Nantucket Skipper)
DESCRIPTION: Claims that Nantucket skippers were able to tell where their ships are by tasting the sounding lead. A sailor plays a trick by running the lead through a box of parsnips; the skipper thinks that Nantucket has sunk and they're sailing over a garden.
AUTHOR: James Thomas Fields
EARLIEST_DATE: 1845 (_Scientific American_)
KEYWORDS: talltale ship trick gardening humorous
FOUND_IN: US
REFERENCES: (3 citations)
Harlow, pp. 192-194, "The Nantucket Skipper" (1 text)
Shay-SeaSongs, pp. 198-199, "The Nantucket Skipper" (1 text)
ADDITIONAL: Scientific American, volume 1, number 4 (1845), "The Ballad of the Alarmed Skipper" (1 text)
Roud #9172
ALTERNATE_TITLES:
The Ballad of the Alarmed Skipper
NOTES: Definitely not a folk song; it's included in a couple of song collections as a gag. But it is a popular poem; _Granger's Index to Poetry_ lists the piece in three anthologies apart from Shay. - RBW
File: ShaSS198
===
NAME: Albany Jail, The: see Sault Ste. Marie Jail, The (The Albany Jail) (File: FSC168)
===
NAME: Alberta: see Alberta, Let Your Hair Hang Low (File: BMRF576)
===
NAME: Alberta Homesteader, The: see Starving to Death on a Government Claim (The Lane County Bachelor) (File: R186)
===
NAME: Alberta, Let Your Hair Hang Low
DESCRIPTION: Alberta is asked to let her hair hang low, to say what's on her mind, and not to treat the singer unkind. AABA verses: "Alberta, let your hair hang low (x2), I'll give you more gold than your apron will hold, If you'll just let your hair hang low."
AUTHOR: unknown
EARLIEST_DATE: 1944
KEYWORDS: love hair nonballad
FOUND_IN: US(So)
REFERENCES: (4 citations)
Botkin-MRFolklr, p. 576, "Alberta, Let Yo' Hair Hang Low" (1 text, 1 tune)
MWheeler, pp. 85-87, "Alberta, Let Yo' Hair Hang Low" (1 text, 1 tune)
Silber-FSWB, p. 74, ""Alberta (1 text)
DT, ALBRTA
Roud #10030
File: BMRF576
===
NAME: Albertina
DESCRIPTION: Shanty. "Albertina says the story, Albertina's all for glory, Albertina that was the schooner's name, Pump 'er dry." Verses describe loading the ship, sailing away, getting stranded and sinking. Last verse has a maiden weeping for her lost lover.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sternvall, _Sang under Segel_)
KEYWORDS: shanty ship wreck
FOUND_IN: Scandinavia Britain Germany
REFERENCES: (2 citations)
Hugill, pp. 327-330, "Albertina" (3 texts [English and Swedish], 2 tunes) [AbrEd pp. 245-246]
DT, ALBRTINA
ALTERNATE_TITLES:
Skonnert Albertina
NOTES: Norwegian origin, migrated and translated into Swedish, German, English (at least). - SL
File: Hugi327
===
NAME: Albury Ram, The: see The Derby Ram (File: R106)
===
NAME: Alderman of the Ward
DESCRIPTION: Singer says he used to be a street laborer, but he's come up in the world: he's now alderman of the ward and his daughter's well-dressed, to boot. He brags of the trappings of his improved situation and invites the listener to be his guest
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Warde Ford)
KEYWORDS: pride work political children
FOUND_IN: US(MW)
REFERENCES: (0 citations)
Roud #15471
RECORDINGS:
Warde Ford, "Alderman of the ward" (AFS 4209 A3, 1939; in AMMEM/Cowell)
NOTES: We have no keyword for "politician"!
Irish immigrant politicians controlled many city machines in the 1800s and 1900s. - PJS
File: RcAotW
===
NAME: Alderman's Lady, The
DESCRIPTION: An elderman promises a girl gifts in exchange for her love. She rejects him because he might reject her and their baby. He promises that he would take her to her mother and smother the baby. She refuses and he marries her.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: marriage sex mother
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 783-784, "The Elderman's Lady" (1 text, 2 tunes)
Roud #2533
NOTES: Peacock points out that "elderman" may be "alderman" [so, in fact, several British versions - RBW] and that "in former times aldermen had much higher rank than they do nowadays and were often governors of whole districts or members of nobility." - BS
To back this up, "alderman" is derived from Old English "ealdorman," not related to Old English eorl="earl" but often confused with it; an ealdorman was a local governor or viceroy. - RBW
File: Pea783
===
NAME: Ale-Wife and Her Barrel, The
DESCRIPTION: Singer's wife is an ale-seller and drunkard. She goes to market with her barrel; all know that he can't keep her out among men. Chorus: "The ale-wife, the drunken wife/The ale-wife she deaves me/My wifie wi' her barrelie/She'll ruin and she'll leave me"
AUTHOR: unknown
EARLIEST_DATE: 1931 (collected by Peter Buchan)
KEYWORDS: marriage abandonment commerce drink nonballad wife
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
MacSeegTrav 110, "The Ale-Wife and her Barrel" (1 text, 1 tune)
Roud #6031
ALTERNATE_TITLES:
The Ale-Wife, the Drunken Wife
NOTES: Despite its long history, this song does not seem to have spread outside Aberdeenshire. - PJS
File: McCST110
===
NAME: Alec Robertson (I)
DESCRIPTION: Arthur Nolan rides his horse Sulphide in the Sydney Steeplechase. The horse stumbles; Nolan is thrown off and trampled to death. Various people grieve and regret what happened.
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: death horse family mother racing grief
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Anderson, pp. 65-66,  "Arthur Nolan"; 150, "The Death of Alec Robertson" (2 texts, 1 tune)
Fahey-Eureka, pp. 220-221, "The Death of Alec Robertson" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Donald Campbell" (theme)
cf. "Tom Corrigan (theme)
cf. "The Death of Alec Robertson" (theme)
cf. "Alec Robertson (II)" (theme)
NOTES: The fullest text of this song seems to be the one Meredith and Anderson call "Arthur Nolan." However, there are two other variants which refer to the jockey as Alec Robertson, so it seems appropriate to give the song that title.
The characteristic feature of this song, and the one that connects the Arthur Nolan and Alec Robertson texts, is the reference to the jockey's mother: "Poor lad, his mother was not there To bid him last goodbye, But his stable-mate stood near With sad tears in his eye." - RBW
File: MA065
===
NAME: Alec Robertson (II)
DESCRIPTION: "Oh, the hobby of Australian boys Is jockeying to be, To mount a horse and scale the course No danger do they see." The usual story: Robertson races, is thrown from his horse, bids farewell to all, and dies
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: horse racing death mother
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 146, "The Jockey's Lament"; p. 151, "Alec Robertson" (2 texts, 1 tune)
CROSS_REFERENCES:
cf. "Donald Campbell" (theme)
cf. "Tom Corrigan (theme)
cf. "The Death of Alec Robertson" (theme)
cf. "Alec Robertson (I)" (theme)
File: MA146
===
NAME: Alec's Lament
DESCRIPTION: ".. ye jolly bootleggers and you who handle brew: Beware of Howard Foley." Tignish was a town for fun but with Foley as policeman and Albert Knox as jail-keeper it's no place for a drinker. "I'll have to leave the village and go to some foreign land"
AUTHOR: Alec Shea
EARLIEST_DATE: 1982 (Ives-DullCare)
KEYWORDS: prison drink humorous police emigration home
FOUND_IN: 
REFERENCES: (1 citation)
Ives-DullCare, pp. 217, 241, "Alec's Lament" (1 text, 1 tune)
Roud #14001
NOTES: Ives-DullCare: "The song was written about 1960, and it adds to the fun to know that at that time the Tignish jail was nothing more than a tiny renovated shoemaker's shop." 
Tignish is near the north west corner of Prince County, Prince Edward Island. - BS
File: IvDC217
===
NAME: Alert, The
DESCRIPTION: Alert completes its outward course. Homeward bound, on passing through Gibraltar they meet fog and storm. The crew pray on deck and shake hands; the ship sinks. Captain Butler and his crew are mourned by wives and orphans in Wexford town.
AUTHOR: unknown
EARLIEST_DATE: 1943 (Ranson)
KEYWORDS: drowning sea ship storm wreck sailor
HISTORICAL_REFERENCES: Feb 21, 1839: "The Alert was lost of Wexford.... The crew were lost" homeward bound from Galatz (source: Bourke in _Shipwrecks of the Irish Coast_ v3, p. 54; Ranson)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 65-67, "The Alert" (1 text)
File: Ran064
===
NAME: Alford Vale
DESCRIPTION: To the tune "Kelvingrove" ("The Shearin's Nae for You"), "Will ye come to Alford Vale, bonnie lassie O? Where tis sunny as thyself, Bonnie lassie O." The singer tries to lure the girl from the town with praises of the beautiful vale
AUTHOR: Words: La Teste, adapted by John Ord
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: nonballad home courting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 84-85, "Alford Vale" (1 text)
Roud #3954
CROSS_REFERENCES:
cf. "The Shearin's Nae for You" (tune)
NOTES: Although this is one of the few pieces Ord admits to retouching, he gives no clue as to why he thought it worthy of such attention. Or of inclusion in his work. - RBW
File: Ord084
===
NAME: Alfred D Snow, The
DESCRIPTION: Alfred D Snow is bound from San Francisco to Liverpool with a cargo of grain. The ship breaks up on the sand. Captain Willie signals hoping for help from Dunmore. The lifeguards and the Dauntless arrive too late. Only seven bodies are recovered.
AUTHOR: Michael O'Brien "the famous ballad-maker" (Ranson)
EARLIEST_DATE: 1948 (Ranson)
KEYWORDS: drowning sea ship wreck sailor
HISTORICAL_REFERENCES: Jan 1, 1888 -  "The Alfred D Snow ... was driven ashore on sandbanks at Broomhill.... Captain Willie and 24 crew were drowned." "... the tug Dauntless approached within half a mile but could get no closer. The Dunmore lifeboat crew refused to launch...." (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 74, v3, p.66)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 116-117, "The Alfred D Snow" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Orphan Girl (III)" (tune)
File: Ran116
===
NAME: Ali Alo
DESCRIPTION: French capstan shanty. "Ali alo pour Mascher! Ali, alo, alo... Il mang'la viande et nous donn les os. Ali, ali, ali, alo." Translation of the very short verses "He eats the meat and we get the bones," "He drinks the vine and we get the water," etc.
AUTHOR: unknown
EARLIEST_DATE: 1888 (L.A. Smith, _Music of the Waters_)
KEYWORDS: foreignlanguage shanty worksong
FOUND_IN: France
REFERENCES: (1 citation)
Hugill, p. 485, "Ali Alo" (1 text, 1 tune)
CROSS_REFERENCES:
cf: "Hullabaloo Belay" (similar tune and chorus)
File: Hugi485
===
NAME: Alice B.: see Ella Speed (Bill Martin and Ella Speed) [Laws I6] (File: LI06)
===
NAME: Alison and Willie [Child 256]
DESCRIPTION: Alison invites Willie to her wedding. He will not come except as the groom. She tells him that if he leaves, she will ignore him forever. He sets out slowly and sadly, sees an omen, and dies for love. A letter arrives, halting the wedding. Alison too dies
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: love wedding separation death
FOUND_IN: Britain(Scotland(Bord))
REFERENCES: (3 citations)
Child 256, "Alison and Willie" (1 text, 1 tune) {Bronson's [#1]}
Bronson 256, "Alison and Willie" (1 version)
Leach, pp. 625-626, "Alison and Willie" (1 text)
Roud #245
File: C256
===
NAME: All Among the Barley
DESCRIPTION: "Now is come September, the hunter's moon begun," and young men and women meet in the fields: "All among the barley, Who would not be blythe, When the ripe and bearded barley Is smiling on the scythe." Barley is declared the king of all grains
AUTHOR: unknown
EARLIEST_DATE: 1871 (sheet music)
KEYWORDS: food courting harvest
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
DT, AMNGBARL
Roud #1283
BROADSIDES:
LOCSheet, sm1871 00667, "All Among the Barley" Lee & Walker, (Philadelphia), 1871 (tune); also sm1874 10936, "All Among the Barley, J. L. Peters (New York), 1874
NOTES: Both LOC sheet music publications credit the tune of this to Elizabeth Stirling, and item sm1871 00667 says the words to this are by "A.T." But the tune doesn't look like the one I know; I suspect both have been somewhat rewritten. - RBW
File: BdAAtBar
===
NAME: All Around de Ring, Miss Julie
DESCRIPTION: "All around de ring, Miss Julie, Julie, Julie! All around de ring, Miss Julie! All on a summer day. Oh, de moon shines bright, de stars give light; Look way over yonder! Hug her a little and kiss her too, And tell her how you love her!"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: love nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 106, "All Around de Ring, Miss Julie" (1 text)
File: Br3106
===
NAME: All Around Green Island's Shore
DESCRIPTION: A man brags to a woman about the virtues of his boat, his other possessions, and his willingness to beat his rival to win the girl. The girl replies comically in the negative.
AUTHOR: unknown
EARLIEST_DATE: 1933 (Greenleaf/Mansfield)
KEYWORDS: courting bragging rejection
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 135, "All Around Green Island Shore" (1 text)
Doyle2, p. 65, "All Around Green Island's Shore" (1 text, 1 tune)
Doyle3, p. 9, "All Around Green Island's Shore" (1 text, 1 tune)
Blondahl, p. 72, "All Around Green Island's Shore" (1 text, 1 tune)
Roud #6353
ALTERNATE_TITLES:
Green Island Shore
NOTES: The "Trinity" mentioned in the song is perhaps in Trinity Bay but there is a "Green Island Cove" and a "Green Island Brook" far away in the Strait of Belle Isle. - SH
Doyle3 cites "Ballads and Sea Songs of Newfoundland" [Greenleaf & Mansfield, 1933] as the source. - BS
File: Doy65
===
NAME: All Around My Hat
DESCRIPTION: The singer's true love has been transported; (he) promises that "All around my hat I will wear the green willow... for a twelve month and a day... [for] my true love ... ten thousand miles away." He hopes they can reunite and marry
AUTHOR: unknown
EARLIEST_DATE: 1888 (Ashton)
KEYWORDS: love separation transportation
FOUND_IN: Britain(England(Lond,South)) Canada(Mar)
REFERENCES: (5 citations)
Kennedy 145, "All Round My Hat" (1 text, 1 tune)
Creighton/Senior, pp. 126-127, "All Round My Hat" (2 fragments, 2 tunes)
Creighton-Maritime, pp. 80-81, "All Around My Hat" (1 text, 1 tune)
Meredith/Covell/Brown, pp. 194-195, "All Round My Hat" (1 tune, presumably this one)
DT, ROUNDHAT*
Roud #567
RECORDINGS:
Neil O'Brien, "All Around My Hat" (on MRHCreighton)
CROSS_REFERENCES:
cf. "The Jolly Miller" (tune)
cf. "The Death of Brugh" (tune)
cf. "Around Her Neck She Wore a Yellow Ribbon" (theme)
cf. "The Green Willow" ("All around my hat" lyrics)
SAME_TUNE:
The Death of Brush (File: RcTDOB)
NOTES: Kennedy calls this "Perhaps one of the most popular of all English love songs." And this does not even take into account the Steeleye Span recording, said to have gone higher on the British pop charts than any other traditional song. (Don't ask me if that's a compliment.)
But Kennedy also claims this as the same tune as "The Budgeon It Is a Delicate Trade" (for which see under "The Miller of Dee") -- which it is *not*; "The Budgeon" is in the Lydian mode, and his tune for "All Around My Hat" is an ordinary Ionian melody. (Possibly the two were more alike in the original version of Chappell, which was his reference for "The Budgeon"; that edition levelled some modal tunes).
One of Sam Henry's texts, "The Laird's Wedding," mixes this with "The Nobleman's Wedding (The Faultless Bride; The Love Token)" [Laws P31]. There are hints of such mixture in other versions of the two songs. Roud goes so far as to lump them.
Spaeth (_A History of Popular Music in America_,  pp. 83-84) has what is evidently a version of this song, from about 1840 -- in dialect! ("All round my hat, I vears a green villow.") It is credited to J. Ansell (John Hansell) and John Valentine. If this is the actual origin of the chorus, I have to think it merged with some separate love song. But I suspect the Ansell/Valentine piece of being a perversion of an actual folksong. - RBW
In view of the broadside parodies listed below I am surprised not to find (yet) any broadsides for "All Around My Hat."
Bodleian, Harding B 11(38), "All Around My Hat I'll Wear the Green Willow" ("All round my hat I vears a green villow ..."), J. Pitts (London), 1797-1834; also Firth b.27(536), "All Around My Hat I Wear a Green Willow"; Harding B 16(5a), Firth c.21(60), Firth c.21(62), Harding B 20(2), Harding B 11(40), "All Round My Hat"
LOCSinging, as200070, "All Round My Hat," J. Andrews (New York), 1853-1859; also cw100090, as100150, "All Round My Hat"
Broadside LOCSinging as200070: 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: K145
===
NAME: All Around the Maypole
DESCRIPTION: A ring-skipping song. "All around the Maypole, And now Miss Sally, won't you shout for joy?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: playparty
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Botkin-SoFolklr, p. 706, "All around the Maypole" (1 text, 1 tune)
Scarborough-NegroFS, p. 142, ("The May Pole Song") (1 text)
NOTES: There are of course many maypole songs in existence, the oldest known to me being "About the may Pole" by Thomas Morley (1557-1603?; for text see Noah Greenberg, ed., _An Anthology of English Medieval and Renaissance Vocal Music_, pp. 127-132). This doesn't really sound like it's descended from an English original, though. - RBW
File: BSoF706
===
NAME: All Around the Mountain, Charming Betsy: see Coming Round the Mountain (II -- Charming Betsey) (File: R436)
===
NAME: All Bells in Paradise: see The Corpus Christi Carol (File: L691)
===
NAME: All Bound Round with a Woolen String
DESCRIPTION: "There was an old man and he wasn't very rich, And when he died, he didn't leave much But a great big hat with a great big rim All bound 'round with a woolen string. A woolen string (x2), All bound round... A great big hat with a... All bound round...."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: death clothes
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 157-158, "All Bound 'Round with a Woolen String" (1 fragment, 1 tune)
Roud #3725
NOTES: Linscott believes the words to this to be related to "All Around My Hat." I don't see the resemblance; it made me think of "The Miller's Three Sons." The tune is said to be related to the Irish air "Old Rose Tree." - RBW
File: Lins157
===
NAME: All Bow Down: see The Twa Sisters [Child 10] (File: C010)
===
NAME: All For Me Grog: see Here's to the Grog (All Gone for Grog) (File: K274)
===
NAME: All for the Men
DESCRIPTION: "When I was a young girl... It was primp, primp, primp this way... All for the men." Typically the girl is courted, marries, (has a child), quarrels with her husband; he died, she weeps and/or laughs at his funeral; she lives happily/as a beggar/other
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
LONG_DESCRIPTION: "When I was a young girl... It was primp, primp, primp this way... All for the men." "The boys came courting.... It was kiss, kiss, kiss this way." "Then we quarrelled...." "Pretty soon we made it up...." "Then we married...."  Girl's biography marked by the chorus "This-a-way, ha-ha, that-a-way." Typically the girl is courted, marries, (has a child), quarrels with her husband; he died, she weeps and/or laughs at his funeral; she lives happily/as a beggar/other  
KEYWORDS: courting marriage beauty playparty death funeral
FOUND_IN: US(Ap,MW,SE) Britain(England) Canada(Ont)
REFERENCES: (2 citations)
Lomax-FSNA 260, "All for the Men" (1 text, 1 tune)
BrownIII 10, "When I Was a Young Girl" (1 text)
Roud #5040
File: LoF260
===
NAME: All Go Hungry Hash House, The: see Hungry Hash House (File: San207)
===
NAME: All God's Children Got Shoes
DESCRIPTION: "I got shoes, you got shoes, All got's children got shoes; When I get to heaven, gonna put on my shoes, Gonna (shout) all over God's heaven." Similarly with robes, crowns, wings, harps, etc.
AUTHOR: unknown
EARLIEST_DATE: 1909 (recording, Fisk University Jubilee Quartet)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 550, "All God's Chillun Got Shoes" (2 texts plus 2 fragments)
Courlander-NFM, p. 67, "(Goin' to Shout All over God's Heaven)" (1 text)
Silber-FSWB, p. 359, "All God's Children Got Shoes" (1 text)
Roud #11826
RECORDINGS:
Louis Armstrong, "Going to Shout All Over God's Heaven" (Decca 2085, 1938)
Big Bethel Choir #1 "Shout All Over God's Heaven" (Columbia 14157-D, 1926)
Commonwealth Quartet, "I'm Going to Shout All Over God's Heaven" (Domino 0173, 1927)
Cotton Belt Quartet, "I'm Gonna Shout All Over God's Heaven" (Vocalion 15263, 1926)
Cotton Pickers Quartet, "All God's Children Got Wings" (OKeh 8917, 1931)
Elkins Payne Jubilee Singers, "Gonna Shout All Over God's Heaven" (Paramount 12071, 1923)
Lt. Jim Europe's Singing Serenaders, "Ev'rybody Dat Talks 'Bout Heaven Ain't Goin' There" (Pathe 22105, 1919)
Fisk University Jubilee Quartet, "Shout All Over God's Heaven" (Victor 16448, 1909)
Fisk University Male Quartet, "Shout All Over God's Heaven" (Columbia A1883, 1915)
Mitchell's Christian Singers, "Gonna Shout All Over God's Heaven" (Melotone 6-04-64, 1936)
Dock Reed & Vera Hall Ward, "Everybody Talkin' About Heaven Ain't Goin' There" (on NFMAla5)
Southern Four: "Shout All Over God's Heaven" [medley w. "Standin' in the Need of Prayer"] (Edison 51364, 1924)
Edna Thomas, "I Got Shoes" (Columbia 1863-D, 1929; rec. 1928)
West Virginia Collegiate Institute Glee Club, "Shout All Over God's Heab'n" (Brunswick 3497, 1927)
NOTES: Courlander believes this song to be based on the Revelation to John. It appears to me that it is simply an exuberant expression of a poor, oppressed Christian hope in the afterlife. - RBW
File: CNFM067A
===
NAME: All God's Chillun Got Shoes: see All God's Children Got Shoes (File: CNFM067A)
===
NAME: All Gone for Grog: see Here's to the Grog (All Gone for Grog) (File: K274)
===
NAME: All Hail the Power of Jesus's Name
DESCRIPTION: "All hail the power of Jesus's name, Let angels prostrate fall, Bring for the royal diadem And crown him lord of all." The "chosen seed of Israel's race" and "sinners" are urged to "spread your trophies at his feet."
AUTHOR: Words: Edward Perronet (1726-1792), adapted by John Rippin (1751-1836)
EARLIEST_DATE: 1793 (published with a tune by Olver Holden)
KEYWORDS: religious Jesus nonballad
FOUND_IN: 
REFERENCES: (1 citation)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp, 68-70, "All Hail The Power Of Jesus' Name" (1 text, 1 tune)
Roud #17726
NOTES: This is one of those hymns that ends up with a zillion tunes. Oliver Holden (1765-1844) wrote the first one, in the process making the song popular. Holden's tune seems usually to be published as "Coronation." This ws the only tune I found in a Lutheran hymnal I checked. A Methodist hymnal had two other tunes: Miles' Lane (listed as by William Shrubsole, 1760-1806) and Diadem (as by james Ellor, 1819-1899); the same three tunes appear in a Baptist hymnal, though without the detailed attributions. My 1871 _Original Sacred Harp_ has it to Coronation, Cleburne (as by S. M. Denson), and Green Street (as by J. J. Husband c. 1809). - RBW
File: Rd017726
===
NAME: All Hands Away Tomorrow: see Our Captain Calls All Hands (Fighting for Strangers) (File: Pea416)
===
NAME: All I've Got's Gone
DESCRIPTION: Singer describes hard times: People selling farms; automobiles repossessed; banks with no money to lend. Farmers should have stuck with mules, not tractors. Dandy young men now "plowin' and a-grubbin'." His partner has drunk up all the white lightning.
AUTHOR: Probably Uncle Dave Macon
EARLIEST_DATE: 1924 (recording, Uncle Dave Macon)
LONG_DESCRIPTION: Singer describes hard times; people have had to sell their farms and leave; their automobiles have been repossessed. He goes to the bank for a loan; they have no money left either. He reproaches other farmers for buying tractors, saying they should have stuck with mules; young men, who had been getting all duded up, are now, "plowin' and a-grubbin'"; women likewise, for, "All they've got's gone." To cap everything, his partner has drunk up all the white lightning.
KEYWORDS: farming hardtimes nonballad drink
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Uncle Dave Macon, "All I've Got's Gone" (Vocalion 14904, 1924; Vocalion 5051, c. 1926)
Asa Martin, "All I've Got's Gone" (Champion 16539, 1932) 
Oddie McWinders, "All I've Got Is Gone" (Crown 3398, 1932)
New Lost City Ramblers, "All I've Got's Gone" (on NLCR09)
Ernest Stoneman, "All I've Got's Gone" (OKeh 45009, 1925; on HardTimes1); Ernest V. Stoneman and His Dixie Mountaineers, "All I've Got's Gone" (Edison 52489, 1929; rec. 1928); Ernest Stoneman [and Eddie Stoneman], "All I Got's Gone" (Vocalion 02901, rec. 1934); "All I Got's Gone" (on Autoharp01)
NOTES: The song was originally written after a disastrous flood in 1907, but was adapted for the circumstances of the Great Depression. It should be noted that conditions on the farms had already been bad for several years before the stock market crashed in 1929.
Despite the "nonballad" keyword, there's a disjointed narrative here, so I've indexed it. - PJS
File: RcAIGG
===
NAME: All In Down and Out Blues
DESCRIPTION: "Hippity-hop to the bucket shop...." Singer has lost all his money in the stock market. He says this "certainly exposes/Wall Street's proposition was not all roses." Cho: "It's hard times, ain't it poor boy...when you're down and out"
AUTHOR: Uncle Dave Macon
EARLIEST_DATE: 1937 (recording, Uncle Dave Macon)
LONG_DESCRIPTION: "Hippity-hop to the bucket shop...." Singer has lost all his money in the stock market and is now down and out. He says this "certainly exposes/Wall Street's proposition was not all roses." He notes "If they catch you with whiskey in your car/You're handicapped, and there you are", and that if you have money you can get off but if you have none you'll go to jail. Chorus: "It's hard times, ain't it poor boy...when you're down and out"
KEYWORDS: poverty crime prison punishment commerce money hardtimes judge
HISTORICAL_REFERENCES: 1929 - Stock market crashes, then continues to sink
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Uncle Dave Macon, "All In Down and Out Blues" (Bluebird B-7350, 1938, recorded 1937)
NOTES: "Bucket shops" were crooked brokerage firms; they fleeced many customers in the 1920s stock market bubble. They would delay executing a customer's trade if they thought they could buy at a lower price or sell at a higher price a day later, then pocket the difference.
Bert Williams & Arthur Collins both recorded a piece called "All In Down and Out" (Williams: Columbia A5031, 1908; rec.1906; Collins: Victor 5027, 1907; Victor 16211, 1909), with composer credits to R. C. McPherson & [?] Smith, Elmer Bowman & [?] Johnson; it would later be recorded by, among others, Richard Brooks & Riley Puckett, but I don't know its relationship to this song. My guess is that Uncle Dave used it as the basis of his topical parody. -PJS
File: RcAIDAOB
===
NAME: All Is Well
DESCRIPTION: "Oh, what is this that steals upon my frame? Is it death? is it death?... If this is death, I soon shall be From every pain and sorrow free... All is well, all is well." The singer bids his friends not to weep, and looks forward to salvation
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders/Brown, from a manuscript reportedly dated 1841)
KEYWORDS: death religious nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, pp. 78-79, "All Is Well" (1 text)
ST FlBr078 (Partial)
Roud #5455
NOTES: Arthur Hugh Clough (1816-1861) wrote a piece, "Whate'er You Dream With Doubt Possesst," subtitled "All Is Well," which sounds like it might be this, and the date makes it barely possible -- but I haven't seen the Clough poem, so I can't say. The whole piece sounds very familiar -- and it's not because it has so many Biblical references; the references in this poem are very free.
There is a Mormon hymn with the same "All is well, all is well" refrain and, of course, mentions of Saints and the like. It doesn't look like the same piece, but I wouldn't be surprised if that were adapted from this. - RBW.
File: FlBr078
===
NAME: All Jolly Fellows: see All Jolly Fellows That Handles the Plough (File: K241)
===
NAME: All Jolly Fellows That Handles the Plough
DESCRIPTION: Singer and fellow ploughmen finish their work; they will unyoke their horse and groom him, after which the (singer/master) promises them a jug of ale. At dawn they will begin again. Refrain: "You're all jolly fellows that follows (handles) the plough"
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Johnson Ballads 148)
KEYWORDS: farming work drink nonballad horse worker pride boss
FOUND_IN: Britain(England(All),Scotland)
REFERENCES: (2 citations)
Kennedy 241, "All Jolly Fellows" (1 text, 1 tune)
MacCollSeeger 102, "All Jolly Fellows That Handles the Plough" (1 text, 1 tune)
Roud #346
RECORDINGS:
Fred Jordan, "We're All Jolly Fellows as Follow the Plough" (on Voice05)
BROADSIDES:
Bodleian, Johnson Ballads 148, "All Jolly Fellows that Follow the Plough" ("When four o'clock comes then up we rise"), J. Catnach (London), 1813-1838; also Harding B 16(301a), Harding B 11(3226), Harding B 11(4369), Harding B 11(4370), Harding B 11(4371), "We Are All Jolly Fellows that Follow the Plough"
CROSS_REFERENCES:
cf. "The Ploughman (II)" (subject)
ALTERNATE_TITLES:
The Jolly Fellows Who Follow the Plough
We Are Jolly Fellows that Follow the Plough
File: K241
===
NAME: All My Sins Are Taken Away (I): see Hand Me Down My Walkin' Cane (File: FSWB053)
===
NAME: All My Sins Been Taken Away
DESCRIPTION: "I don't care what this world may say, The're all taken away... All my sins are taken away, taken away." Much of the rest of the song floats, e.g. "The devil is mad and I am glad."
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Kelly Harrell)
KEYWORDS: religious nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 551, "All My Sins Been Taken Away" (1 text)
Chappell-FSRA 85, "My Sins Are All Taken Away" (1 text, 1 tune)
Roud #4205
RECORDINGS:
Kelly Harrell, "All My Sins Are Taken Away" (Victor 40095, 1929; on KHarrell02)
CROSS_REFERENCES:
cf. "Hand Me Down My Walkin' Cane" (lyrics)
cf. "Free at Last" (lyrics)
NOTES: This song shares nearly every word of its contents with "Hand Me Down My Walkin' Cane," and I initially lumped them. But there are enough versions without the walkin' cane that I finally split them. This particular version seems best-known in North Carolina; perhaps it's a local sub-text? - RBW
File: Ch085
===
NAME: All My Trials
DESCRIPTION: "If religion were a thing that money could buy, The rich would live and the poor would die. All my trials, Lord, soon be over. Too late, my brothers, too late but never mind." The weary singer looks forward to victory after death
AUTHOR: unknown
EARLIEST_DATE: 1961 (recording, Pete Seeger)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 644, "Tree in Paradise" (3 short texts; the "A" version combines "Few Days" with a "Tree in Paradise" text; "B" is too short to classify easily; "C" seems to be mostly "All My Trials"; there may also be influence from "Is Your Lamps Gone Out" or the like)
Silber-FSWB, p. 359, "All My Trials" (1 text)
DT, ALLTRIAL*
Roud #11938
RECORDINGS:
Rev. Lewis Jackson & Charlotte Rucell, "Tallest Tree in Paradise" (on MuSouth07)
Pete Seeger, "All My Trials" (on PeteSeeger31)
CROSS_REFERENCES:
cf. "Little David, Play on Your Harp" (floating lyrics)
cf. "Michael, Row the Boat Ashore" (lyrics)
cf. "Noah's Ark" (lyrics)
cf. "Zek'l Weep" (floating lyrics)
cf. "Is Your Lamps Gone Out?" (lyrics)
cf. "Tell All the World, John" (lyrics)
cf. "Wild Rover No More" (floating lyrics)
NOTES: The Jackson/Rucell recording, from 1954, is classified here in near-desperation; it consists primarily of the single floating verse "The tallest tree in Paradise/The Christians call it the Tree of Life" (also found in "Is Your Lamps Gone Out?"), plus the chorus "Hey brother with a hey/Hey, sister with a hey-ey-ey/Jes' take a little bottle and let's go home/Yes, my Lord."  - PJS
File: FSWB359B
===
NAME: All Night Long (I)
DESCRIPTION: "Paul and Silas bound in jail, All night long, One for to sing and the other for to pray... Do, Lord, deliver me." "Straight up to heaven... tain't but the one train on this track." "Never seen the like... People keep comin' and the train done gone"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: Bible religious nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Sandburg, pp. 448-449, "All Night Long" (1 text, 1 tune)
Lomax-FSNA 257, "All Night Long" (1 text, 1 tune)
ST San448 (Full)
Roud #6703
CROSS_REFERENCES:
cf. "Baby, All Night Long" (words)
cf. "Mary Wore Three Links of Chain" (floating lyrics)
NOTES: This has so many floating lines that I'm not even going to try to untangle them.
Paul and Silas's stay in prison is related in Acts 16:19-40. - RBW
File: San448
===
NAME: All Night Long (II): see Baby, All Night Long (File: CSW172)
===
NAME: All Night Long (III): see Four Old Whores (File: EM006)
===
NAME: All Night Long Blues: see Baby, All Night Long (File: CSW172)
===
NAME: All Night, Jesus, All Night
DESCRIPTION: Jesus is taken from Gethsemane, brought before Pilate, told, "Here is your cross," then crucified. Refrain: "All night, Jesus, all night"
AUTHOR: unknown
EARLIEST_DATE: 1935 (recording, men from Andros Island)
KEYWORDS: execution punishment trial ordeal Bible religious Jesus
FOUND_IN: Bahamas
REFERENCES: (0 citations)
Roud #15626
RECORDINGS:
Unidentified men from Andros Island, "All Night, Jesus, All Night" (AAFS 503 A1, 1935; on LomaxCD1822-2)
NOTES: As often happens, this is rather a mix of accounts from the gospels. The name "Gethsemane" occurs only in Matthew 26:36=Mark 14:32. But Jesus's only contact with Pilate, in Matthew and Mark, consists of two exchanges. Pilate first asks if Jesus is the King of the Jews. Jesus answers with the highly ambiguous "You say [so]." Then Pilate asks Jesus what his response is to the charges of the crowd and the priests; Jesus refuses to answer.
Nowhere is Jesus told "Here is your cross." In the Gospel of John, however, Jesus and Pilate have extended conversations, and only in John does Jesus carry his own cross (John 19:17; in Mark 15:21 and parallels, Simon of Cyrene carries the cross for him).
In a probably-irrelevant addendum, Jesus was on the cross only during the day; had he not died before nightfall, the soldiers, in fact, were ordered to hasten the prisoners' death to ensure that they were not around during the night (John 19:31-36). - RBW
File: RcANJAN
===
NAME: All on Account of a Bold Lover Gay: see Bold Lover Gay [Laws P23] (File: LP23)
===
NAME: All over Arkansas
DESCRIPTION: "Yonder goes my true love, he's gone far away, He's gone for to leave me, many and many a day... For the sake of my true love I'm sure I must die." When he returns, she tells him she has been sick for him. They are married, and "travel all over Arkansas."
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: love courting separation marriage travel playparty
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 593, "All Over Arkansas" (1 text)
Roud #7678
NOTES: This is probably a rather worn-down remnant of one or another lost-love-returned ballads (even though Randolph lists it among the playparties). But with only two and a half stanzas of text, and some of that localized, I can't really tell which piece it derives from. - RBW
File: R593
===
NAME: All Over the Ridges
DESCRIPTION: "All over the ridges we lay the pine low. They break in the fall for want of more snow. Said Murphy to Burk, You're the worst out of jail For hauling up timber...." The singer is "put to chain" for refusing to work with Fred Miller. He praises the food
AUTHOR: unknown
EARLIEST_DATE: 1965 (Fowke)
KEYWORDS: logger lumbering work food
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #15, "All Over the Ridges" (1 damaged text, tune referenced)
Roud #4561
File: FowL15
===
NAME: All Over Those Hills
DESCRIPTION: Singer's lover Henry, while travelling "all over those hills" gets "deluded" from her at a tavern; the singer spies him beside another woman. Singer vows she'll go home and destroy it; rather than part from him, she'd as soon see him die in a workhouse
AUTHOR: Unknown, but probably Caroline Hughes
EARLIEST_DATE: 1962 or 1966 (collected from Caroline Hughes)
LONG_DESCRIPTION: Singer's lover Henry, while travelling "all over those hills" gets "deluded" from her at a tavern called the Hop and Bottle; the singer spies him through the window beside another woman, Ellen. Singer vows she'll go home and smash doors and windows, and leave the roof in shadows, and that, rather than part from him, she'd as soon see him die in a workhouse
KEYWORDS: jealousy infidelity love seduction death lover
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
MacSeegTrav 80, "All Over Those Hills" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Locks and Bolts" [Laws M13] (theme)
NOTES: MacColl & Seeger note a resemblance of this song's gestalt to that of "Locks and Bolts," and I agree, but as the plots are quite different, I keep them apart. - PJS
File: McCST080
===
NAME: All Quiet Along the Potomac Tonight
DESCRIPTION: "All quiet along the Potomac tonight Except here and there a stray picket...." The picket dreams of his family as he stands guard. Suddenly a shot rings out; the guard falls wounded and bids farewell to his family; "The picket's off duty forever."
AUTHOR: Words: Ethel Lynn Beers/Music: Various
EARLIEST_DATE: 1863 (sheet music)
KEYWORDS: Civilwar death family separation
FOUND_IN: US
REFERENCES: (4 citations)
RJackson-19CPop, pp. 2-5, "All Quiet Along the Potomac" (1 text, 1 tune)
Silber-CivWar, pp. 66-67, "All Quiet Along the Potomac" (1 text, 1 tune)
Hill-CivWar, pp. 64-65, "The Picket-Guard" (1 text)
DT, ALLQUIET*
ST RJ19002 (Full)
Roud #6559
BROADSIDES:
LOCSinging, cw104620, "The Picket Guard", Johnson (Philadelphia), n.d.; also cw104610, cw104630, as110970, "[The] Picket Guard"; hc00006a, "Picket's Last Watch"
NOTES: In the early stages of the Civil War, when the southerners still held the south bank of the Potomac, the War Department issued regular bulletins on the status of the armies. The papers regularly printed these reports of "All quiet along the Potomac." One day, the report ran "All quiet along the Potomac. A picket shot." Hence this song.
Although several have claimed the authorship (the claim made by Lamar Fontaine was particularly well-known, and is quoted by H. M. Wharton in _War Songs and Poems of the Southern Confederacy_, p. 27), the poem is known to have been written by Mrs. Ethel Lynn Beers of New York in 1861. Several tunes have been offered, e.g. by John Hill Hewitt and W.H. Goodwin;  Ben Schwartz points out that broadside LOCSinging as110970 lists "Music Composed and Sung by D. A. Warren." Hewitt supplied the version for the 1863 sheet music (published with attribution of authorship), but Goodwin's tune appears to have survived best. - RBW
File: RJ19002
===
NAME: All Ragged and Dirty (Here I Stand All Ragged and Dirty)
DESCRIPTION: "Here I stand all ragged and dirty, If you don't come kiss me I'll run like a turkey." "Here I stand on two little chips, Pray, come kiss my sweet little lips." "Here I stand crooked like a horn, I ain't had no kiss since I've been born."
AUTHOR: unknown
EARLIEST_DATE: 1920 (Randolph)
KEYWORDS: courting playparty
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 573, "Here I Stand All Ragged and Dirty" (1 text)
Scarborough-NegroFS, p. 137, (no title) (1 fragment)
MHenry-Appalachians, p. 242, (no title) (1 fragment, beginning "Here I stand all black and dirty")
Roud #7663
File: R573
===
NAME: All Round My Hat: see All Around My Hat (File: K145)
===
NAME: All Round the Loney-O: see The Cruel Mother [Child 20] (File: C020)
===
NAME: All The Good Times Are Passed And Gone: see All The Good Times Are Past And Gone (File: R792)
===
NAME: All the Good Times Are Past and Gone
DESCRIPTION: "All the good times are past and gone, All the good times are o'er... Darling, don't you weep no more." Verses may concern almost any depressing topic, but often involve a lost love, and often the verse "I wish to the Lord I'd never been born...."
AUTHOR: unknown
EARLIEST_DATE: 1930 (recording, Ted & Gertrude Gossett)
KEYWORDS: love separation hardtimes
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 792, "All the Good Times are Past and Gone" (1 text, 1 tune)
DT, ALLGDTYM
Roud #7421
RECORDINGS:
Ted & Gertrude Gossett, "All the Good Times Are Passed and Gone" (Columbia 15596-D, 1930)
Monroe Brothers, "All The Good Times Are Passed And Gone" (Bluebird B-7191, 1936)
File: R792
===
NAME: All the Pretty Little Horses
DESCRIPTION: "Hush-a-bye, don't you cry, Go to sleep you little baby. When you wake, you shall have All the pretty little horses." The horses are described. Another verse describes a baby (lamb) left in a meadow at the mercy of the birds
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: lullaby animal horse
FOUND_IN: US(Ap,SE,So)
REFERENCES: (15 citations)
Randolph 269, "Black Sheep Lullaby" (2 short texts, both rather far removed from the usual form; 1 tune)
BrownIII 115, "Hush-a-Bye, Don't You Cry" (3 text plus mention of 1 more); also 
"Poor Little Lamb Cries Mammy" (3 short texts, perhaps related to the Randolph version)
Scarborough-NegroFS, pp.145-148, "Lullaby," (no title), "Go to Sleepy, Little Baby," "Got to Sleep, Little Baby," (no title), (no title), "Ole Cow," (no title) (8 texts, most short, 2 tunes); also probably pp. 148-149, "Baa-Baa Black Sheep" (1 short text, one tune, which is much like this piece except for the first line)
Sandburg, pp. 454-455, "Go To Sleepy" (1 text, 1 tune, in which the child is promised rewards upon waking -- but seemingly also threatened with the "booger man" if it won't sleep)
SharpAp 233, "Mammy Loves" (1 text, 1 tune)
Scott-BoA, pp. 204-205, "Hushabye (All the Pretty Little Horses)" (1 text, 1 tune)
Lomax-FSUSA 2, "All the Pretty Little Horses" (1 text, 1 tune)
Lomax-ABFS, pp. 304-305, "All the Pretty Little Horses" (1 text, 1 tune)
Lomax-FSNA 265, "Black Sheep" (1 text, 1 tune)
Ritchie-SingFam, pp. 217-218, "[Horsey Song]" (1 text, 1 tune, partly repeated on page 223)
Botkin-SoFolklr, p. 704, "You Shall Have a Horse to Ride" (1 text, 1 tune)
Pankake-PHCFSB, p. 224, "All the Pretty Little Horses" (1 text); also probably p. 235, "Go to Sleepy, Little Baby" (very short fragment)
Silber-FSWB, p. 407, "All The Pretty Little Horses" (1 text)
DT, ALLHORSE
Roud #6705
RECORDINGS:
Texas Gladden, "Whole Heap a Little Horses" (on LomaxCD1702)
Pete Seeger, "All the Pretty Little Horses" (on GrowOn2)
CROSS_REFERENCES:
cf. "The Lost Babe" (theme of young one at the mercy of birds)
File: LxU002
===
NAME: All Things Are Quite Silent
DESCRIPTION: The singer's lover is taken from their bed by a pressgang; she begs them to spare him but they refuse. She laments, remembering the joys of their life together, but says she will not be downcast, as someday he may return.
AUTHOR: unknown
EARLIEST_DATE: 1904
KEYWORDS: love separation lament sailor pressgang
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Vaughan Williams/Lloyd, p. 13, "All Things Are Quite Silent" (1 text, 1 tune)
DT, THNGSLNT*
Roud #2532
CROSS_REFERENCES:
cf. "The Lowlands of Holland" (theme)
NOTES: "...by [1835] the system of impressment had almost faded out, although it was never actually abolished by Act of Parliament." -- A. L. Lloyd
Lloyd reports this as the only known version of the song. - PJS
File: VWL013
===
NAME: All Through the Night (Ar Hyd Y Nos)
DESCRIPTION: "Sleep, my child, and peace attend thee, All through the night. Guardian angels God will send thee, All through the night." The singer watches over the child while the world sleeps. (The (dying?) child/lover is wished to heaven)
AUTHOR: unknown
EARLIEST_DATE: 1784 (Edward Jones, "Musical and Poetical Relicks of the Welsh Bards")
KEYWORDS: lullaby death love
FOUND_IN: Wales
REFERENCES: (3 citations)
Silber-FSWB, p. 410, "All Through the Night" (1 text)
Fuld-WFM, p. 410, "All Through the Night"
DT, THRUNITE* THRUNIT2*
RECORDINGS:
Shannon Four, "All Through the Night" (Victor 19413, 1924)
NOTES: That this song is originally Welsh is not doubted. The English translation is sometimes credited to Sir Harold Boulton, but Fuld notes that there is no standard English translation. The 1784 version in Jones is not by Boulton. - RBW
There seem to be several versions of the song with various plots. In one, the child -- or possibly a dead lover -- is mourned; another is a Christmas carol. - PJS
File: FDWB410B
===
NAME: All Together Like the Folks o' Shields
DESCRIPTION: "Tho' Tyneside coal an' furnace reek Hes made wor rive black eneuf, It's raised a breed o' men that's worth... mair than plack eneuf." The singer praises the people of Shields, who are firm and brave and true friends
AUTHOR: "Harry Haldane"
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: nonballad friend mining
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 174-176, "All Together Like the Folks o' Shields" (1 text, 1 tune)
Roud #3173
File: SoR174
===
NAME: All You That Are Unto Mirth Inclined (The Sinner's Redemption)
DESCRIPTION: "All you that are unto mirth inclined, Consider well and do bear in mind What our great God for us hath done In sending his beloved Son." The listeners are exhorted to praise God, live will, and imitate Jesus
AUTHOR: unknown
EARLIEST_DATE: 1822 (Gilbert)
KEYWORDS: Jesus religious carol
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
OBC 51, "The Sinner's Redemption" (1 text, 1 tune)
BBI, ZN112, "All you that are to mirth inclin'd"
Roud #2431
CROSS_REFERENCES:
cf. "Wexford Carol" (floating lyrics)
File: OBC051
===
NAME: All You That Love Good Fellows: see under The British Grenadiers (File: Log109)
===
NAME: Alla En El Rancho Grande (Down on the Big Ranch)
DESCRIPTION: Spanish: "Alla en el rancho grande, alla donda vivia, Habia una rancherita, que alegre me decia...." A rancherita on the singer's ranch tells him that she will make herself an outfit such as the ranchero wears
AUTHOR: Silvano R. Ramos
EARLIEST_DATE: 1927 (copyright)
KEYWORDS: foreignlanguage clothes nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 361-362, "Alla En El Rancho Grande" (1 text plus translation, 1 tune)
File: LxA361
===
NAME: Allan Water: see The Banks of Allan Water (File: DTalanwa)
===
NAME: Allanah Is Waiting for me: see Over the Mountain (I) (Allanah Is Waiting for Me) (File: R850A)
===
NAME: Allen, Larkin and O'Brien
DESCRIPTION: Irishmen John Allen, Gould, and Larkin are hanged November 23, at Manchester Gaol, for attacking a police van and shooting Constable Sergeant Brett. Their final farewells are described. The Marchioness of Queensbury sends 300 pounds to the families.
AUTHOR: unknown
EARLIEST_DATE: 1867 (Zimmermann)
KEYWORDS: execution homicide England lament political police
HISTORICAL_REFERENCES: Sep 18, 1867 - a Fenian band attacks a police van transferring two prisoners in Manchester, and a police officer is shot dead
Nov 24, 1867 - Three of the assailants are hanged (source: Zimmermann)
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 73, "A Lamentation on Allen, Larkin and O'Brien" (1 text)
BROADSIDES:
Bodleian, 2806 c.8(73)[some words illegible], "A Lamentation on Allen Larkin & O'Brien Who Was Executed at Manchester, on the 23rd of Nov. '67," unknown, 1867; also 2806 b.10(130), "A Lamentation on Allen, Larkin, and Goold, Who Were Executed at Manchester, on 23rd November, 1867"
CROSS_REFERENCES:
cf. "The Smashing of the Van (I)" (subject: The Manchester Martyrs)
cf. "The Manchester Martyrs" (subject: The Manchester Martyrs)
cf. "God Save Ireland" (subject: The Manchester Martyrs)
NOTES: For additional information about this tragic event, see the notes to "The Smashing of the Van (I)." - RBW
File: Zimm073
===
NAME: Alley-Alley-O, The: see A Big Ship Sailing (File: FSWB386A)
===
NAME: Alligator Song: see The Dummy Line (II) (File: ScNS139A)
===
NAME: Alligator Song (Railroad Song): see The Dummy Line (II) (File: ScNS139A)
===
NAME: Allison Gross [Child 35]
DESCRIPTION: Allison Gross, a hideous witch, takes the singer prisoner and tries to induce him to love her. When he refuses, she turns him to a worm (with other sundry curses). He is at last freed by an elven queen
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: magic witch shape-changing seduction curse
FOUND_IN: 
REFERENCES: (7 citations)
Child 35, "Allison Gross" (1 text)
Leach, pp. 128-131, "Alison Gross" (1 text, with a Danish (?) text for comparison)
OBB 12, "Alison Gross" (1 text)
PBB 17, "Allison Gross" (1 text)
DBuchan 5, "Allison Gross" (1 text)
DT 35, ALIGROSS
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #419, "Allison Gross" (1 text)
Roud #3212
CROSS_REFERENCES:
cf. "The Laily Worm and the Machrel of the Sea" [Child 36] (theme)
File: C035
===
NAME: Almost Done
DESCRIPTION: "Take these stripes from, stripes from 'round my shoulder (huh!) Take these chains, chains from 'round my leg." The singer tells how a girl courted him then betrayed him. Now he is in jail with no one to go his bail
AUTHOR: unknown
EARLIEST_DATE: 1936
KEYWORDS: courting prison trial punishment betrayal
FOUND_IN: 
REFERENCES: (2 citations)
Lomax-FSUSA 94, "Almost Done" (1 text, 1 tune)
Silber-FSWB, p. 68, "It's Almost Done (On a Monday)" (1 text)
Roud #10064
CROSS_REFERENCES:
cf. "The Roving Gambler (The Gambling Man)" [Laws H4] (floating lyrics)
ALTERNATE_TITLES:
On a Monday
NOTES: The Silber text begins "On a Monday I was arrested, on a Tuesday locked in jail." But it admits to being adapted by the Lomaxes, so this may be an added verse.
File: LxU094
===
NAME: Alone on the Shamrock Shore (Shamrock Shore III)
DESCRIPTION: The singer married a sailor/soldier and now wanders disowned by her parents, "Alone on the Shamrock shore" with her baby. Called to fight, her husband has a disagreement with his superior and is hanged/whipped.
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(158))
KEYWORDS: grief courting marriage warning war death baby wife sailor soldier  trial punishment abuse
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 418-419, "Alone on the Shamrock Shore" (1 text, 1 tune)
ST Pea418 (Partial)
Roud #9786
BROADSIDES:
Bodleian, Harding B 28(158), "Shamrock Shore" ("Come all you fair maidens draw nigh"), W. Armstrong (Liverpool), 1820-1824; also Harding B 28(154), "Shamrock Shore"; Harding B 11(2239), "New Shamrock Shore"; 2806 c.17(382), "Shamrack Shore"; Harding B 11(919), "Disdained Daughter of the Shamrock Shore"
ALTERNATE_TITLES:
Disdained Daughter of the Shamrock Shore
NOTES: The Bodleian broadsides "Shamrock Shore"/"Shamrack Shore"/"New Shamrock Shore" replaces the sailor by a soldier, the "trifle dispute with his captain" becomes a "small dispute with a serjeant" at Lifford and the war, if specified, is against "the bold rebels"; "Disdained Daughter..." retains the sailor, the war is with Spain and the incident is at Portsmouth [as in Peacock's version]; in all broadsides the hanging is a lashing, father's castle is a "snug neat little cottage...." Perhaps the "New" title indicates that the sailor version is the older. - BS
To add to the fun, the whole thing reminds me strongly of "The Gallant Hussar (A Damsel Possessed of Great Beauty)," though there don't seem to be many direct allusions. - RBW
File: Pea418
===
NAME: Along the Lowlands
DESCRIPTION: No plot; verses compare large and small ships, and sailing close and far from shore. Cho: "Now we sail along the lowlands, lowlands, lowlands. But soon we'll leave the peaceful shore and away from all the lowlands, we will roam the wondrous ocean o'er"
AUTHOR: unknown
EARLIEST_DATE: 1902 (S.B. Luce's _Naval Songs_)
KEYWORDS: sailor sea travel foc's'le nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 163-164, "Along the Lowlands" (1 text, 1 tune)
Roud #9142
File: Harl163
===
NAME: Along the Shores of Boularderie
DESCRIPTION: Those living here are named and described. For example, "Murdock Stewart ... Owns the wooden horse of Troy; It's the king of all the beasts, Sunny slios a'bhronachain"
AUTHOR: unknown
EARLIEST_DATE: 1951 (Creighton-Maritime)
KEYWORDS: moniker nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 187, "Along the Shores of Boularderie" (1 text, 1 tune)
Roud #2715
NOTES: Boulardie is on Cape Breton. Creighton-Maritime: "Slios a'bhronachain is a little place opposite Bras d'Or where they were given this name because of their fondness for gruel. The name means Gruel Side. Bhrochain is the proper spelling." - BS
File: CrMa187
===
NAME: Alonzo the Brave and Fair Imogene
DESCRIPTION: Alonzo, leaving for the wars in Palestine, bids Imogene be faithful, but another wins her hand. At the wedding, Alonzo's spectre, a rotting skeleton in armor, appears and bears Imogene away. (Four) times a year, the couple will appear at a ball and dance
AUTHOR: unknown
EARLIEST_DATE: 1930 (Flanders & Brown)
LONG_DESCRIPTION: Alonzo, leaving for the wars in Palestine, bids Imogene be faithful to him, but another wooer wins her hand. At the wedding, the spectre of Alonzo, a rotting skeleton clad in armor, appears and bears the false Imogene away, to the horror of all. It is said that three times a year the couple will appear at a ball and dance
KEYWORDS: love wedding promise war separation reunion betrayal corpse death supernatural lover soldier ghost marriage
FOUND_IN: US(MW) Canada(Newf)
REFERENCES: (2 citations)
Flanders/Brown, pp. 126-129, "Alonzo the Brave and The Fair Imogene" (1 text)
Peacock, pp. 380-381, "Alonzo the Brave and Fair Imogene" (1 text, 1 tune)
ST RcAtBaFI (Partial)
Roud #4433
RECORDINGS:
Warde Ford, "Alonzo the Brave and the Fair Imogene" (AFS 4195 B1, 1938; tr.; in AMMEM/Cowell)
Charles E. Walker(s), "Alonzo the Brave" [tr. only] (in AMMEM/Cowell)
BROADSIDES:
Bodleian, Harding B 5(45), "Alonzo the brave, and the fair Imogene," S. Carvalho (London), no date; also Harding B 11(43), "Alonzo the Brave and The Fair Imogine," unknown, no date; Harding B 11(44)=B 11(45), "Alonzo the Brave and The Fair Imogene," unknown, no date (a sort of a musical built around the poem, with various tunes suggested); Johnson Ballads 2876, "The Spectre Knight," unknown, no date (barely legible); Firth b.27 (530), "Alonzo the brave, and the fair Imogine," unknown, no date; 
CROSS_REFERENCES:
cf. "A Gentleman of Exeter (The Perjured Maid)" [Laws P32] (plot)
cf. "Susannah Clargy" [Laws P33] (plot)
cf. "The Ghost's Bride" (plot)
cf. "The Worms Crawl In" (lyrics)
ALTERNATE_TITLES:
The Maggoty Ghost
Irish Ghost Song
NOTES: [A text was] sent to [Flanders and Brown] by Mary A. Towne of Omaha, Nebraska, from the singing of her mother and grandmother, and as written out by her aunt, Agnes Trumbell Somers, who was born in Greenboro, Vermont in 1849. All of her family was from Vermont, although her grandmother's parents both came from near Glasgow, Scotland. "My aunt [sings] the sixteen stanzas of this song from memory now, and that her mother sang it to a cousin who called it The Maggoty Ghost." - AF
Peacock considers this to be an Irish song, although Irish versions seem rare. He may have a case; references to the Virgin seem to imply Catholic origin. But it may be simply that the song is based on an old chronicle.
The Bodleian web site lists this as by Eliza Buttery, but doesn't explain the attribution. _Granger's Index to Poetry_ gives the source as Matthew Gregory Lewis's _The Monk_.  It certainly looks literary. But I don't think we can list an author. - RBW
File: RcAtBaFI
===
NAME: Alonzo the Brave and The Fair Imogene: see Alonzo the Brave and Fair Imogene (File: RcAtBaFI)
===
NAME: Alouette (Lark) (II)
DESCRIPTION: French. I have plucked the tail, a thigh, two thighs, a wing, two wings, the back, the belly, le ventre, the neck, the head and the beak" Chorus: "En en plumant les dents, l'alouette et tout du long"
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage cumulative nonballad bird
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 2-3, "Alouette" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Alouette! (I)" (theme and structure)
ALTERNATE_TITLES:
J'ai Plume li Bec de Mon Alouette
NOTES: Told from the canonical "Alouette" apparently by the different chorus. - RBW
File: Pea002
===
NAME: Alouette! (I)
DESCRIPTION: French: "Alouette, gentille Alouette, Alouette, je t'y plumerai." Cumulative: "Je t'y plumerai la tet, le bec, le nez, les yeux, le cou, les ail's, le dos, les patt's, la queue," meaning, "Skylark, I will pluck your head, beak, nose, eyes, neck, etc."
AUTHOR: unknown
EARLIEST_DATE: 1879 (McGill College songbook)
KEYWORDS: cumulative bird foreignlanguage
FOUND_IN: Canada(Que) France
REFERENCES: (4 citations)
Fowke/Johnston, pp. 118-119, "Alouette!" (1 text, 1 tune)
Fowke/MacMillan 39, "Alouette" (1 text, 1 tune)
Silber-FSWB, p. 389, "Alouette" (1 text)
Fuld-WFM, p. 95, "Alouette"
CROSS_REFERENCES:
cf. "The Red Herring" (theme)
cf. "Alouette (Lark) (II)" (theme and structure)
SAME_TUNE:
Suffocation (Pankake-PHCFSB, p. 125)
NOTES: Fuld reports a claim that this was a work song used while plucking birds. I'll believe it when I see evidence. - RBW
File: FJ118
===
NAME: Alphabet of the Ship: see The Sailor's Alphabet (File: RcTSAlp)
===
NAME: Alphabet Song (I)
DESCRIPTION: "'A' was an apple which growed on a tree ... And 'Z' was a zebra just come from the race" in rhyming couplets
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: nonballad animal bird
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 4-5, "Alphabet Song" (1 text, 2 tunes)
Roud #159
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
File: Pea004
===
NAME: Alphabet Song (II), The: see The Bawdy Alphabet; also The Logger's Alphabet, The Sailor's Alphabet, etc. (File: RL616)
===
NAME: Alphabet Song (III), The: see The Logger's Alphabet (File: Doe207)
===
NAME: Alphabet Song (IV): see The Sailor's Alphabet (File: RcTSAlp)
===
NAME: Alphabet Songs
DESCRIPTION: A song listing the letters of the alphabet. It may have a chorus, but the letters are simply listed, with no mnemonics. Some distinguish vowels and consonants.
AUTHOR: unknown
EARLIEST_DATE: 1939 (Randolph)
KEYWORDS: nonballad wordplay
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 873, "The Alphabet Song" (6 texts, 6 tunes, but the "E" and "F" texts are "The Vowels")
Roud #3303
RECORDINGS:
May Kennedy McCord, "The Singing Alphabet" (AFS; on LC12)
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
cf. "The Vowels"
cf. "Mother, May I Go to Swim" (floating lyrics)
NOTES: There are probably dozens of alphabet songs, and no attempt is made to distinguish them here. Note that these are not the same as the various interpreted alphabets (Logger's Alphabet, Sailor's Alphabet, Bawdy Alphabet, etc.)
Portions of these songs not containing the alphabet may be interesting; Randolph's "A" text begins with the floating lyric, "Mother, may I go out to swim? Yes, my darling daughter. Hang your clothes on a hickory limb But don't go near the water." - RBW
The Randolph "A" floating verse is the same as one of the Opie-Oxford2 360, "Mother may I go and bathe?" texts (earliest date in Opie-Oxford2 is 1951 with a reference to "Indiana in the 1890's"). - BS
The Baring-Goulds (for whom this item is #879, p. 327) quote Ditchfield to the effect that this goes back to the sixth century writer Hierocles. The joke may be the same, but I strongly doubt literary dependence. - RBW
The McCord recording is the one Randolph cited. - PJS
File: R873
===
NAME: Altimover Stream: see The Lurgy Stream (The Lurgan/Leargaidh Stream) (File: HHH229)
===
NAME: Altoona Freight Wreck, The: see The Wreck of the 1262 (The Freight Wreck at Altoona) (File: DTwrck12)
===
NAME: Am I Born to Die? (Idumea)
DESCRIPTION: "And am I born to die, To lay this body down, And must my trembling spirit fly Into a world unknown?" "Waked by the trumpet sound, I from my grave shall rise, To see the Judge with glory crowned..." "I must from God be driv'n, Or with my Savior dwell...."
AUTHOR: Words: Charles Wesley / Music: Ananias Davidson?
EARLIEST_DATE: 1753
KEYWORDS: religious death nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 125, "Am I Born to Die?" (1 text, 1 tune)
Roud #6678
RECORDINGS:
Singers from Stewart's Chapel, Houston, MS, "World Unknown"; "Iduimea" (on Fasola1)
CROSS_REFERENCES:
cf. "World Unknown" (tune)
SAME_TUNE:
When Sorrows Encompass Me 'Round (File: Wa094)
NOTES: Lomax compares the tune to "Lord Lovel." It appears in the shape note books as "Idumea" (the Sacred Harp has a second tune, "World Unknown," listed as by H. S. Reese, but this doesn't seem to be well known). That the tune "Idumea" is traditional cannot be denied. There is more doubt about the words.
In the Missouri Harmony, the tune Idumea has the lyric "My God, my life, my love, To thee, to thee I call; I cannot live, if thou remove, For thou art all in all." - RBW
File: LoF125
===
NAME: Am I the Doctor?: see A Rich Irish Lady (The Fair Damsel from London; Sally and Billy; The Sailor from Dover; Pretty Sally; etc.) [Laws P9]; also "The Brown Girl" [Child 295] (File: LP09)
===
NAME: Amasee
DESCRIPTION: Playparty: "Take your partner down the line, Amasee, Amasee, Take your partner down the line, Amasee, Amasee, Swing your partner, swing again, Amasee, Amasee...."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, children of Brown's Chapel School)
KEYWORDS: playparty nonballad dancing
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, p. 155, "Amasee" (1 text, 1 tune)
Roud #11010
RECORDINGS:
Children of Brown's Chapel School, "Amasee" (on NFMAla6, RingGames, FMUSA)
NOTES: I suppose the chorus line "Amasee" could have been suggested by the Biblical character "Amasa" -- but I rather doubt it. - RBW
So do I. Courlander interprets the word as a shortened, "I must see," but my ears don't quite hear that. "I'm 'a see," maybe, short for "I'm gonna see"? - PJS
File: CNFM155A
===
NAME: Amazing Grace
DESCRIPTION: "Amazing grace, how sweet the sound That saved a wretch like me." The singer describes how Jesus's grace gives him/her the confidence to face all the dangers and troubles of life.
AUTHOR: Words: John Newton (1725-1807)
EARLIEST_DATE: 1789 (reportedly composed) or 1831 (printed in Virginia Harmony)
KEYWORDS: religious nonballad
FOUND_IN: US(Ap,SE,So)
REFERENCES: (7 citations)
Ritchie-Southern, p. 45, "Amazing Grace" (1 text, 1 tune)
Lomax-FSUSA 96, "Amazing Grace" (1 text, 1 tune)
Lomax-ABFS, pp. 573-574, "Amazing Grace" (1 text, 1 tune)
Darling-NAS, pp. 261-262, "Amazing Grace" (1 text)
Silber-FSWB, p. 369, "Amazing Grace" (1 text)
DT, AMAZGRAC*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp. 48-49, "Amazing Grace" (1 text, 1 tune)
Roud #5430
RECORDINGS:
Howard Adams & congregation, "Amazing Grace" (on LomaxCD1704)
Jesse Allison & group, "Amazing Grace" (AAFS 2684 A1)
Horton Barker, "Amazing Grace" (on Barker01)
Mr. & Mrs. N. V. Braley, "Amazing Grace" (AAFS 2638 A2)
Rev. J. C. Burnett, "Amazing Grace" (Decca 7494, 1938)
Congregation of the Little Zion Church, Jeff, KY "Amazing Grace" (on Ritchie03)
Congregation of the New Hope Baptist Church, "Amazing Grace" (AAFS 3042 A2)
Old Regular Baptist Church congregation, "Amazing Grace" (on MMOK, MMOKCD)
C. J. Evans Gospel Choir of Nicey Grove Baptist Church, "Amazing Grace" (on HandMeDown2)
Bill & Pauline Garland, Charlie Black & Marie Bennett, "Amazing Grace" (AAFS 3941 A1)
Mrs. Henry Garrett, "Amazing Grace" (AAFS 3175 A3)
Rev. J. M. Gates, "Amazing Grace" (Pathe Actuelle 7514/Perfect 114, 1926) (Victor 20216, 1926) (Herwin 92003, 1926; Gennett 6013/Champion 15199/Black Patti 8015/Silvertone 5021, 1927; Paramount 12782, 1929; all rec. 1926)
Rev. J. R. Gipson, "Amazing Grace" (AAFS 3981 A1)
Harmonizing Four, "Amazing Grace" (Gotham G779, rec. early 1950s)
Old Harp Singers of Eastern Tennessee, "Amazing Grace" (on OldHarp01)
Horace Helms & the Shady Grove Partners, "Amazing Grace" (on HandMeDown2)
Mahalia Jackson, "Amazing Grace" (Apollo 194, rec. 1947; on Babylon)
Aunt Molly Jackson, "Amazing Grace" (AAFS 821 B2, 1935)
Buell Kazee, "Amazing Grace" [fragment] (on Kazee01)
Vera Kilgore, "Amazing Grace" (AAFS 2939 B4)
Mrs. W. L. Martin, "Amazing Grace" (AAFS 2748 B1/2)
Lucy McKeever, Annie Harvey, Melinda Jones, Mary Davis & Elsi Martin, "Amazing Grace" (AAFS 917 B2)
Blind Willie McTell, "Amazing Grace" (AAFS 4071 B3)
Gilbert Pike, "Amazing Grace" (AAFS 3189 B6)
Pilgrim Travelers, "Amazing Grace" (Specialty 847, n.d. but probably post-World War II)
Jean Ritchie, Doc Watson & Roger Sprung, "Amazing Grace" (on RitchieWatson1, RitchiteWatsonCD1)
School group, "Amazing Grace" (AAFS 3109 B)
Pete Seeger, "Amazing Grace" (on PeteSeeger47)
Mary Shipp, "Amazing Grace" (AAFS 3005 A1)
Carl Smith w. Carter Sisters & Mother Maybelle, "Amazing Grace" (Columbia 20986, 1952)
Students at Pine Mt. Settlement School, "Amazing Grace" (AAFS 1383 B1)
Rev. H. R. Tomlin, "Amazing Grace" (OKeh 8378, 1926)
Mr. & Mrs. Richard Walker & Grover Bishop, "Amazing Grace" (AAFS 3104 A2)
Doc Watson, Clarence Ashley, Clint Howard, Fred Price & Jean Ritchie, "Amazing Grace" (on Ashley03, WatsonAshley01)
Wisdom Sisters, "Amazing Grace" (Columbia 15093-D, 1926)
Group of young and old people, "Amazing Grace" (on JThomas01)
SAME_TUNE:
The Frenchman's Cow (Pankake-PHCFSB, p. 59)
NOTES: As with many hymns, the threads [of this song's history] are a bit tangled. It's called "New Britain" in the "Original Sacred Harp" (1971 ed.), and this tune is the one commonly sung. No composer is listed for the tune, and a note states that the song was published in "Olney's Selections" as "Faith's Review and Expectation."
The lyrics also appear with a tune by R. F. Mann from 1869, under the title "Jewett," with the chorus "Shout, shout for glory/Shout, shout aloud for glory/Brother, sister, mourner/All shout glory hallelujah." - PJS
John Newton, according to Johnson, lost his mother at age seven and soon found himself serving his father on shipboard. Taken into the navy, he deserted, was recaptured, and finally ended up serving on a slaver. Then he read _The Imitation of Christ_, and gave up his career, eventually becoming an Anglican clergyman.
His major relic is the texts he contributed to _Olney Hymns_; there are nearly 300 of them, of which this one is by far the most popular. Other Newton sons in the Index are "Greenfields (How Tedious and Tasteless the Hours)" and "Glorious Thing of Thee are Spoken." - RBW
File: LxU096
===
NAME: Amber Tresses Tied in Blue
DESCRIPTION: "Far away in sunny meadows Where the merry sunbeams played... She was fairer than the fairest... And about her neck were hanging Amber tresses tied in blue." But "it was decreed that fate should part us"; now he sadly remembers her
AUTHOR: Words: Samuel M. Mitchell/Music: H.P. Banks
EARLIEST_DATE: 1874 (published by Cottier & Denton)
KEYWORDS: love separation
FOUND_IN: US(SE,So)
REFERENCES: (1 citation)
Randolph 804, "Amber Tresses Tied in Blue" (1 text)
Roud #4230
RECORDINGS:
Carter Family, "Amber Tresses"  (Victor 23701, 1932; Bluebird B-5185, 1933; Zonophone [Australia] 4379, n.d.)
Isabel Etheridge & Mary Basnight, "Amber Tresses" (on OBanks1)
File: R804
===
NAME: Ambletown
DESCRIPTION: A sailor receives a letter, telling him that his child has been born. He reports that it's "home I want to be" (to see the child and learn its gender), and intends to take ship there at the first opportunity
AUTHOR: unknown
EARLIEST_DATE: 1948 (Shay)
KEYWORDS: children family sailor separation home
FOUND_IN: 
REFERENCES: (4 citations)
Hugill, p. 499, "Home, Dearie, Home" (1 text, 1 tune, in which the sailor's wife, rather than sending a letter, comes to him in a dream) [AbrEd, pp. 366] 
Shay-SeaSongs, pp. 144-145, "Home, Dearie, Home" (1 text plus a stanza of Henley's adaption and an alternate chorus, plus a text of "Bell-Bottom Trousers," 1 tune)
Silber-FSWB, p. 91, "Home, Boys, Home" (1 text)
DT 319, AMBLTOWN
ST LK43A (Full)
Roud #269
RECORDINGS:
Jumbo Brightwell, "The Oak and the Ash" (on Voice02)
BROADSIDES:
NLScotland, RB.m.143(127), "Home, Dearie, Home," Poet's Box (Dundee), unknown (with this chorus, though the nearly-illegible text does not appear to match this song; it appears to be a rewrite of this piece)
CROSS_REFERENCES:
cf. "Rosemary Lane" [Laws K43]
cf. "A North Country Maid"
ALTERNATE_TITLES:
Home, Dearie, Home
Oak and the Ash, The
NOTES: For the complex relationship between this song, "A North Country Maid," and "Rosemary Lane" [Laws K43], see the notes to the latter song. - RBW
I put [the Silber text] in with Ambletown rather than Rosemary Lane because the only narrative verses describe the sailor's longing to be "sitting in my parlor and talking to my dear" and thinking of the "pretty little babe that has never seen its daddy." No explicit seduction -- which places it in the Ambletown ambit, so to speak. - PJS
File: LK43A
===
NAME: America (My Country 'Tis of Thee)
DESCRIPTION: A praise to the liberty and freedom offered in America. Throw in a brief description of the geography, a bit of praise for God, and a hint of ancestor worship, add the tune of "God Save the King," and you get America's other anthem
AUTHOR: Samuel Francis Smith
EARLIEST_DATE: 1831 (first recorded performance, though Smith later thought he wrote it in 1832, when it was first published)
KEYWORDS: patriotic America nonballad religious derivative
FOUND_IN: US
REFERENCES: (5 citations)
RJackson-19CPop, pp. 6-9, "America, My Country 'Tis of Thee" (1 text, 1 tune, from an 1861 edition)
Fuld-WFM, pp. 249-251, "God Save the King" (includes notes on "America")
Krythe 4, pp. 62-73, "America" (1 text, 1 tune)
DSB2, p. 53, "America" (1 text)
DT, AMERTIS*
CROSS_REFERENCES:
cf. "God Save the King" (tune) and references there
SAME_TUNE:
New National Anthem (Saffel-CowboyP, p. 221)
NOTES: According to Spaeth (_A History of Popular Music in America_, p. 69), S. F. Smith discovered the tune of "Heil Dir in Siegerkranz" in a book lent to him by Lowell Mason, and dashed off his words not knowing that "God Save the King" was to the same tune. Mason would direct the first public performance.
Smith would late write, "If I had anticipated the future of it, doubtless I would have taken more pains with it." - RBW
File: RJ19006
===
NAME: America, the Beautiful
DESCRIPTION: In praise of America, productive and fertile "from sea to shining sea." God is begged to care for and improve the nation.
AUTHOR: Words: Katherine Lee Bates/Music: Samuel A. Ward
EARLIEST_DATE: 1895 ("Congregationalist")
KEYWORDS: America patriotic religious nonballad
FOUND_IN: US
REFERENCES: (3 citations)
Krythe 12, pp. 177-184, "America the Beautiful" (1 text, 1 tune)
Silber-FSWB, p. 46, "America the Beautiful" (1 text)
Fuld-WFM, pp. 96-97, "America the Beautiful"
RECORDINGS:
Pete Seeger, "America the Beautiful" (on PeteSeeger31)
Pete Seeger w. Robert DeCormier, "America the Beautiful" (on HootenannyTonight)
NOTES: An article in the October 2004 issue of _American History_ magazine reveals a complex history for this song, with, in a sense, both the words and music coming first.
Katherine Lee Bates (1859-1929) in 1893 was a professor of English heading for Colorado. She made several stops along the way: first at Niagara Falls, then at the World Columbian Exhibition in Chicago (where new shining-white buildings made her think of "alabaster cities"), then at Pikes Peak. She started on a rough draft then and there, and after polishing it a little, sent it to _The Congregationist_, which published the poem in its July 4, 1895 edition.
The result doesn't strike me as particularly good, even if you like the common version: "O beautiful for halcyon skies, For amber waves of grain, For purple mountain majesties Above the enameled plain! America! America! God shed his grace on thee Till souls wax fair as earth and air And music-hearted sea!"
Nonetheless, the poem was a hit, and reportedly inspired no fewer than 75 musical settings. But it wasn't until 1905 that Clarence A. Barbour managed to fit it to Samuel A. Ward's 1890 tune "Materna."
That process seemes to inspire Bates; she revised her poem once in 1904, and produced the final, quasi-canonical version in 1911. - RBW
File: Kry012
===
NAME: American Aginora, The
DESCRIPTION: A ship from Limerick to St John's is disabled. Two men drown. The food is lost. The captain has those without wives cast lots. The lot falls to O'Brien; the cook is forced to cut his throat. They drink O'Brien's blood. The next day they are rescued.
AUTHOR: unknown
EARLIEST_DATE: 1946 (Ranson); 19C (broadside, Bodleian Harding B 17(172a))
KEYWORDS: drowning sea ship storm wreck sailor rescue cannibalism starvation husband
HISTORICAL_REFERENCES: Dec 18, 1835 -  Patrick O'Brien is killed on Francis Spaight
Dec 23, 1835 - The crew is rescued by Agenora. (See Notes)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 38-39, "The American Aginora" (1 text, 1 tune)
Roud #7352
BROADSIDES:
Bodleian, Firth c.12(98), "Loss of the Ship Francis Spede, Dreadful Sufferings of the Crew ("You landsmen and you seamen bold "), J. Scott (Pittenweem), 19C; also Harding B 17(172a), "The Loss of the Francis Spaight"
CROSS_REFERENCES:
cf. "The Ship in Distress" (plot) and references there
cf. "The Banks of Newfoundland" (II) (plot)
NOTES: The plot is that of "The Banks of Newfoundland" (II) with the rescue too late to save the lottery loser. Note that the _Aginora_ is the rescue ship. As in "The Banks of Newfoundland," the ship planning/practicing human sacrifice is not named.
There are a number of references for the event:
Bourke in _Shipwrecks of the Irish Coast_ v3, p. 123, is writing about songs and ballads, including Ranson, as sources for his information: "The story of the Francis Spaight on 22 November, ... year unknown before 1836, describes cannibalism of the cabin boy Patrick O'Brien and eventual rescue of fourteen of the eighteen survivors by Captain Tillard.."
Northern Shipwrecks Database has the date as November 1836, has "Francis Spaight" sailing from Saint John, New Brunswick, bound to Limerick, Ireland, and the rescuer as "Angeronia." The Bodleian broadsides have the rescue ship as "The Agonary of America."
_Death of a Cabin Boy_ on the Askeaton Step Back in Time site: "Few Limerick people today will have heard of Patrick O'Brien. His name has not entered any of our major works of local history. There is not even a plaque or stone to his memory."
The story is told about O'Brien, about the disaster on December 3, and finally of the decision by the captain, Thomas Gorman, "that one of the crew should be killed to keep the rest alive." After O'Brien was killed "three other crew members were similarly put to death ... and they too were eaten by their ship mates.... The captain of the _Francis Spaight_ was engaged in eating the liver and brains of his cabin boy when rescued. After their return to Limerick, the captain and crew were tried for murder and acquitted... rendered [by their ordeal] ... unable to labour ... during the rest of their lives."
The Immigrant Ships Transcribers Guild site has an expurgated text of Captain Gorman's letter to the ship's owner, naming the rescue ship as _Agorona_ and its captain as Jillard. As to the storm, the site, quoting Limerick Times notes "On a reference to Lloyd's List we find that twenty vessels are reported as having foundered on the same night."
The Jack London Ranch Album site has the complete text of _The "Francis Spaight" A True Tale Retold_ by Jack London, a short story from "When God Laughs and Other Stories" (Macmillan, 1911). London's story is closer to the ballad than to the reports. - BS
File: Ran038
===
NAME: American and Irish Privateer, The: see The French Privateer (File: HHH560)
===
NAME: American Boys: see The Dying British Sergeant (File: Wa010)
===
NAME: American Stranger (I): see The Green Mossy Banks of the Lea [Laws O15] (File: LO15)
===
NAME: American Stranger (II), The: see When First Into this Country (File: SWMS195)
===
NAME: American Volunteer, The
DESCRIPTION: "Hark, hark, hear that yell, tis the war whoop's dread sound." Indians attack and set a cottage on fire. Our Hero pursues, finds an Indian whose weapon was broken, kills him (?), attacks the Indian band, and rides away to the thanks of the community
AUTHOR: unknown
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: Indians(Am.) revenge family fire
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 93, "The American Volunteer" (1 text)
ST GC093 (Partial)
Roud #3696
NOTES: This looks very much like a defective memory of a historical broadside (though one suspects the original of magnifying both the Indians' villainy and the hero's bravery). But the text as it stands contains neither a single proper name (of a person or a place) nor a single date, making it quite untraceable. - RBW
File: GC093
===
NAME: American Woods [Laws M36]
DESCRIPTION: William is forced into the army by the parents of his sweetheart. In America he is murdered by Indians. His ghost appears to his sweetheart in Scotland, saying he will wander until she joins him. Within a week she too is dead
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: Indians(Am.) army ghost death
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Laws M36, "American Woods"
Creighton-NovaScotia 99, "American Woods" (1 text, 1 tune)
DT 588, AMERWOOD
Roud #1809
File: LM36
===
NAME: Amhrainin Siodraimin
DESCRIPTION: Gaelic. Martin, a fuller from Bandon, owned a ship. The women "went wild all around him" but Molly and her mother kept after him until "they had poor Martin hooked." Now "he has his troubles; two women at his fireside and a cot in the corner"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: foreignlanguage courting humorous mother
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 58-59, "Amhrainin Siodraimin" (1 text, 1 tune)
NOTES: OCanainn: "The chorus [and title] is well nigh untranslatable ... just providing syllables for each beat of the jig rhythm.
The description is based on the OCanainn translation.
"Fulling ... produces a warm, resistant cloth, quality notwithstanding.... [F]ullers join the ranks of the wealthy artisans and guilds in the fourteenth century, by which time it can only signify someone responsible for, or with a controlling interest in, the mill itself." (source: Michael Gervers, _The textile industry in Essex in the late 12th and 13th centuries: A study based on occupational names in charter sources_ , University of Toronto site). 
Bandon is up the Bandon River from Cork.- BS
File: OCan058
===
NAME: Amnesty Meeting in Tipperary, The
DESCRIPTION: "Tipperary to give you your merit Your meeting exceeded them all." At noon on October 24 the towns and trades marched through the streets supporting amnesty for the Fenian exiles. Fathers Barry and O'Connell and a young man on a charger led the legions
AUTHOR: unknown
EARLIEST_DATE: 19C (broadside, LOCSinging as100270)
KEYWORDS: exile Ireland political clergy
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann, p. 70, "A New Song on the Amnesty Meeting in Tipperary" (1 fragment)
BROADSIDES:
Bodleian, 2806 b.9(50), "A New Song On The Amesty[sic] Meeting in Tipperary," P. Brereton (Dublin), c.1867
LOCSinging, as100270, "A New Song On The Amesty[sic] Meeting in Tipperary," P. Brereton (Dublin), 19C 
NOTES: Zimmermann p. 70 is a fragment; broadside LOCSinging as100270 is the basis for the description.
Broadsides LOCSinging as100270 and Bodleian 2806 b.9(50) are duplicates.
The broadside does not say what year this is. The Bodleian assignment of c.1867 is their standby for Brereton broadsides no matter how the internal evidence stacks up. It is probably a Sunday. It is certainly after 1867 since it cites the deaths of Allen, O'Brien and Larkin (see references for "The Smashing of the Van (I)"). P. Brereton was apparently a Dublin printer in the 1860s and 1870s (the address for this broadside is 1 Lower Exchange Street). The only Sunday, October 24ths in that period are in 1869 and 1875.
While 1869 is likely -- this is only two weeks after the amnesty meeting in Dublin (see references for "The Glorious Meeting of Dublin") and three weeks after earlier activity for amnesty in Youghal -- the emphasis and leaders seem different. Earlier in October 1869 the emphasis was for amnesty for the Fenian prisoners eventually exiled in 1871; here the amnesty requested is that unnamed exiles -- and there are exiles from long before 1869 (see, for example, references for "By the Hush") -- be allowed to return.
Fathers Barry and O'Connor seem local to the Galtees mountains, Glen of Aherlow, and southern Tipperary towns. The amnesty movement leaders are not named; on the other hand, the array of trades and towns repeats the Dublin 1869 approach. Unless someone can find a reference I would list the date on this as "uncertain." - BS
File: BrdAmnTi
===
NAME: Among the Blue Flowers and the Yellow: see Willie's Lyke-Wake [Child 25] (File: C025)
===
NAME: Among the Green Bushes in Sweet Tyrone
DESCRIPTION: The singer asks if there is anyone who does not thrill with memories of a childhood home. He declares, "Darling Tyrone, I will love you till death." He describes how he dreams of the old boreen. Even if he never returns, he will always think of Tyrone
AUTHOR: unknown
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H708, p. 178, "Among the Green Bushes [in Sweet Tyrone]" (1 text, 1 tune)
Roud #13534
File: HHH708
===
NAME: Among the Heather: see Heather Down the Moor (Among the Heather; Down the Moor) (File: HHH177)
===
NAME: Among the Little White Daisies
DESCRIPTION: "(Gynna) is her first name, first name, first name, (Glynna) is her first name, Among the little white daisies." Ritchie version gives the first and second names of husband and wife, then tells of their marriage, children, and perhaps death
AUTHOR: unknown
EARLIEST_DATE: 1965 (Ritchie-Southern)
KEYWORDS: playparty courting death
FOUND_IN: 
REFERENCES: (1 citation)
Ritchie-Southern, p. 34, "Among the Little White Daisies" (1 text, 1 tune)
Roud #7401
File: RitS034
===
NAME: Amsterdam: see A-Rovin' (File: EM064)
===
NAME: Amsterdam Maid, The: see A-Rovin' (File: EM064)
===
NAME: Amy and Edward: see Edwin (Edmund, Edward) in the Lowlands Low [Laws M34] (File: LM34)
===
NAME: An "Croppy Lie Down" (The "Croppy Lie Down")
DESCRIPTION: Gaelic. When Spain and France come the English will be defeated and we won't have to listen to the "Croppy Lie Down." Bonaparte has promised to drive out the enemy; then the women can sing the "Croppy Lie Down"
AUTHOR: unknown
EARLIEST_DATE: 1978 (Toibin's _Duanaire Deiseach_, according to Moylan)
KEYWORDS: foreignlanguage rebellion Ireland patriotic Napoleon
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 78, "An 'Croppy Lie Down'" (1 text, 1 tune)
NOTES: The description is from the summary in the Moylan's notes. 
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Eamon O Broithe, "An 'Croppy Lie Down'" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes) - BS
File: Moyl078
===
NAME: An Binnsin Luchra (The Little Bench [or Bunch] of Rushes)
DESCRIPTION: Irish Gaelic: Singer, going to the water-meadow, meets a girl who has cut rushes. He bids her join him in the forest. She reproaches him; he'd promised a home and fine clothing, "all in payment for the bench of roses and the trouble I had over it"
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 11(393))
KEYWORDS: courting sex promise betrayal foreignlanguage
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
Fowke/MacMillan 64, "The Bonny Bunch of Rushes Green" (1 text, 1 tune)
Creighton-SNewBrunswick 22, "Bonny Bunch of Rushes Green" (1 fragment, 1 tune)
ST RcABLtlb (Full)
Roud #3380
RECORDINGS:
Philip McDermott, "The Reaping of the Rushes Green" (on Voice18, IRHardySons)
Maire O'Sullivan, "An Binnsin Luchra (The Little Bench [or Bunch] of Rushes)" [fragment] (on Lomax42, LomaxCD1742)
BROADSIDES:
Bodleian, Harding B 11(393), "Rushes Green," W. Armstrong (Liverpool), 1820-1824; also Harding B 11(3369), 2806 c.17(371), "Rushes Green"
NOTES: Fowke/MacMillan notes to 64: "This is an English version of the widely known Irish Gaelic song ... In JFSS III 17 Lucy Broadwood gives a version from Waterford, Ireland, with alternate English and Gaelic stanzas." Fowke/MacMillan includes the "Arabian Queen" reference that ties it to Creighton-SNewBrunswick.
Broadside Bodleian Harding B 11(393), which is in English, is -- like Fowke/MacMillan -- just about seduction; it refers to "any queen" rather than "Arabian queen" and shares the reference to hunting dogs and singing birds with Fowke/MacMillan. -BS
File: RcABLtlb
===
NAME: An Bunnan Buidhe: see An Buinnean Bui (File: HHH830)
===
NAME: An Cailin Aerach (The Airy/Light-Hearted Girl)
DESCRIPTION: Irish Gaelic: Singer comes home with the airy girl "tired and weakened." He apologizes to her; woman of the house comes down in a fury and banishes the girl. He sings the girl's praises, and warns the girls of the neighborhood not to keep his company
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Maire O'Sullivan)
KEYWORDS: foreignlanguage jealousy infidelity accusation warning lover
FOUND_IN: Ireland
REFERENCES: (0 citations)
RECORDINGS:
Maire O'Sullivan, "An Cailin Aerach (The Airy [Light-Hearted] Girl)" [incomplete] (on Lomax42, LomaxCD1742)
NOTES: [Lomax's] plot descriptions are frustratingly vague; the "woman of the house" is described by Lomax as the man's sweetheart, but she sounds more like a wife. And what is he apologizing for, that left the girl "tired and weakened"? - PJS
File: RcACAtag
===
NAME: An Eos Whek: see Well Met, Pretty Maid (The Sweet Nightingale) (File: K089)
===
NAME: An Wedhen War An Vre (The Tree on the Hill): see The Rattling Bog (File: ShH98)
===
NAME: Ananias
DESCRIPTION: 'Ananias was a-laying in his bed (x3), When a knocking came at the door." Ananias asks who it is, "And he Lord he say, 'hit's me.'" The Lord asks the location of Ananias's religion, then tells Ananias to "lay down your rheumatism." He does
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: religious healing
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 520, "Ananias" (2 texts, perhaps of the same original)
Roud #11815
NOTES: There are Biblical themes all over this piece, but as given it, it is not Biblical. There are two Ananiases (Hananiahs) in the New Testament: The husband of Sapphira, who dropped dead after cheating the Church (Acts 5:1-11) and the Damascene Christian who opened Paul's eyes (Acts 9:10-19). Neither of these is known to have been crippled.
(There is also a high priest Ananias in Acts 23:2, 24:1, but he's clearly not the one involved.)
There are, of course, Biblical accounts of cripples being made to walk (e.g. Mark 2:1-12); since they generally aren't named, it is possible that tradition assigned the name "Ananias" to one of them. But the details of this account don't match any Biblical healing I can recall. - RBW
File: Br3520
===
NAME: Anchor's Aweigh, The
DESCRIPTION: "Oh, the anchor's aweigh, the anchor's aweigh, Fare you well, fare you well, my own true love. At last we parted on the shore, As the tears rolled gently from her eyes. 'Must you go leave me now,' she did say, 'That I face this all alone?'"
AUTHOR: unknown
EARLIEST_DATE: before 1860 (NLScotland broadsides)
KEYWORDS: sailor parting
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Doerflinger, p. 166, "The Anchor's Aweigh" (1 text, 1 tune)
Roud #9445
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(056), "Annie Laurie," James Lindsay (Glasgow), 1852-1859; also L.C.Fol.178.A.2(062), "Annie Laurie," James Lindsay (Glasgow) [despite both being by Lindsay, and using the same woodcut, they are not the same broadside]
NOTES: This should not be confused with the popular piece "Anchors Aweigh" (usually credited to Alfred H. Miles and Charles H. Zimmerman).
According to A. M. Kramer, "Salty Sea Songs and Shantys," the words to this piece are by S. J. Arnold and the music by "Braham." Doerflinger's note seems to imply that he doubts this. - RBW
File: Doe166a
===
NAME: Anchors Aweigh, Love: see As I Roved Out (I) (Tarry Trousers II) (File: LoF014)
===
NAME: Ancient Riddle, An
DESCRIPTION: "Adam God made out of dust, But thought it best to make me fust...." "My body God did make complete But without arms or legs or feet...." "Now when these lines you slowly read, Go search your Bible with all speed, For that my name's recorded there."
AUTHOR: unknown
EARLIEST_DATE: 1853 (Journal from the Smyrna)
KEYWORDS: riddle nonballad whale
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 282-285, "An Ancient Riddle" (1 text, 1 tune)
Roud #2079
NOTES: Huntington's version of this riddle is ten stanzas long, although nearly all the useful information is quoted in the description above. (The one other useful fact is that "to fallen men I give great light," referring to the light given by burning oil.) The rest is theological discussion. The answer is a whale or whales.
Ironically, whales are not really mentioned in the Bible. The King James version uses the word "whale" three times in the Old Testament (Genesis 1:21, Job 7:12, Ezek. 32:2), but the modern versions translate this more correctly as "sea monster."
Thus the only correct instance of the word "whale" in the English Bible is in Matthew 12:40. The Greek word does refer to a whale, but it is an allusion to the Greek version of the Book of Jonah, which incorrectly translates the Hebrew word for "fish" as "whale" (Jonah 2:1, 2, 11; the same word is used in the Greek of Gen. 1:21, Job 3:8, 9:13, 26:12, Sirach 43:25, Daniel 3:79, 3 Macc. 6:8). And even this word means "sea monster" as well as "whale." - RBW
File: SWMS282
===
NAME: And a Begging We Will Go: see A-Begging I Will Go (File: K217)
===
NAME: And Must I Be to Judgment Brought?
DESCRIPTION: "And must I be to judgment brought, And answer in that day For every idle deed and thought And every word I say?" "We are passing away (x3) To the great judgment day." "Yes, every secret of my heart Shall shortly be made known...."
AUTHOR: Words: Charles Wesley
EARLIEST_DATE: 1763 (Words)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 613, "And Must I Be to Judgment Brought" (1 short text)
NOTES: In the Sacred Harp, this is given the tune-title "Passing Away," credited to John A. Watson in 1872. But Jackson reports it from the Christian Harmony of 1866. - RBW
File: Br3613
===
NAME: And Sae Will We Yet
DESCRIPTION: "Come sit down, me cronies, And gie us your crack, Let the win lift the cares o' this life from aff your back... For we've always been provided for, and sae will we yet." The singer and the nation have endured through troubles, "and sae will we yet."
AUTHOR: Walter Watson ? (died 1854)
EARLIEST_DATE: before 1824 (Broadside Bodleian, Harding B 28(42))
KEYWORDS: drink work party
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Ford-Vagabond, pp. 256-258, "Sae Will We Yet" (1 text)
Ord, p. 371-372, "Sae Will We Yet" (1 text)
DT, SAEWILL
Roud #5611
BROADSIDES:
Bodleian, Harding B 28(42), "And sae will we yet," W. Armstrong (Liverpool), 1820-1824 (barely legible); Harding B 11(61)=Firth c 13(296), "And so will we yet," Hoggett (?), n.d.; Harding B 25(55), "And so will we yet"; Firth n.26(389); Firth b.26(289), "We've Aye Been Provided For"
NLScotland, R.B.m.143(154), "We've Aye Been Provided For," Poet's Box (Glasgow), 1869
NOTES: Ord lists this as being sung to "The Wearing of the Green." I can't for the life of me make it fit; I suspect he derived that from a broadsheet which indicated an incorrect tune.
The broadsides list various tunes: Bodleian Firth b.26(289) lists "Never lippen to chance"; another Bodleian text claims an original tune. - RBW
File: FVS256
===
NAME: And She Skipped Across the Green: see Ball of Yarn (File: EM089)
===
NAME: And So Will We Yet: see And Sae Will We Yet (File: FVS256)
===
NAME: And So You Have Come Back to Me: see The Last Farewell (The Lover's Return) (File: R761)
===
NAME: And They Called It Ireland: see A Little Bit of Heaven (File: Dean006)
===
NAME: Andersonville Prison
DESCRIPTION: "On western Georgia's sandy soil, Within a lonesome prison pen, Lay many a thousand shattered forms Who once was brave and loyal men." The hellish conditions are described. One man, dying, remembers his widowed mother and sweetheart
AUTHOR: unknown
EARLIEST_DATE: 1929 (Randolph)
KEYWORDS: Civilwar death mother love prison war
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 237, "Andersonville Prison" (1 text)
Roud #4033
NOTES: Conditions for soldiers in Civil War armies were usually bad, and the fate of prisoners was worse. But there was no place in the world, before the concentration camps, that could compare with Andersonville prison. Never larger than 26 acres, it held, at times, more than 32,000 soldiers!
Although they were (theoretically) granted the same rations as Confederate field soldiers, the inadequate sanitation and health care led to immense death rates. Nearly 13,000 men are known to have been buried there, and it is generally conceded that many more died without having any monument.
Andersonville was opened in February of 1864, and was finally closed in April 1865. Its commander, Major Harry Wirz, was executed in November 1865. He was the only man in the entire Confederacy condemned for what we would now call "war crimes."
This song is item dA39 in Laws's Appendix II. - RBW
File: R237
===
NAME: Andrew Bardeen: see Sir Andrew Barton [Child 167] AND Henry Martyn [Child 250] (File: C167)
===
NAME: Andrew Batan: see Henry Martyn [Child 250] AND Sir Andrew Barton [Child 167] (File: C250)
===
NAME: Andrew Jackson's Raid
DESCRIPTION: "When forces were marched, four thousand brave men, On the fourteenth of March to Fort (Stratton) again...." Jackson reviews the men and has them attack Fort William. The singer toast congress and soldiers
AUTHOR: unknown
EARLIEST_DATE: 1905 (Belden)
KEYWORDS: war battle soldier patriotic
HISTORICAL_REFERENCES: Aug 30, 1813 - beginning of the "Creek War." Creek Indians attack Fort Mims and kill many of the inhabitants. Tennessee militia officer Andrew Jackson calls out the troops in response
Nov 3, 1813 - Tennessee forces under John Coffee destroy the Indian city of Tallishatchee
Nov 9, 1813 - Jackson destroys Indian forces at Talladega (Alabama)
Jan 22-27, 1814 - Series of small defeats for the Tennessee forces
March 27, 1814 - Battle of Horseshoe Bend. Jackson and Coffee decisively defeat the Creeks
FOUND_IN: 
REFERENCES: (1 citation)
Belden, p. 297, "Andrew Jackson's Raid"
Roud #7954
NOTES: Although Belden's (apparent) fragment does not say *which* Jackson was the general in this song, it seems evident that it was Andrew Jackson. The reference to the Tallapoosa River (in Alabama), at which the Battle of Horseshoe Bend was fought, seems to establish this.
Jackson, in the period before the Battle of New Orleans, had had a frustrating war. (Indeed, his entire military career had been pretty frustrating; according to John K. Mahon, _The War of 1812_, da Capo, 1972, pp. 199-200, "except as a boy during the Revolution, he had neither seen combat nor led troops in anything but frill. His practical experience as a soldier was negligible, and his theoretical knowledge even more so.")
Jackson, the major general commanding Tennessee militia since 1802, had raised troops in Tennessee (see Walter R. Borneman, _1812, The War that Forged a Nation_, p. 136), but for a long time had to just sit and not use them (Borneman, p. 137). Washington did not trust him, because he had had some involvement with the rebellion of Aaron Burr (Mahon, p. 198). Eventually the government tried to send the troops, but not Jackson, south; fortunately for him, a local politician managed to have Jackson given charge (Borneman, p. 138). So Jackson left Tennessee -- and at Natchez was given orders to disband his troops! (Borneman, p. 139). Rather than turn them loose on the spot, Jackson paid to bring the troops back to Nashville as a unit (Borneman, p. 140); somehow, he seems to have acquired the nickname "Old Hickory" in the process (Borneman, p. 141).
Back in Nashville, two of his subordinates ended up in a duel, which later led to a tavern brawn in which Jackson ended up with a bad shoulder wound (Borneman, pp. 141-143). He was still recovering when the Creek War broke out.
The Creeks had the usual complaints against the Americans: The settlers were encroaching on their lands. The causes are complex and hard to pin down, though it's clear that Tecumseh helped inspire his mother's people (Borneman, pp. 143-144). It's also clear that not every Creek leader wanted to be involved; it was a band of mostly young warriors called the Red Sticks who rebelled (see Donald R. Hickey, _The War of 1812_, p. 147), and many Creeks stayed loyal.
The war started with a running campaign between a force of American militia and a band of Creeks headed by Peter McQueen and allied loosely with the British and Spanish; this fight came to be called the Battle of Burnt Corn (Borneman, pp. 144-145; Hickey, p. 147). Americans in the area of the Alabama and Tombigbee rivers hastily built and moved into stockades. One such stockade was Fort Mims, not far north of Mobile, attacked by Creeks led by Red Eagle (William Weatherford); by the end, nearly everyone inside the stockade (at least 200 people, and most estimates seem to be around 300) had been killed (Borneman, pp. 145-146; Hickey, p. 147).
The Americans responded by raising several small armies to control the Indians. Jackson led one of these. And he was by far the most aggressive commander, so his forces saw most of the action. His first move after building Fort Strother to serve as a base was to send his subordinate John Coffee to the Indian settlement of Tallushatchee/Tallishatchee/Tallashatchee in northeastern Alabama.
Hickey, p. 138, describes what followed as a re-enactment of Hannibal's famous victory at Cannae, inducing the Indians to attack his center then cupping his flanks around them to encircle and slaughter the force. Coffee's troops killed every Indian who opposed them (Borneman, p. 147). This caused the Indians of Talladega, obviously frightened, to join the American side. Red Eagle promptly took his forces to attack the settlement, which was some distance south of Fort Strother. Jackson led about 2000 men south and defeated the thousand or so Indians -- though this time the larger part of the Indian force escaped (Borneman, pp. 147-148; Hickey, p. 148).
The other prongs of the American offensive finally got moving at about this time, though the accomplished very little. Jackson's troops, meanwhile, were leaving for home; they had signed up for only a few months of service, and their enlistments expired around this time. Plus he was finding it almost impossible to get supplies from his contractors (Hickey, p. 149). At one point, he had only about 130 men at Fort Strother, and when he did get more in January 1814, they were raw and barely able to fight; Jackson tried an offensive with them, but suffered small but irritating strategic defeats (Borneman, p. 149). Still, he was fighting, and not retreating; he finally was sent several additional regiments of somewhat better-trained troops.
On March 14, 1814, Jackson took almost his whole army out of Fort Strother. Borneman estimates his force at 4000 (p. 150), as in the song, though other estimates (e.g. Hickey, p. 149) put his army at 3000. The Creeks had chosen a strong defensive position at Horseshoe Bend on the Tallapoosa River, with the river on three sides and a stout stockade crossing the nexk of the bend.
The song mentions that Jackson failed to knock down the wall with his small artillery train; Borneman notes that he had only one field gun, too small to do any good. But a force of Cherokees swam the river, brought back canoes, and allowed Coffee to get a small force behind the stockade; Jackson then attacked in front. The Indians were slaughtered almost to the man (Borneman, pp. 150-151; Hickey, p. 151). Red Eagle, who was elsewhere, had had enough, and urged his people to give in (Borneman, p. 250).
The Creek War had the usual outcome of a war between whites and Indians: The Indians were induced to sign a treaty giving up most of their land (Hickey, p. 151).
Worse was to come. Jackson probably could not have won at Horseshoe Bend without the Cherokee. As President, Andrew Jacskon would order the Cherokee displaced and send them along the Trail of Tears. But, hey, who cares if you're truthful, reliable, law-abiding, or in favor of peace if you're President of the United States? - RBW
File: Beld297
===
NAME: Andrew Lammie [Child 233]
DESCRIPTION: Lord Fyvie's trumpeter Andrew Lammie, the fairest man in the county, and Tifty's Annie, are in love. When Annie's father hears of this, he complains to Fyvie; he wants his daughter to marry better. She is adamant; her brother kills her for her effrontery
AUTHOR: unknown
EARLIEST_DATE: 1806 (Jamieson)
KEYWORDS: love death family poverty
FOUND_IN: Britain(Scotland(Aber,Hebr)) Canada(Mar)
REFERENCES: (4 citations)
Child 233, "Andrew Lammie" (3 texts)
Bronson 233, "Andrew Lammie" (16 versions+3 in addenda)
Mackenzie 12, "Andrew Lammie" (1 text)
DT 233, MILTIFTY* MILTIFT2*
Roud #98
RECORDINGS:
Lucy Stewart, "Tifty's Annie" (on LStewart1)
CROSS_REFERENCES:
cf. "Pretty Betsey" [Laws M18] (plot)
cf. "Charlie Mackie" (lyrics, form, themes)
ALTERNATE_TITLES:
Mill o Tifty's Annie
NOTES: Ord and Grieg have a song, "Charlie Mackie," which looks like a by-blow of this song. The plot is different -- the wealthy girl's parents don't want her wed to Mackie, though he finds his way to her in the end. But not only is the scansion the same, but many of the lines of "Charlie Mackie" are obviously corrupt derivatives of those found in "Andrew Lammie."
There is, apparently, a certain amount of truth in this song: We know little with certainty of Agnes Smith (nicknamed Nannie, hence Annie), save that her grave gives her date of death as January 19, 1673 (or, in other authorities, 1631; the stone, according to Child, eventually became illegible). However, legend has it that she was courted by Andrew Lammie, Lord Fyvie's trumpeter. Fyvie, desiring the girl herself, had Lammie transported to the West Indies. He made it back, but by then she had died, and he himself died cursing Lord Fyvie.
Another legend, according to Peter Underwood's _Gazeteer of British, Irish, and Scottish Ghosts_, has it that Lammie's ghost still appears to trumpet the deaths of the Lords of Fyvie. Indeed, Underwood lists many ghosts found at Fyvie, perhaps related to a curse laid by Thomas the Rhymer. - RBW
I was not able to read broadside Bodleian, 2806 c.11(1), "Andrew Lammie" or "Mill of Tifty's Annie" ("At Mill of Tifty lived a man, in the neighbourhood of Fyvie"), Brander and Co. (Elgin), n.d. - BS
File: C233
===
NAME: Andrew Marteen: see Henry Martyn [Child 250] AND Sir Andrew Barton [Child 167] (File: C250)
===
NAME: Andrew Rose
DESCRIPTION: Captain Rogers of the Martha Jane has British sailor Andrew Rose whipped and tortured. "Then the captain trained his dog to bite him" and Rose dies. When he arrives at Liverpool Rogers is arrested, convicted, and sentenced to be hanged.
AUTHOR: unknown
EARLIEST_DATE: 1938 (Colcord)
KEYWORDS: homicide execution sea ship ordeal sailor
FOUND_IN: Canada(Newf) US
REFERENCES: (3 citations)
Peacock, pp. 825-826, "The Ordeal of Andrew Rose" (1 text, 1 tune)
Colcord, pp. 156-157, "Andrew Rose" (1 text, 1 tune)
DT, ANDRROSS* ANDRROS2*
Roud #623
ALTERNATE_TITLES:
Andrew Ross
Captain Rodger's Cruelty
NOTES: According to the Mariners site, regarding the sleeve notes of "Farewell to the Days of Sail", an LP by Mike Stanley, "Andrew died of his injuries. The master, mate, and bo'sun were tried for the murder in Liverpool. The master, Captain Rodgers was found guilty and hung at 'Joe Gurk's' (Walton Prison)." - BS
File: Pea825
===
NAME: Andy McElroe
DESCRIPTION: Brother Andy writes home about his deeds with the relief expedition, leading charges for Wolseley and frightening the Mahdi. Newspapers and government despatches tell a different story, but "we won't believe a word against brave Andy McElroe."
AUTHOR: William Percy Finch (1854-1920)
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: bragging army war Africa humorous soldier
HISTORICAL_REFERENCES: 1885 - The Relief Expedition under General Garnet Joseph Wolseley fails to rescue Chinese Gordon from the siege of Khartoum (Mar 13, 1884-Jan 26, 1885) by the Dervishes led by the Mahdi, Mohammed Ahmed.
FOUND_IN: Ireland
REFERENCES: (1 citation)
O'Conor, p. 85, "Andy M'Elroe" (1 text)
NOTES: Sources: Re author--Oldpoetry site. Re historical references--_The River War_ by Winston S Churchill, ch. 1-3, and "The Mahdist Jihad 1881-1885" at the OnWar site. - BS
Charles George "Chinese" Gordon (1833-1885) actually began his military career in the Crimea, but went to China in 1860, where he was instrumental in suppressing the Taiping rebellion. This gained him a high military reputation, though it's not clear how well he earned it; his one clear skill was in military engineering.
Gordon went to Egypt in 1873, working there at surveying and establishing control of the Nile until 1880. He performed various jobs over the next four years, spending part of the time rebuilding his health. Then came the Sudan Rebellion.
The Sudan, at that time, was theoretically a province of Egypt, which meant that it was part of a British client-state -- though the British pretended they didn't run Egypt, and Egypt had never really managed the Sudan, except for a few spots along the Nile. The British made no real efforts to control the Sudan, simply sending William Hicks (1830-1883) to try to control problems.
Mohammed Ahmed (1840?-1885), El Mahdi (the local name for the Messiah) had meanwhile started a rebellion (1882). Hicks set out to suppress him, but his troops -- many of them convicts and with few trained officers -- were annihilated by the dervishes in 1883.
El Mahdi now had control of almost the entire Sudan; even those who did not consider him the Messiah could hardly oppose him.
The British gathered another local army, under Valentine Baker; it was slaughtered at El Tib on February 6, 1884. Soon after, the fortified post of Sinkat was captured. Britain finally was forced to send European troops. Gerald Graham brought 3000 soldiers, and though he was too late to save the garrison of Tokar, he did win an easy victory at El Tib.  He then won a much harder battle against the "Fuzzy-wuzzies" (so named for their frizzy hair. And, yes, this is the battle about which Kipling wrote his poem; the regiment whose square they broke was none other than the Black Watch, but Graham was able to retrieve the situation -- barely).
There was, however, no coordination between this force and the rest. Graham had a limited mission, fulfilled it as best he could, and then was forced to sit tight near the coast. The government meanwhile decided to evacuate central Sudan, and chosen Gordon, not Graham, to do it.
Unfortunately, Gordon didn't understand the Mahdi cult, and thought he could put it down. Instead, he ended up besieged in Khartoum. He might still have escaped -- a path out via Berber was still open. But on May 28, 1884, that post fell, and Gordon was well and truly trapped. And Britain had a problem. It had wanted out. Instead, it had more troops in harm's way than before the campaign began, and one of them a hero.
Unfortunately, the British public was divided. Gladstone opposed a relief expedition; the Conservatives and seemingly the people favored it. It took months to reach a decision; General Wolseley, Britain's best colonial general, didn't get his orders until September 19.
And Khartoum was 1200 miles from the mouth of the Nile, and the river itself was the only source of water for almost all that length. And the cataracts meant that boats couldn't just sail up and down the river. And communications were terrible. It's hard to fault anything Wolseley did in particular, but he didn't manage to get troops to Khartoum until January 28, 1885 -- and the city had fallen a mere two days before.
After that, the British withdrew for real. Gordon was dead, Wolseley never again given an important command. Even though the Mahdi died in 1885, it was not until 1898, after a three-year campaign, that Lord Kitchener regained control of Sudan for the British by winning the battle of Omdurman.
There is at least one broadside specifically about the death of Gordon: NLScotland, L.C.Fol.70(100b), "Death of Gen. Gordon" ("Across the vast Soudan was borne"), unknown, n.d. - RBW
File: OCon085
===
NAME: Andy's Gone with Cattle
DESCRIPTION: "Our Andy's gone with cattle now, our hearts are out of order." Faced with a drought, Andy takes the herds away; the people left behind are lonely for the cheerful, clever drover. The singer hopes that it rains soon so that Andy may return
AUTHOR: Henry Lawson
EARLIEST_DATE: 1964
KEYWORDS: separation loneliness hardtimes
FOUND_IN: Australia
REFERENCES: (2 citations)
Manifold-PASB, p. 174, "Andy's Gone with Cattle" (1 text, 1 tune)
DT, ANDYCATL
NOTES: This is one of those semi-folk songs. Obviously it is composed. But it has been sung by many people in Australia. Some of those people learned it in school, where it is the "standard" Lawson piece. But however it attained popularity, it is probably widespread enough to deserve inclusion here. - RBW
File: PASB174
===
NAME: Ane Madam
DESCRIPTION: Norwegian halyard or capstan shanty. Brief storyline of sailors going ashore and finding that the proprietor of the inn they last visited has barred the door against them. Other verses describe hoisting sails, etc. Sung to the tune of "Blow the Man Down."
AUTHOR: unknown
EARLIEST_DATE: 1916 (Brochmann's _Opsang Fra Seilskibstiden_)
KEYWORDS: shanty sailor foreignlanguage
FOUND_IN: Scandinavia
REFERENCES: (1 citation)
Hugill, pp. 215-216, "Ane Madam" (2 texts, both in Norwegian and English)
CROSS_REFERENCES:
cf. "Blow the Man Down" (tune)
cf. "Rosabella Fredolin" (tune)
cf. "Dar Gingo Tre Flickor" (lyrics)
ALTERNATE_TITLES:
Annie Madam
NOTES: Hugill says this was the most popular of all of Scandinavia halyard shanties. Two versions are given -- the first was a halyard shanty and the second was used at the capstan. - SL
File: Hugi215
===
NAME: Aneath My Apron
DESCRIPTION: The singer's cows go astray on a may morning; she follows and finds a "burr stack to my apron." Now her apron rides high; "there's a braw lad below my apron." Father, mother, friends all ask what she has beneath her apron
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: pregnancy clothes animal
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Kinloch-BBook XXI, pp. 71-72, (no title) (1 text)
ST KinBB21 (Full)
Roud #899
NOTES: This is another of Kinloch's songs with no source listed and no background information. But it looks traditional. - RBW
File: KinBB21
===
NAME: Anford-Wright, The: see The Loss of the Amphitrite [Laws K4] (File: LK04)
===
NAME: Angel Band
DESCRIPTION: Singer's life is nearly over; his trials are done, his triumph has begun. His spirit sings; he hears the noise of wings. Chorus: "Oh come, angel band, Come and around me stand, Bear me away on your snowy (snow-white) wings, To my eternal home"
AUTHOR: Lyrics: Rev. Jefferson Hascall [occasionally spelled "Haskell"]; Tune: William B. Bradbury 
EARLIEST_DATE: 1860 (lyrics in "Melodeon"), 1862 (tune, in "Golden Shower")
KEYWORDS: age farewell death dying nonballad religious
FOUND_IN: US(SE)
REFERENCES: (1 citation)
DT, ANGLBAND
Roud #4268
RECORDINGS:
Carl Butler & the Webster Brothers, "Angel Band" (Columbia 21353, 1955)
Fiddlin' John Carson, "Bear Me Away On Your Snowy Wings" (Bluebird B-5560, 1934; Montgomery Ward M-4851, 1935)
Uncle Dave Macon, "O Bear Me Away On Your Snowy Wings" (Vocalion 5160, 1927)
Smith's Sacred Singers, "My Latest Sun Is Sinking Fast" (Columbia 15281-D, 1928)
Stanley Bros. "Angel Band" (Mercury, 1955)
ALTERNATE_TITLES:
Bear Me Away On Your Snowy Wings
File: DTanglba
===
NAME: Angel Gabriel, The
DESCRIPTION: Gabriel is sent to Mary to announce that she will bear God's son. Mary is surprised at these tidings, but is assured they are true. Things come true as forecast. Listeners are enjoined to behave well as a result
AUTHOR: unknown
EARLIEST_DATE: 1639 (broadside)
KEYWORDS: prophecy religious Bible childbirth
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
OBB 106, "The Angel Gabriel" (1 text)
OBC 37, "The Angel Gabriel" (1 text, 1 tune)
ST OBB106 (Partial)
Roud #815
NOTES: This ballad gives a brief, but accurate, account of the events in Luke 1:26-2:20. The only unscriptural detail is Mary's betrothal by lot to "an old man," Joseph, a detail found only in the apocryphal Gospels.
This should not be confused with another "Angel Gabriel" carol. This one begins with these lines:
The angel Gabriel from God
Was sent to Galilee
Unto a virgin fair and free
Whose name was called Mary.
The other Gabriel carol, which I have heard sung (by Maddy Prior I think) but which does not seem to be traditional, begins
The angel Gabriel from heaven came,
His wings as srifted snow, his eyes as flame. - RBW
File: OBB106
===
NAME: Angel of Death, The: see There's A Man Going Round Taking Names (File: San447)
===
NAME: Angel's Whisper, The
DESCRIPTION: "A baby was sleeping, its mother was weeping." Her husband, Dermot, is fishing in a storm. She prays that the angels always watching over her baby would now watch over her husband. He returns safely in the morning.
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: fishing sea storm religious baby husband wife return reunion
FOUND_IN: 
REFERENCES: (4 citations)
Huntington-Whalemen, pp. 239-240, "Angels Whisper" (1 text, 1 tune)
O'Conor, p. 34, "The Angel's Whisper" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol II, p. 115, "The Angel's Whisper"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 408-409, "The Angel's Whisper" (1 text)
ST OCon034 (Partial)
Roud #2061
BROADSIDES:
Bodleian, Johnson Ballads 151, "The Angel's Whisper", J. Catnach (London), 1813-1838; also Harding B 11(3366), Firth c.26(36), Firth b.34(99), Johnson Ballads 1407, Firth c.26(288), Firth b.26(369), Harding B 11(1427), Firth b.25(68), Harding B 11(442), 2806 c.13(104), Firth b.28(38), Harding B 11(64), "[The] Angel's Whisper"
LOCSheet, sm1883 09445, "The Angels' Whisper", Carl Prufer (Boston), 1883 (tune) 
LOCSinging, sb10009a, "The Angel's Whisper", J. Andrews (New York), 1853-1859; also as100320, "Angel's Whisper" 
NOTES: O'Conor and some web sites make the author Thomas Moore (1779-1852). Other sites make the author Samuel Lover (1797-1868); Hoagland also lists Lover as the author. The PoemHunter site, for example, lists 145 poems by Moore and does not include this one. The broadsides have no attribution.
How reliable are O'Conor attributions? See also "Barney Brallaghan."
Broadside LOCSheet sm1883 09445:sheet claims the words are by Samuel Lover.
[Granger's Index to Poetry also lists it as by Lover, but with no original publication; the only citation is Hoagland. - RBW]
Broadside LOCSinging sb10009a: 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: OCon034
===
NAME: Angels Roll Dem Stones Away
DESCRIPTION: "Sister Mary she come weepin', Just about de break o' day, Lookin' for my Lord, And he's not there, say!" "He's gone away to Galilee, Angels rolled dem stones away It was on one Sunday mornin', Angels rolled dem stones away."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: Bible religious Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 552, "Angels Roll Dem Stones Away" (1 short text)
Roud #11877
NOTES: Although the general outline of the resurrection story is the same in all four Gospels (one of the few parts of the life of Jesus they do agree on), this song appears to be derived primarily from Matthew:
In Matthew 28:1, Mary Magdalene and the "other Mary" seek Jesus; in 28:2, the angel rolls the stone away; in 28:7, he is said to have gone to Galilee.
In Mark 16:1, Mary Magdalene, Mary the mother of James, and Salome come to the tomb. In this account, the stone is already rolled back, and they speak to a "young man," not an angel, in 16:5; he tells them (16:6) that Jesus is on his way to Galilee.
In Luke 24:1, the women are unnamed (but cf. 24:10), the tomb is already open, two "men" (not angels) greet the women, and there is no mention of Jesus going to Galilee; indeed, the apostles stay in Jerusalem until driven out in Acts.
In John 20:1, Mary Magdalene alone visits the tomb, and the stone is already moved, but she doesn't talk to anyone (human or angelic) there; it is only after Peter and the Beloved Disciple arrive (and leave -- John 20:2-10) that two angels speaks to Mary. The disciples seemingly return to Galilee in Chapter 20, but only after meeting the disciples in Jerusalem. - RBW
File: Br3552
===
NAME: Angels We Have Heard on High
DESCRIPTION: "Angels we have heard on high Sweetly singing o'er the plains...." The shepherds are asked why they rejoice. They say to come to Bethlehem to find out
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Christmas religious nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 378, "Angels We Have Heard On High" (1 text)
DT, ANGONHI*
File: FSWB378C
===
NAME: Animal Fair
DESCRIPTION: "I went to the animal fair, the birds and the beasts were there.... The monkey he got drunk and sat on the elephant's trunk; The elephant sneezed and fell on his knees And what became of the monk, the monk, the monk...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: animal nonsense
FOUND_IN: US(SE,So)
REFERENCES: (5 citations)
Randolph 451, "The Hamburger Fair" (1 fragment)
BrownIII 180, "The Animal Fair" (1 text)
MHenry-Appalachians, p. 241, "Animal Fair" (1 short text)
Sandburg, pp. 348-349, "Animal Fair" (1 short text, 1 tune)
Spaeth-ReadWeep, p. 69, "(Animal Fair)" (1 partial text)
ST San348 (Full)
Roud #4582
File: San348
===
NAME: Animal Song
DESCRIPTION: "Alligator, hedgehog, anteater, bear, Rattlesnake, buffalo, anaconda, hare." Similar stanzas list additional animals, with absolutely no commentary; it just lists species, often quite improbable (South Guinea hen, dodo, ibex, glowworm, snail)
AUTHOR: unknown
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: animal nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 198, "Animal Song" (1 text, 1 tune)
Roud #3710
NOTES: Songs of this type typically are used for teaching, but given the strange and disorganized list of creatures, I doubt that is the case here. - RBW
File: GC198
===
NAME: Ann o' Drumcroon
DESCRIPTION: The singer says that the girls around him are no match for the beauty of Ann, pure, artless, shy, true, sweet, and otherwise sickeningly likeable. But he must go over the sea and bid her farewell; he sighs for Ireland and for Ann
AUTHOR: Andrew Orr
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: love courting beauty separation emigration
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H26a+246, pp. 248-249, "Ann o' Drumcroon" (1 text, 1 tune)
Roud #13338
NOTES: In this particular instance, the song's author Andrew Orr did emigrate (to Australia). Whether the rest of the song is historical is not clear; it's interesting that he wrote at least one other song (Mary, the Pride of Killowen) with the same plot but a different heroine. - RBW
File: HHH026a
===
NAME: Anna: see The Banks of Banna (File: SWMS236)
===
NAME: Anna Lee (The Finished Letter)
DESCRIPTION: "I have written him a letter Telling him that he is free"; she wrote it when she heard that he had been "out riding With that saucy Anna Lee." But the girl regrets her words; she concludes "I'll tell him I still love him If he'll court Miss Lee no more."
AUTHOR: unknown
EARLIEST_DATE: 1906 (Belden; Randolph reports that this copy was written in 1873)
KEYWORDS: love courting betrayal separation rejection
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Belden, p. 213, "The Finished Letter" (2 texts)
Randolph 775, "Anna Lee" (2 texts, 2 tunes)
BrownII 143, "Annie Lee" (1 text plus an excerpt from 1 more)
Rorrer, p. 82, "Jealous Mary" (1 text)
Roud #474
RECORDINGS:
Charlie Poole and the North Carolina Ramblers, "Jealous Mary" (Columbia15342-D, 1928; on CPoole04)
CROSS_REFERENCES:
cf. "Ella Lea" (lyrics)
ALTERNATE_TITLES:
I Have Finished Him a Letter
File: R775
===
NAME: Annachie [Gordon]: see Lord Salton and Auchanachie [Child 239] (File: C239)
===
NAME: Annan Water
DESCRIPTION: Our hero is off to Annan Water; he must "cross the drumlie stream the night, or never mair I see my honey." But his horse grows tired, and the ferryman will not take him; at last he tries to swim Annan, and drowns
AUTHOR: unknown
EARLIEST_DATE: 1802 (Scott)
KEYWORDS: separation flood death
FOUND_IN: Britain(Scotland)
REFERENCES: (4 citations)
Child 215, "Rare Willie Drowned in Yarrow, or, The Water o Gamrie" (1 text as an appendix to that song)
Leach, pp. 695-697, "Annan Water" (1 text)
OBB 92, "Annan Water" (1 text)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #336, "Annan Water" (1 text)
Roud #6562
CROSS_REFERENCES:
cf. "The Mother's Malison, or, Clyde's Water" [Child 216]
NOTES: This is printed by Child as an appendix to Child #215, "Rare Willie Drowned in Yarrow, Or, The Water O Gamrie." To me, though, it appears closer to Child #216 -- though by no means the same song. And there are enough reports of it that it perhaps deserves a separate entry. - RBW
File: L695
===
NAME: Annie
DESCRIPTION: The singer grieves for the loss of Annie. "My friends and relations they do all they can For to part me and Annie, that's more than they can." Annie hears him and promises, since she loves him, to go with him to Lincolnham shores.
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: courting elopement love family
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 15, "Annie" (1 text, 1 tune)
ST CrNS015 (Full)
Roud #1791
NOTES: This has so many floating lines ("The thoughts of you, Annie, still run through my head"; "I rise in the morning, my heart full of woe"; "My friends and my relatives they do all they can For to part me and Annie, that's more than they can") that it's hard to think of this as an independent song. But as an assembly, it seems to be unique.
The tune doesn't seem to match any of the parallels, either; it reminds me a little bit of "Farewell to Tarwathie" -- but only a little. - RBW
File: CrNS015
===
NAME: Annie Franklin: see Bad Girl's Lament, The (St. James' Hospital; The Young Girl Cut Down in her Prime) [Laws Q26] (File: LQ26)
===
NAME: Annie Girl: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42]; also The Drowsy Sleeper [Laws M4] and Wheel of Fortune (Dublin City, Spanish Lady) (File: LN42)
===
NAME: Annie Laurie
DESCRIPTION: "Maxwelton's braes are bonnie Where early fa's the dew, And it's there that Annie Laurie Gied me her promise true." The singer describes all of Annie's beautiful and wondrous traits, concluding, "And for bonny Annie Laurie I wad lay me doon and dee."
AUTHOR: unknown
EARLIEST_DATE: 1823 (Sharpe's "Ballad Book")
KEYWORDS: love courting beauty nonballad
FOUND_IN: 
REFERENCES: (3 citations)
Silber-FSWB, p. 150, "Annie Laurie" (1 text)
Fuld-WFM, p. 101, "Annie Laurie"
DT, ANNLAURI*
Roud #8179
RECORDINGS:
Edison Quartet, "Annie Laurie" (CYL: Edison 2201, c. 1897)
Corinne Morgan, "Annie Laurie" (Victor Monarch 4039, c. 1902)
Marie Narelle, "Annie Laurie" (CYL: Edison 9422, 1906)
Standard Quartette, "Annie Laurie" (CYL: Columbia 2236, rec. 1895)
Nevada Vanderveer, "Annie Laurie" (Bell S-77, c. 1923)
BROADSIDES:
LOCSheet, sm1857 631330, "Amie Laurie," J. F. Browne (New York), 1857 (tune); also sm1883 06654, 1883 (tune)
Murray, Mu23-y1:121, "Annie Laurie," unknown, unknown
NLScotland, L.C.Fol. 178.A.2(056), "Annie Laurie," James Lindsay (Glasgow), c. 1855; also L.C.Fol. 178.A.2(062),
NOTES: Legends about this song are much more common than verifiable facts. The story is that William Douglas (who allegedly wrote the poem) fell in love with Annie Laurie, a member of a rival clan some time between 1685 and 1705. The poem is said to have been published at the time, but (according to Fuld) no printing prior to Sharpe's has been found.
The tune is almost certainly the work of Lady John Scott, and was published in 1835. Spaeth thinks she wrote the words as well, but Scott was born in 1810, and admitted herself that the first verse was older, and the second also based on ancient materials. At most, Scott deserves credit for the third verse. 
Dr. William Mahar claims this is one of the six most popular songs of the Civil War era. I've no idea what his evidence for this was; I've never seen it mentioned in any Civil War history. - RBW
Murray Shoolbraid lists various sources for the song, broken out by the tune-types, the "old" tune and the Scott tune. Shoolbraid lists the following as versions of the "old" tune:
? Wm. Douglas of Fingland, c. 1700.
Sharpe _ Ballad Book_ (1824), no. xxxvii (reprint, p. 108).
Ford _Song Histories_ (1900), 24.
SSCA (1870), 45; BSS (1875), 438.
Chambers _SSPB_ 309 (+ music); Ross _CSS_ (1887), 369; Crockett _Minstrelsy of the Merse_ (1893), 213.
Shoolbraid adds, "How old this 'old' version is is a good question. Lady John Scott told Moffat that it was written (i.e. forged) by Allan Cunningham, who imposed other fabrications on poor Cromek. The 2nd stanza derives from the old version of 'John Anderson,' in the Merry Muses, and A.C. certainly had access to a copy. Sharpe's first printing (1823) is pretty late for a song of 1700.
For the Scott tune, Shoolbraid lists
Ford _Song Histories_ (1900), 28.
SS I.4 (+ m.); BSS (1875), 439; Wood's _Songs of Scotland_ III.24 (+ m.); Gleadhill 80 (+ m.); Crockett _Minstrelsy of the Merse_ (1893), 213 (tune [by Lady John Scott] previously used by her for the ballad of "Kempy Kaye"). Ross CSS (1887), 369. B&F 20 (+ m.); Allan's Sc. Songs, 11 (+ m.), anonymous (merely subtitled "The Favourite Scotch Ballad, as sung by Jenny Lind"). Dun & Thomson VMS III.89 (+ m.) (anon.).
The tune [by the authoress] is in Manson (1846), II.151.
Other words include Crawford's "My Mary Dear."
Shoolbraid summarizes the data thus:
"There are two texts to consider, that of the 'original,' and that of Lady John Scott. The first seems to appear for the first time in Sharpe's Ballad Book of 1824, though it has been asserted that it appeared in an Edinburgh newspaper in the early 18th century. That original was reprinted in Allan Cunningham's collection of Scottish songs [The Songs of Scotland, Ancient and Modern (1825), vol. III p.256], where he tells us he found it in Sharpe. 
Lady JS found it in Cunningham, and noticed that a tune of hers previously intended to suit the old ballad of Kempy Kaye would fit this very nicely - with a little polishing. She altered the first stanza, altered the second some more, and made a completely new third; sang it to her hosts, and it was approved. This was in 1834 or 1835. Later she published it along with others of her composition to raise money for widows and orphans of soldiers killed in the Crimea. It became very popular, being sung by Jenny Lind, among others, but she withheld acknowledgement of the authorship until February 1890, when she confessed in a letter to the Dumfries Standard. 
"Lady John Scott's version is the familiar one referred to by Spaeth et al. The original, credited to Douglas, cannot be traced any farther back than Sharpe. It is not impossible that it lurks in a corner of some obscure paper [and we must remember that not every issue is extant]; but the authoress herself is said to have told Moffat that it was a forgery by Allan Cunningham. If this is true, we can see where AC got it: the second verse derives from an old version of 'John Anderson, My Jo,' to be found in The Merry Muses of Caledonia (1799-1800), and Cunningham certainly has access to a copy. AC was quite a practised forger: he gulled Cromek into publishing the Remains of Nithsdale and Galloway Song (1810), most of which seems to be by AC himself.
"Robert Ford (Song Histories, 1900, 23-31) goes into some detail on all this, reproducing a letter written by a descendant of the Anna Laurie of the song, by which the story of its original composition is made clear; it is to be assumed that the writer got her facts right, at least in regard to family tradition. One way out of the impasse is to say that Moffat misunderstood Lady John Scott's reference to Cunningham, and that the tradition about Douglas is true; notwithstanding the problems about Cunningham's unreliability and the long interval between composition and publication by Sharpe. Lady John, after all, did not find the Sharpe copy; the only other alternative, that Cunningham planted it on Sharpe, is very unlikely. On the whole, therefore, I give the palm to Douglas, though I admit the story is still a bit mirky." - MS, (RBW)
File: FSWB150A
===
NAME: Annie Lee: see Anna Lee (The Finished Letter) (File: R775)
===
NAME: Annie Moore
DESCRIPTION: The singer hears a young man, distracted, lamenting his slain Annie Moore. He tells how the Protestants were marching. Soldiers were dispatched and fired on the marchers. Annie was slain. The Protestants and her family lament and treat her as a hero
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: death soldier religious love burial funeral mourning
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H191, pp. 142-143, "Annie Moore" (1 text, 1 tune)
Leyden 40, "Annie Moore" (1 text, 1 tune)
Morton-Ulster 39, "Annie Moore" (1 text, 1 tune)
OrangeLark 16, "Annie Moore" (1 text, 1 tune)
Roud #2881
BROADSIDES:
Bodleian, 2806 b.11(174), "Ann Moore" ("As I walked out one evening in the month of sweet July"), unknown, n.d.
CROSS_REFERENCES:
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: Morton-Ulster's text and quotations from news accounts have the year as 1835. Bodleian broadside 2806 b.11(174) has 1836. - BS
Whereas Sam Henry's text has the date "forty-five."
Of course, there was frequently trouble on July 12 in Ulster. Is it possible that the story originated in 1835 and was updated to describe more recent events?
The 1820s-1840s were a period of significant gains for Catholic rights in Ireland. 1829 saw Catholic "emancipation," allowing them every political right open to Protestants of equivalent position. The 1830s saw reforms in education and taxation. In 1840, Daniel O'Connell formed the National Repeal Association, to press for the repeal of the Anglo-Irish Union.
By 1843, though, things were getting out of hand. In 1843, the government foolishly banned a Repeal rally. Soon after, O'Connell was arrested, and convicted by an all-Protestant jury.
Pressures were building up; they would result in a rebellion in 1848. (The famines, of course, added to the pressure.) Toss in the famines of 1845, and riots would be a natural consequence. . - RBW
File: HHH191
===
NAME: Annie of the Vale
DESCRIPTION: "I'm lonely and weary, Without thee I'm dreary, Sighing for thy sweet melting voice." The singer begs, "Come, come, come, love, come... Dear Anna, sweet Anna of the vale." He will go to be a soldier; if he dies, he hope to meet her in heaven
AUTHOR: unknown
EARLIEST_DATE: 1909 (Belden)
KEYWORDS: love separation soldier rejection
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 222-223, "Annie of the Vale" (1 text)
Roud #7950
CROSS_REFERENCES:
cf. "The Reason Why" (tune, per broadsides Bodleian Harding B 11(3238), 2806 c.15(284) and Firth b.28(13) -- assuming that's the same "Annie of the Vale")
File: Beld222
===
NAME: Annie Young, The
DESCRIPTION: Annie Young and Man Alone are in a storm at night "bound on the Labrador" on August 24, 1935. Annie Young is last seen about 11. Five of the eight men lost are named.
AUTHOR: Walter Hayman, brother of the lost cook
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: death sea ship storm wreck
HISTORICAL_REFERENCES: Aug 24, 1935 - wreck of the Annie Young en route from Fox Island to Labrador
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 2, "The Annie Young" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The August Gale (I)" (subject)
cf. "The August Gale (II)" (subject)
NOTES: [For background on this storm, see the notes to "The August Gale (I)" - BS, RBW]
File: LeBe002
===
NAME: Anniversary of the Shutting of the Gates of Derry
DESCRIPTION: The closing of Derry's gates, the seige and its relief are recounted with the names of the Protestant leaders who fought "till James was knocked up and their foemen were gone." They "gained for the nation ... a free constitution and Protestant laws"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: battle rescue death Ireland moniker patriotic religious
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 7, "Anniversary of the Shutting of the Gates of Derry" (1 text)
CROSS_REFERENCES:
cf. "The Shutting of the Gates of Derry" (subject: the siege of Derry) and references there
File: OrLa007
===
NAME: Another Fall of Rain (Waiting for the Rain)
DESCRIPTION: "The weather had been sultry for a fortnight's time or more; The shearers had been driving might and main...." After so much work the shearers are tired and desperate for a break. At last the rain came, allowing them to relax and rest up
AUTHOR: a literary version is credited to John Shaw-Neilson
EARLIEST_DATE: 1905 (Paterson's _Old Bush Songs_)
KEYWORDS: sheep work
FOUND_IN: Australia
REFERENCES: (4 citations)
Meredith/Anderson, pp. 154-155, "Another Fall of Rain" (1 text, 1 tune)
Fahey-Eureka, pp. 134-135, "Another Fall of Rain" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 174-177, "Another Fall of Rain" (1 text)
DT, FALLRAIN*
NOTES: The original Shaw-Neilson poem, "Waiting for the Rain" (the probable but not quite certain original) was rather long and involved, and even the version printed by Paterson has generally been severely shortened by tradition. The basic plot, however, survives. That the song is relatively recent is shown by the fact that the shearers were paid during the rain. Shearers were paid by the piece, and until the Shearers' Union gained the concession that they be paid when they could not shear, rain meant only hardship. - RBW
File: MA154
===
NAME: Another Man Done Gone
DESCRIPTION: "Another man done gone... from the county farm.... I didn't know his name.... He had a long chain on.... He killed another man.... I don't know where he's gone."
AUTHOR: unknown
EARLIEST_DATE: 1940 (recording, Vera Hall)
KEYWORDS: prison escape homicide
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Scott-BoA, pp. 307-309, "Another Man Done Gone" (1 text, 1 tune)
Lomax-FSUSA 95, "Another Man Done Gone" (1 text, 1 tune)
Lomax- FSNA 288, Another Man Done Gone" (1 text, 1 tune)
Silber-FSWB, p. 67, "Another Man Done Gone" (1 text)
Roud #10065
RECORDINGS:
Vera Hall, "Another Man Done Gone" (AFS 4049 A4, 4049 B, 1940; on LCTreas, LC04)
Pete Seeger, "Another Man Done Gone" (on PeteSeeger05) (on PeteSeeger27)
Willie Turner, "Now Your Man Done Gone" (on NFMAla1)
File: LxU095
===
NAME: Another Man's Wedding: see The Nobleman's Wedding (The Faultless Bride; The Love Token) [Laws P31] (File: LP31)
===
NAME: Anson Best
DESCRIPTION: "As I sit by the fireside a-thinking Of my brother who's far, far away...." Anson Best is offered a paper and threatened with death if he doesn't sign. It is a confession to the murder of Vera Snyder. He is sentenced to death. His family mourns
AUTHOR: Ben Best?
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: homicide trick lie trial prison punishment accusation
HISTORICAL_REFERENCES: 1920 - Conviction of Anson Best for the murder of Vera Schneider
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 145, "Anson Best" (1 text)
ST GC145 (Partial)
Roud #3669
CROSS_REFERENCES:
cf. "Red River Valley" (tune)
NOTES: This appears to be a family song: The author is listed as the Reverend Ben Best, brother of Anson Best, and the only known version is from Mrs. Clyde Best (whose relationship with Anson and Ben Best is not listed by Gardner and Chickering, but note the name).
The family maintained that Anson Best was innocent of the murder of Vera Schneider, and coerced into signing a confession he had not read. I know of no evidence either way. - RBW
File: GC145
===
NAME: Anstruther Camp
DESCRIPTION: The singer describes the winter he spent in Anstruther, working under Archie Patterson, who "could see daylight coming almost any hour at night." The crews work very long hours and enjoy the food. The singer urges women to marry shanty boys
AUTHOR: unknown
EARLIEST_DATE: 1964 (Fowke)
KEYWORDS: lumbering work travel
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #13, "Anstruther Camp" (1 text, 1 tune)
ST FowL13 (Partial)
Roud #4370
File: FowL13
===
NAME: Answer to the Gypsy's Warning: see The Gypsy's Warning (File: R743)
===
NAME: Answer to Youghal Harbour
DESCRIPTION: Near Yougal Harbour the singer meets Mary of Cappoquin again. She tells him that she had his baby. He reminds her that her parents had rejected him. He leaves her again "in grief bewailing" to return to his girl "in sweet Rathangan, near to Kildare"
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(20))
KEYWORDS: love infidelity rejection separation baby lover
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 8, "Youghal Harbour" (1 text, 1 tune)
Roud #2734
BROADSIDES:
Bodleian, Harding B 28(20), "Answer to Youghall Harbour," W. Armstrong (Liverpool), 1820-1824; also Harding B 11(2180), 2806 b.9(227), 2806 b.11(205), Harding B 25(2128), Firth b.27(11/12) View 1 of 2 [partly illegible], 2806 c.15(163), 2806 c.15(17), 2806 b.11(204), Harding B 19(3), "Youghal Harbour" ("As I roved out on a summer's morning")
CROSS_REFERENCES:
cf. "Youghall Harbour"
NOTES: Yougal, County Cork, is on the Celtic Sea coast. Cappoquin is in County Waterford, about 15 miles north of Yougal. Rathangan is in County Kildare, about 100 miles north-east of Yougal as the crow flies. - BS
File: OLoc008
===
NAME: Anti-Confederation Song
DESCRIPTION: Newfoundland defiantly rejects union with the "Canadian Wolf." The promises made by the confederation are listed and rejected. "Would you barter the rights that your fathers have won... For a few thousand dollars of Canadian gold."
AUTHOR: unknown
EARLIEST_DATE: 1940 (Doyle)
KEYWORDS: Canada patriotic political
HISTORICAL_REFERENCES: 1867 - Canadian Act of Confederation
1869 - Newfoundland electors refuse to join the Canadian Confederation
1949 - Newfoundland unites with Canada
FOUND_IN: Canada(Newf)
REFERENCES: (5 citations)
Fowke/Johnston, pp. 28-29, "Anti-Confederation Song" (1 text, 1 tune)
Fowke/MacMillan 7, "An Anti-Confederation Song" (1 text, 1 tune)
Doyle2, p. 69, "Anti-Confederation Song" (1 text, 1 tune)
Blondahl, p. 42, "The Anti-Confederation Song" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 105-107, "An Anti-Confederation Song" (1 text, 1 tune)
ST FJ028 (Partial)
Roud #4518
RECORDINGS:
Omar Blondahl, "An 1861 Anti Confederation Song" (on NFOBlondahl04)
CROSS_REFERENCES:
cf. "The 'Antis' of Plate Cove" (subject)
File: FJ028
===
NAME: Anti-Fenian Song, An
DESCRIPTION: "In the morning by my side Sat the darling of my pride... When the news spread through the land That the Fenians were at hand...." The singer and his fellows -- "English, Irish, Scot, Canuck" -- "will drive the Fenians back"
AUTHOR: unknown (Music by George F. Root)
EARLIEST_DATE: 1932
KEYWORDS: patriotic Canada battle political
HISTORICAL_REFERENCES: May 31, 1866 - Some 1200 Fenians under General O'Neill invade the Niagara area
June 2, 1866 - The Fenians victory at Lime Ridge near Ridgeway
June 3, 1866 - Canadian forces under Colonel Peacock assemble to deal with the Fenians. The Fenians opt to flee Canada
FOUND_IN: Canada(Not)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 102-105, "An Anti-Fenian Song" (1 text, 1 tune)
Roud #4519
CROSS_REFERENCES:
cf. "A Fenian Song (I)"
cf. "The Fenian Song (II)" (subject)
cf. "Tramp! Tramp! Tramp!" (tune) and references there
NOTES: For the historical background to this silly idea (the Fenians wanted to hold Canada hostage to make England free Ireland), see the notes to "A Fenian Song (I)."
The only real result of the Fenian invasion was to cause the Canadians to realize the need for greater organization. This gave greater impetus to the drive for Confederation, which was enacted -- not without significant opposition! -- in 1867. - RBW
File: FMB102
===
NAME: Anti-Gallican, The
DESCRIPTION: "The Anti-Gallican's safe arrived, On board of her with speed we'll hie." They will "sail the ocean o'er"; "No ships from us shall run away," even though "The Spaniards... We'll take their ships and make them slaves." The men hasten to their duty
AUTHOR: unknown
EARLIEST_DATE: 1882 (Bruce/Stokoe)
KEYWORDS: ship war sailor pirate
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 158-159, "The Anti-Gallican" (1 text, 1 tune)
ST StoR158 (Partial)
Roud #3169
NOTES: According to Stokoe, the _Anti-Gallican_ was fitted out as a privateer, sailing from Newcastle in 1779 but returning without a prize.
Although apparently written about a ship, I find references on the web to a pub (probably several) with the same name. Given that the chorus is "To the Anti-Gallican haste away," could said pubs have encouraged the continued singing of the song? - RBW
File: StoR158
===
NAME: Anti-Rebel Song, An
DESCRIPTION: "Oh, now the rebellion's o'er, Let each true Briton sing: 'Long live the Queen in health and peace, And may each rebel swing." Sir Francis Head is blessed, as is Canada; it is hoped that "Mac" (Mackenzie) will be hanged
AUTHOR: unknown
EARLIEST_DATE: 1838 (Cobourg "Star" newspaper)
KEYWORDS: rebellion patriotic Canada nonballad crime
HISTORICAL_REFERENCES: Nov 1837 - Rebellion breaks out in Canada
Dec 7, 1837 - Loyalist forces begin the march which results in the utter defeat of Mackenzie's forces
FOUND_IN: 
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 74-75, "An Anti-Rebel Song" (1 text)
CROSS_REFERENCES:
cf. "Un Canadien Errant" (subject)
cf. "Farewell to Mackenzie" (subject)
cf. "The Battle of the Windmill" (theme)
NOTES: In 1828, William Lyon Mackenzie was elected to the British parliament on a platform of better, less oligarchic government for Canada. Parliament expelled him. He was re-elected in 1832, and expelled again.
By 1837 the Canadians were so desperate that they rose in rebellion. But they had no organization and few weapons, and Governor Sir Francis Bond Head had little trouble suppressing the rebellion.
Passions among the victorious patriots were high, as pieces like this one (published in a Tory newspaper on February 8, 1838) shows. Mackenzie and others fled to the United States; several of their followers were executed. Mackenzie himself remarked that they were "not hung for treason, but because [I was] not forthcoming." - RBW
File: FMB074
===
NAME: "Antis" of Plate Cove, The
DESCRIPTION: A fight breaks out during an election to confederate Newfoundland with Canada. Details of the clash between "cons" and "antis" are told by the singer, who is against confederation.
AUTHOR: Mark Walker
EARLIEST_DATE: 1940
KEYWORDS: political patriotic Canada
HISTORICAL_REFERENCES: 1867 - Canadian Act of Confederation
1869 - Newfoundland electors refuse to join the Canadian Confederation
1949 - Newfoundland unites with Canada
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Doyle2, pp. 44-45, "The 'Antis' of Plate Cove" (1 text, 1 tune)
Blondahl, pp. 43-44, "The Antis of Plate Cove" (1 text, 1 tune)
Roud #4554
CROSS_REFERENCES:
cf. "Anti-Confederation Song" (subject)
NOTES: Mainland Canada achieved "Confederation," and self-government, in 1867. Many of the provinces, especially in the Maritimes, were against Confederation (it was, after all, largely the result of internal politics in "Canada" -- Ontario plus Quebec), but most joined by 1870. Newfoundland, however, rejected confederation in 1869, and did not finally join Canada until 1949. - RBW
Doyle [refers this piece to the election of] 1869. "Cons" were for confederation and "antis" where those against. He also mentions that Plate Cove is in Bonavista Bay. Confederacy was not achieved until 1949 with a very slim margin at the polls. - SH
File: Doy44
===
NAME: Anything (I)
DESCRIPTION: "One day while walking down the street A fine young man I chanced to meet... And as he walked he swung his cane And our subject was just anything." The singer explains that she was asked to sing a song, and when she asked which, she was told "Anything"
AUTHOR: unknown
EARLIEST_DATE: 1933 (Randolph)
KEYWORDS: courting music humorous
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Randolph 449, "Anything" (1 text)
Roud #4648
NOTES: The lyrics of this sound very much like a parlor song, but no one seems to have recovered the original. The other possibility, of course, is that it is a chastened version of "Anything (II)." - RBW
File: R449
===
NAME: Anything (II)
DESCRIPTION: A teamster meets Susan Jane. She asks his trade. He says "tonight I could drive anything." She invites him to "come hitch your horse to my machine." She says "I see your horse is good and keen, But look he's stuck on my machine."
AUTHOR: unknown
EARLIEST_DATE: 1963 (Ives-NewBrunswick)
KEYWORDS: sex horse bawdy
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, pp. 94-97, "Anything" (1 text, 1 tune)
Roud #1952
NOTES: Could this possibly be a bawdy by-blow -- or even the original -- of "Anything (I)"? I don't know; if so, it has been mixed up with the "When first to this country" fragment. - RBW
File: IvNB094
===
NAME: Apple Sauce and Butter
DESCRIPTION: "Apple sauce and butter spread out on the floor, I am going to marry dat pretty yellow gal that came from Baltimore, For she is sweeter than 'lasses, she's sweet as any pie; I am going to marry that pretty yellow gal that is coming bye and bye."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love courting marriage food
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 488, "Apple Sauce and Butter" (1 short text, said to have been collected in similar form from two different singers)
Roud #11867
File: Br3488
===
NAME: Appleby Fair
DESCRIPTION: Every year the Travellers are at the horse fair in Appleby Top. Some horses have "seen better days" and take knacker prices. A few sold "good stuff" and Dan Mannion "kept trotting horses which have brought him great fame" and his daughter "a posh car"
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: commerce nonballad horse
FOUND_IN: Britain(England(North))
REFERENCES: (0 citations)
Roud #16699
RECORDINGS:
"Rich" Johnny Connors, "Appleby Fair" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "The small town of Appleby in Cumbria has held an annual fair every June since ... 1684 .... Nowadays it is solely for horses."
"Rich" Johnny Connors's version relies heavily on Traveller slang which is translated in the notes. "Knacker prices" may be Traveller slang for slaughter-house prices but it's an expression I've heard many times before. - BS
File: RcAppFair
===
NAME: Apprentice Boy (II), The: see The Bramble Briar (The Merchant's Daughter; In Bruton Town) [Laws M32] (File: LM32)
===
NAME: Apprentice Boy (III), The: see The Sheffield Apprentice [Laws O39] (File: LO39)
===
NAME: Apprentice Boy, The [Laws M12]
DESCRIPTION: The apprentice loves a noble lady. When her parents learn, they send him away. But he prospers in a foreign land and returns to England to claim his bride. At first she rejects him, thinking him a nobleman, but he reveals his identity and the two are wed.
AUTHOR: unknown
EARLIEST_DATE: before 1813 (broadside, Bodleian Harding B 17(156a))
KEYWORDS: courting separation reunion marriage apprentice
FOUND_IN: US(Ap,So,SE) Canada(Mar,Newf) Britain(England) Ireland
REFERENCES: (11 citations)
Laws M12, "The Apprentice Boy"
Randolph 121, "The Apprentice Boy" (1 text)
SHenry H729, pp. 446-447, "The Apprentice Boy/Covent Garden" (1 text, 1 tune)
Creighton-SNewBrunswick 26, "Cupid's Garden" (1 text, 1 tune)
LPound-ABS, 31, pp. 74-76, "The Prentice Boy" (1 text)
BrownII 104, "The Sailor Boy" (5 texts, mostly short, plus excerpts from 4 more and mention of 2 more and 1 very short fragment; of which "L" appears to mix this song with Laws K12)
Leach-Labrador 22, "The Apprentice Boy" (1 text, 1 tune)
Mackenzie 25, "The Prentice Boy" (1 text)
Creighton-NovaScotia 45, "Prentice Boy" (1 text, 1 tune)
Manny/Wilson 87, "The Prentice Boy" (1 text, 1 tune)
Chappell-FSRA 70, "Cupid's Garden" (1 text)
Roud #903
BROADSIDES:
Bodleian, Harding B 17(156a), "The Lady Who Fell in Love with a Prentice Boy", J. Evans (London), 1780-1812; also Firth c.18(119), "The Lady Who Fell in Love with a Prentice Boy"; Harding B 21(35), "The Lady and 'Prentice Boy"; Harding B 28(137), 2806 c.17(85), "Cupid's Garden" ("As down in Cupid's garden with pleasure I did walk, I heard two loyal lovers so sweetly for to talk"); Harding B 28(40), "Cupid's Garden" or "The 'Prentice Boy" 
CROSS_REFERENCES:
cf. "Castle Gardens" (theme)
NOTES: In Leach-Labrador and the Bodleian broadside the sailor wins a lottery.
Do not confuse this with another set of broadsides "The Lovers Meeting"/"Convent Garden"/"The Convent Garden Rambler"/"Cupid's Garden" which begins "As down in [Cupid's/Convent] garden with pleasure I did go, All for to view the flowers that in the garden grew" at Bodleian. This one has a sailor and Nancy, no apprentice, no lady, no lottery, and he sails away promising to return: see "Cupid's Garden (I) (Covent Garden I; Lovely Nancy III)"- BS
File: LM12
===
NAME: Apron of Flowers, The: see Waly Waly (The Water is Wide) (File: K149)
===
NAME: Ar Eirinn Ni Neosfainn Ce hi (For Ireland I Will Not Tell Whom She Is)
DESCRIPTION: Singer's intended lives with her rich parents by the Avonmore river. She would marry him "without riches or no earthly store." They meet in Glandore. He dreams of their marriage. They would sail away, if necessary. Until then he won't reveal her name.
AUTHOR: unknown
EARLIEST_DATE: 1972 (Munnelly/Deasy-Lenihan)
KEYWORDS: courting Ireland nonballad travel river
FOUND_IN: Ireland
REFERENCES: (1 citation)
Munnelly/Deasy-Lenihan 14, "Ar Eirinn Ni Neosfainn Ce hi" (1 text, 1 tune)
Roud #5240
RECORDINGS:
Tom Lenihan, "Ar Eirinn Ni Neosfainn Ce hi" (on IRTLenihan01)
CROSS_REFERENCES:
cf. "The Pride of Kilkee" (tune; motif: hiding a sweetheart's name)
cf. "Eileen McMahon" (aisling format)
cf. "Granuaile" (aisling format) and references there
cf. "Tons of Bright Gold" (motif: hiding a sweetheart's name)
NOTES: Munnelly/Deasy-Lenihan translates the title, which is also the last line of all but the last verse, as "For Ireland I will not tell whom she is." "... some versions of the song carried intimations of carnality." The song is classified as a reverdie. "The classification refers to the greenwood setting in which the poet encounters the beautiful maiden much as in an aisling" [except that this is not a vision song]. See the notes to "Eileen McMahon" and references there for a discussion of aisling. [Also the notes to "Granuaile." - RBW]
The Avonmore River flows through County Wicklow. Glandore is in County Cork. Maybe that's part of the code.
There is a Gaelic version with translation at "An Eirinn Ni Neosainn Ce Hi" at the Makem site. The story is less detailed than Munnelly/Deasy-Lenihan 14. 
Munnelly/Deasy-Lenihan: "The Clare Gaelic scholar Eugene O'Curry stated that this song was written originally about 1810 .... The song in English which Tom sings has been about for a good many years likewise, as is witnessed by the similar version which Freeman noted down in London in 1915...."
Reverdie: "a song-type in which the poet is approached, in pastoral surroundings, by a beautiful otherworldly woman who symbolizes spring and Love....[It is] an old French poetic form pre-dating the political aisling form used in 18th century Irish poetry. French influence on Irish poetry took place during the Middles Ages when Norman-French families were granted estates in Ireland by the English crown." (source: Michael Robinson, "Danny Boy -- The Mystery Returns! , or, The Young Man's Dream" at The Standing Stones site. The article gives a clear example of the form with a reference to "A Young Man's Dream" and information on the form from Bruce Olson). While there are countless non-political Irish songs in which a young man meets a beautiful woman, the essential element of a reverdie is that the meeting must take place in a dream. - BS
File: RcAENNCH
===
NAME: Ar Hyd Y Nos: see All Through the Night (Ar Hyd Y Nos) (File: FDWB410B)
===
NAME: Araby Maid, The
DESCRIPTION: "Away on the wings of the wind she flies...." "'Tis an Araby maid who hath left her home To fly with her Christian knight." The song tells how she leaves her home and her faith for love, and notes "None can sever them now but the grave."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 312, "The Araby Maid" (1 text)
Roud #6725
CROSS_REFERENCES:
cf. "The Turkish Lady" [Laws O26]
cf. "Young Beichan" [Child 53]
NOTES: The absence of dialect in this song makes me think it is composed. So does the abject stupidity. - RBW
File: Ord312
===
NAME: Aran's Lovely Home: see Erin's Lovely Home [Laws M6] (File: LM06)
===
NAME: Aranmore Disaster, The
DESCRIPTION: The boat carrying "lads ... coming from the Scottish harvest fields" lands at Burton Port. Passengers reembark "for the Island but they never reach the shore ... The little boat ... did sail but only one of the score survived to tell the tale"
AUTHOR: unknown
EARLIEST_DATE: 1948 (Ranson)
KEYWORDS: drowning sea ship wreck sailor
HISTORICAL_REFERENCES: Nov 9, 1935 - "... a ferry carrying passengers from Burtonport to Aranmore struck the rock near the pier on Aranmore.... Their boat struck in darkness and 19 of the 20 aboard were lost." (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 209)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 125-126, "The Aranmore Disaster" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Bold Jack Donahoe" (tune) and references there
NOTES: Ranson: Tune is "The Wreck of the Eliza" on p. 56.
Burtonport is on the northwest Donegal coast. Aranmore is a nearby island. - BS
File: Ran125
===
NAME: Arbour Hill
DESCRIPTION: "No rising column marks the spot Where many a victim lies." The blood shed there makes claims for justice. We will be satisfied with freedom without retribution. The ground is unconsecrated but the dead are consecrated by patriot tears.
AUTHOR: Robert Emmet (1778-1803) (source: Moylan)
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: rebellion execution Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 154, "Arbour Hill" (1 text, 1 tune)
NOTES: Moylan: "Many rebels were executed and buried at Arbour Hill in Dublin after the rebellion had been suppressed. Robert Emmet wrote this piece after a visit to the site of the croppy graves." - BS
For Emmet see of course the notes to "Bold Robert Emmet" and the various other Emmet songs. - RBW
File: Moyl154
===
NAME: Arch and Gordon
DESCRIPTION: "When Archie went to Louisville (x3), Not thinking that he would be killed." "When Gordon made his first shot, O'er behind the bed Arch did drop." "Hush now Guv'nor, don't you cry, You know your son Arch has to die."
AUTHOR: unknown
EARLIEST_DATE: 1956
KEYWORDS: death homicide father children
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Abrahams/Foss, pp. 84-85, "Arch and Gordon" (1 text, 1 tune)
Roud #4130
NOTES: This may be based on a historical incident, but there is so little detail left in the song that there is little hope of recovering it; it is hardly possible to look up every Governor Brown in American history.
The final stanza, "Now you see what a sporting life has done, It has killed Guv'nor Brown's only son," gives a clue to what is going on: Archie Brown presumably seduced Gordon's wife/sister/girlfriend/X (somehow the song makes me think of homosexuality, though I can't even guess why), and Gordon killed him in revenge.
This piece is item dF61 in Laws's Appendix II. - RBW
File: AF084
===
NAME: Archie o Cawfield [Child 188]
DESCRIPTION: Archie is in prison for raiding. His brothers wish they could rescue him, and at last set out with ten men. Archie laments to his brothers that he is to die. The brothers break down the doors and escape the pursuing forces
AUTHOR: unknown
EARLIEST_DATE: 1780 (Percy papers)
KEYWORDS: borderballad prisoner escape rescue family brother punishment
FOUND_IN: Britain(Scotland) US(NE)
REFERENCES: (9 citations)
Child 188, "Archie o Cawfield" (6 texts)
Bronson 188, "Archie o Cawfield" (7 versions)
Leach, pp. 509-516, "Archie o Cawfield" (2 texts)
OBB 140, "Archie of Cawfield" (1 text)
Gardner/Chickering 84, "Archie o' Cawfield" (1 text)
Warner 191, "Bold Dickie and Bold Archie" (1 text, 1 tune)
Linscott, pp. 172-175, "Bold Dickie" (1 text, 1 tune) {Bronson's #4}
DBuchan 34, "Archie o Cawfield" (1 text)
DT (187/188), (JOCKSIDE) JOHNWEBB*? BOLDARCH* BOLDARC2*
Roud #83
CROSS_REFERENCES:
cf. "Billy Broke Locks (The Escape of Old John Webb)" (tune & meter, theme)
cf. "Jock o the Side" [Child 187] (plot)
NOTES: Child notes, "This ballad is in all the salient features a repetition of 'Jock o the Side' [Child #187], Halls playing the parts of Armstrongs."
Many American versions of this (Linscott's "Bold Dickie," Warner's "Bold Dickie and Bold Archie," and perhaps the variant printed by Barry in BFSSNE; the Gardner/Chickering text is still fairly Scottish) have taken on some American color, and it is possible that they are actually American inventions which have mixed with the British song. Or they may have seen influence from "Billy Broke Locks." The whole family is rather a mess.
Linscott claims that "It is known that the song was *not* sung by women." - RBW
File: C188
===
NAME: Arctic Ice and Flippers
DESCRIPTION: "There's a  halo round the margin of the sea, And 'tis there, if I correctly guess, will be The Arctic Ice..." where the seals are found. "We'll get the flippers yet old-timers say." The singer looks confidently at the Terra Nova and expects a good haul
AUTHOR: A. C. Wornell
EARLIEST_DATE: 1951 (Wornell, Rhymes of a Newfoundlander); reportedly written 1937
KEYWORDS: hunting ship nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 137, "Arctic Ice and Flippers" (1 text, 1 tune)
File: RySm137
===
NAME: Ard Tack
DESCRIPTION: "I'm a shearer, yes I am, and I've shorn them sheep and lamb," but the singer gets in trouble on a station that is also a vineyard. As he shears, he sips the "pinkie" between sheep -- and eventually passes out while holding a sheep
AUTHOR: unknown
EARLIEST_DATE: 1965 (Lahey)
KEYWORDS: sheep work drink humorous
FOUND_IN: Australia
REFERENCES: (2 citations)
Paterson/Fahey/Seal, pp. 266-268, "The Hardest Bloody Job I Ever Had" (1 text)
DT, ARDTACK*
File: PFS266
===
NAME: 'Ard Tack: see Ard Tack (File: PFS266)
===
NAME: Are You Happy or Lonesome: see Happy or Lonesome (File: RcHOL)
===
NAME: Are You There, Moriarity?
DESCRIPTION: "I'm a policeman sheikh or a pip or a peak, And the girls around my beat, So nice and clean they say, That's him... I'm a handy fellow at a custard, I take it into 'custardy,' And the kids all cry as I go by, 'Are you there, Moriarity?'"
AUTHOR: Words: Edward Harrigan / Music: David Braham (1838-1905)
EARLIEST_DATE: 1876 (sheer music, LOCSheet, sm1876 07624)
KEYWORDS: police humorous
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 149, "Are You There, Moriarity" (1 text, 1 tune)
BROADSIDES:
LOCSheet, sm1876 07624, "Are You There Moriarty!," Wm. A. Pond (New York), 1876(tune)
CROSS_REFERENCES:
cf. "Good Old Mountain Dew" (tune, per OLochlainn)
NOTES: For background on Harrigan and Braham, see the notes to "Babies on Our Block." - RBW
File: MA149
===
NAME: Are You Tired of Me, My Darling?: see Will You Love Me When I'm Old? (File: R824)
===
NAME: Arise and Bar the Door-O: see Get Up and Bar the Door [Child 275] (File: C275)
===
NAME: Arise, Arise: see The Drowsy Sleeper [Laws M4] (File: LM04)
===
NAME: Arizona
DESCRIPTION: "The Devil was given permission one day To select him a land in his own special way." After a long, difficult search, he settles on Arizona, and sets out to make some "improvements": cacti, skunks, heat. He then leaves, thinking that is beats Hell
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: Devil Hell humorous
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-ABFS, pp. 401-402, "Arizona" (1 text)
Fife-Cowboy/West 27, "Hell in Texas" (3 texts -- one each for Texas (a version of "Hell in Texas"), Arizona , and Alaska, 1 tune)
Roud #5104
CROSS_REFERENCES:
cf. "Hell in Texas" (theme)
NOTES: This song and "Hell in Texas" clearly are related; one probably suggested and influenced the other. But there is no way to clearly demonstrate which came earlier, so I list them separately. Roud, unsurprisingly, lumps them. - RBW
File: LxA401
===
NAME: Arizona Home: see Home on the Range (File: R193)
===
NAME: Arkansas Boys: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Arkansas Navvy, The: see The State of Arkansas (The Arkansas Traveler II) [Laws H1] (File: LH01)
===
NAME: Arkansas Sheik, The: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Arkansas Traveler (II), The: see The State of Arkansas (The Arkansas Traveler II) [Laws H1] (File: LH01)
===
NAME: Arkansas Traveler, The (fiddle recitation)
DESCRIPTION: A series of remarks between a traveller and an Arkansas farmer, interspersed with fiddle playing. The traveller will ask a question (e.g. "Say, farmer, where does this road lead?"), the farmer will answer unhelpfully ("to the end") and fiddle
AUTHOR: unknown
EARLIEST_DATE: 1847
KEYWORDS: fiddle recitation nonsense humorous
FOUND_IN: US(Ap,MA,MW,SE,So)
REFERENCES: (12 citations)
Randolph 346, "The Arkansas Traveler" (1 text, 1 tune)
Randolph/Cohen, pp. 284-287, "The Arkansas Traveler" (1 text, 1 tune -- Randolph's 346)
BrownIII 330, "Arkansas Traveler (I)" (1 fragment)
FSCatskills 90, "The Arkansas Traveller" (2 texts, 2 tunes)
JHCox 179, "The Arkansaw Traveller" (1 text)
JHCoxIIB, #34, p. 210, "The Arkansaw Traveler" (1 tune with a description of the conversation between fiddler and traveler but no actual text)
RJackson-19CPop, pp. 10-13, "The Arkansas Traveller" (1 text, 1 tune)
Lomax-ABFS, pp. 267-271, "The Arkansas Traveller" (1 text, 1 tune)
Cohen/Seeger/Wood, pp. 216-219, "Arkansas Traveler" (1 text, 1 tune)
Silber-FSWB, p. 33, "The Arkansas Traveller" (1 text)
Fuld-WFM, pp. 107-108, "Arkansas Traveler"
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 46-53, texts of both "The Arkansas Traveler" and "The State of Arkansas," with folktale variants, a reproduction of a painting of the fiddler and traveler, and background information
Roud #3756
RECORDINGS:
Arkansas Woodchopper [pseud. for Luther Ossenbrink] & his Square Dance Band, "Arkansas Traveler" (OKeh 06296, 1941)
The Blue Ridge Duo [possibly a pseudonym for George Reneau?], "Arkansas Traveler" (Edison 51422, 1924)
Boone County Entertainers [Red Fox Chasers], "Arkansas Traveller" (Supertone 9163, 1928)
Fiddlin' John Carson, "Arkansas Traveler" (OKeh 40108, 1924)
H. N. Dickens, "The Arkansas Traveller" (on Stonemans01)
Jess Hillard, "Arkansas Traveller" (Champion 16333, 1931)
Earl Johnson & his Dixie Entertainers, "Earl Johnson's Arkansas Traveller" (OKeh 45156, 1927)
Uncle Dave Macon, "Arkansas Travellers" (Vocalion 15192, 1926)
Clayton McMichen & his Georgia Wildcats, "Arkansas Traveler" (Melotone [Canada] 93031, 1933)
Clayton McMichen & Dan Hornsby [or McMichen's Melody Men], "The Original Arkansas Traveler, pts. 1 & 2" (Columbia 15253-D, 1928)
New Lost City Ramblers, "The Arkansas Traveller" (on NLCR16)
Steve Porter, "Arkansas Traveller" (Pathe 20670, 1921)
[Steve] Porter & [Ernest] Hare, "Arkansas Traveler" (Edison 51010, 1922) (Grey Gull 4112, 1927)
George Reneau, "Arkansas Traveler" (Vocalion 14813, 1924)
Pete Seeger, "Arkansas Traveller" (on PeteSeeger07, PeteSeeger07b)
Jilson Setters [pseud. for James W. "Blind Bill" Day], "Arkansaw Traveler" (Victor 21635, 1928)
Hobart Smith, "Arkansas Traveler" (Disc 6079, 1940s)
Harry Spencer, "The Arkansaw Traveler" (Columbia 21, 1901; Harvard 21, c. 1903; Columbia A406, 1909 [anonymous]; Oxford 21, c. 1911)
Len Spencer, "The Arkansaw Traveler" (Victor 1101, 1902; Victor 16199-A, c. 1909) (CYL: Edison 8202 [as "The Arkansas Traveler"], 1902) (CYL: Edison [BA] 3745 [as "The Arkansas Traveler"], n.d.)
John Stone, "Arkansas Traveler" (AFS 3372 B2, 1939; in AMMEM/Cowell)
Gid Tanner & Riley Puckett, "Arkansas Traveller" (Columbia 15017-D, 1925; rec. 1924.)
Gordon Tanner, Arthur Tanner, Art Rosenbaum & Larry Nash, "Arkansas Traveler" (on DownYonder)
Tennessee Ramblers, "Arkansas Traveller" (Brunswick 225, 1928; Supertone S-2083, 1930)
Unidentified artists, "The Arkansaw Traveller" (Silvertone 21, c. 1915) (possibly Len Spencer, but a different recording from his 1902 Victor)
Unidentified artists (possibly Len Spencer) "Arkansaw Traveler" (CYL: Everlasting 1399, n.d.)
J. D. Weaver "Arkansas Traveler" (OKeh 45016, 1925)
SAME_TUNE:
[Len] Spencer & [Billy] Jones, "Return of the Arkansaw Traveler" (CYL: Albany Indestructable/Columbia 3108, c. 1910)
Len Spencer, "Return of the Arkansas Traveler" (CYL: Edison 10356, 1910)
Gid Tanner & his Skillet Lickers, "New Arkansas [Arkansaw?] Traveller" (Columbia 15623-D, c. 1931)
NOTES: Randolph says "Both words and music are usually credited to Colonel Sandford C. Faulkner [d. 1875]"; Allsop mentions Faulkner's name but also mentions other possibilites. The sheet music in Jackson is credited to one Mose Case, but we know how reliable such claims are. - RBW
Usually the fiddler only plays the "A" part of the tune; at the end of a few versions the traveller plays the "B" part, and the two become friends. 
This was a popular minstrel-show sketch in the 1900s, pitting the smart country man against the city slicker.
The [Folksinger's Wordbook] text turns one of the classic jokes from the spoken skit into sung verses. Frustratingly, they give no sources, so the origins of this version are unknown. The chords given are not the usual chords played with the tune. - PJS
File: FSC090
===
NAME: Arkansaw Traveller, An: see The State of Arkansas (The Arkansas Traveler II) [Laws H1] (File: LH01)
===
NAME: Arlin's Fine Braes
DESCRIPTION: "I've travelled this country both early and late, And among the lasses I've had mony a lang sit." The singer recalls his wild ways as a young ploughman. Having had various misadventures, he warns listeners to settle down and work rather than rambling
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: work farming rambling warning
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 250, "Arlin's Fine Braes" (1 text)
Roud #517
RECORDINGS:
Jimmy McBeath, "Arlin's Fine Braes" (on Voice20)
File: Ord250
===
NAME: Arm Chair, The: see Grandmother's Chair (File: R467)
===
NAME: Armoured Car, The
DESCRIPTION: "You must appreciate a hound so great to the sport." Doyley's Armoured Car "never yet lost a hunt." In '21 "he sent a sworn declaration to the Harriers Association" that he would win. His victories are recounted. Black and Tans could not stop him
AUTHOR: Sean O'Callaghan (source: OCanainn)
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: hunting dog
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 46-47,121, "The Armoured Car" (1 text, 1 tune)
NOTES: OCanainn: "The Armoured Car is ... the nickname given to the original Ringwood, the dog bred by the famous Conny Doyle of Fair Hill." - BS
File: OCan046
===
NAME: Army Song, The
DESCRIPTION: "A is for the Army that's not afraid to die ... C is for Christ ... Z is for ... A and stands for something, whatever it may be But the name of this peculiar song is the Army A B C"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: nonballad religious wordplay
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 68, "The Army Song" (1 text, 1 tune)
Roud #159
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
NOTES: Leach-Labrador: "It is the Salvation Army Alphabet.... The music director of the Salvation Army has no record of this song." - BS
File: LLab068
===
NAME: Around a Western Water Tank: see The Dying Hobo [Laws H3] (File: LH03)
===
NAME: Around Cape Horn (I): see Rounding the Horn (File: VWL090)
===
NAME: Around Cape Horn (II): see A Long Time Ago (File: Doe037)
===
NAME: Around Her Neck She Wore a Yellow Ribbon
DESCRIPTION: The girl wears a yellow ribbon around her neck "For her lover who was far, far away." In May and December she scatters yellow flowers on a grave "for her soldier who was far, far away." (In other versions she may be pregnant and face abandonment)
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: love separation death burial pregnancy abandonment
FOUND_IN: US
REFERENCES: (4 citations)
Arnett, p. 149-150, "Around Her Neck She Wore a Yellow Ribbon" (1 text, 1 tune)
JHJohnson, p. 115, "Yaller Ribbon" (1 text)
Silber-FSWB, p. 145, "Round Her Neck She Wore A Yellow Ribbon" (1 text)
DT, (YLLORBBN)
Roud #10642, etc.
CROSS_REFERENCES:
cf. "All Around My Hat"
SAME_TUNE:
The Scarlet Bonnet (Pankake-PHCFSB, p. 159)
NOTES: The versions of this song I know run the gamut. Arnett's is a lament for a lost soldier. In Johnson's text, she has had a child by the missing man. In the Digital Tradition version, the song is angry, and the child is clearly illegitimate, and her father is prepared to guard her with a shotgun. The latter version is considered by the DT editors to be an "All around My Hat" variant -- but it seems to be simply a stronger version of the Johnson text.  - RBW
I think this one and "All Around My Hat" are, at the least, siblings, and more likely fraternal twins. - PJS
That they share genetic material is clear. But they have also evolved independently, and this one exists in far more diverse forms. - RBW
File: Arn149
===
NAME: Around the Corner
DESCRIPTION: "Around the corner behind the tree A sergeant Major said to me, 'Oh, how'd you like to (marry) me? I would like to know, For every time I look into your eyes, I feel I'd like to go Around the corner....'"
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: humorous wordplay
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 241, "Around the Corner" (1 text)
NOTES: Clearly the infinite recursion was not invented by inept computer programmers. - RBW
File: FSWB241B
===
NAME: Around the Hills of Clare
DESCRIPTION: In the past the singer had thought the Saxon bands could be driven from his home, but now "these days are past." He is leaving home, parents, sister, and girls. He looks forward to the day when "home we'll all repair" to "the hills of Clare"
AUTHOR: unknown
EARLIEST_DATE: 1981 (IRClare01)
KEYWORDS: grief emigration farewell Ireland nonballad family home
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #18467
RECORDINGS:
Tom Lenihan, "Around the Hills of Clare" (on IRClare01)
CROSS_REFERENCES:
cf. "The Magpie's Nest" (tune)
File: RcAtHoC
===
NAME: Around the Horn: see Rounding the Horn (File: VWL090)
===
NAME: Around the World and Home Again: see The Sailor's Way (File: Doe109)
===
NAME: Arrival of "Aurora," "Diana," "Virginia Lake," and "Vanguard," Loaded
DESCRIPTION: "All welcome to the northern fleet That just arrived today, Pounds filled up with prime harp seals." The accomplishments of Captain Kean, Captain Barbour of the Diana, Captain Knee of the Virginia Lake, and of the Vanguard are listed
AUTHOR: possibly Johnny Burke
EARLIEST_DATE: 1978 (Ryan/Small)
KEYWORDS: hunting ship
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 731, "Arrival of 'Aurora,' Diana,' 'Virginia Lake' and 'Vanguard,' Loaded" (1 text)
CROSS_REFERENCES:
cf. "First Arrival -- 'Aurora' and 'Walrus' Full" (ships, theme)
cf. "Arrival of the 'Grand Banks' and 'Virginia Lake' With Bumper Trips" (theme, ships)
cf. "The Sealer's Song (II)" (ships)
File: RySm073
===
NAME: Arrival of the "Grand Banks" and "Virginia Lake" With Bumper Trips
DESCRIPTION: "The Grand Lake, boys, is coming in, With bunting grand, Manned by a crew of hardy lads Who belong to Newfoundland." The Grand Lake and the Virginia both return to port with large hauls of seal pelts and fat
AUTHOR: unknown
EARLIEST_DATE: 1904 (Old Home Week Songster)
KEYWORDS: hunting ship
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 71, "Arrival of the 'Grand Banks' and 'Virginia Lake' With Bumper Trips" (1 text)
CROSS_REFERENCES:
cf. "First Arrival -- 'Aurora' and 'Walrus' Full" (ships, theme)
cf. "Arrival of 'Aurora,' Diana,' 'Virginia Lake' and 'Vanguard,' Loaded" (theme, ships)
cf. "The Sealer's Song (II)" (ships)
File: RySm071
===
NAME: Arriving Back at Liverpool: see Whip Jamboree (Whup Jamboree) (File: Br3230)
===
NAME: Arsenic Tragedy, The: see Henry Green (The Murdered Wife) [Laws F14] (File: LF14)
===
NAME: Arthur
DESCRIPTION: French. Arthur, a poor boatman, loves a Black girl who lives in a castle. Her mother locks her in a tower far away. When a knight came to ask for her hand she sobs and takes out a handkerchief with Arthur's name. She makes her last sigh.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Lehr/Best)
KEYWORDS: foreignlanguage grief courting abduction mother Black(s)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 3, "Arthur" (1 text, 1 tune)
File: LeBe003
===
NAME: Arthur a Bland: see Robin Hood and the Tanner [Child 126] (File: C126)
===
NAME: Arthur Bond
DESCRIPTION: The singer tells the "praises of young Arthur Bond." He comes to Armagh for a race. Many horses stumble on the course, but Bond, riding Kate Kearney, succeeds easily. He drinks a toast to his mare
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: racing horse
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H783, p. 34, "Arthur Bond" (1 text, 1 tune)
Roud #9219
File: HHH783
===
NAME: Arthur Clyde
DESCRIPTION: Singer, dying, confesses to his sister that he murdered and buried her former lover, Arthur Clyde, because he could not bear to see Clyde with her
AUTHOR: unknown
EARLIEST_DATE: 1959 (recording, Loman D. Cansler)
KEYWORDS: homicide death dying sister lover
FOUND_IN: US(So)
REFERENCES: (0 citations)
Roud #15752
RECORDINGS:
Loman D. Cansler, "Arthur Clyde" (on Cansler1)
NOTES: Cansler states he learned this from his family, and has not heard it elsewhere. - PJS
File: RcAClyde
===
NAME: Arthur Curtis's Horse
DESCRIPTION: "Arthur Curtis lost his horse; I'm sorry that they parted. But people say for the want of hay To the other world he started." A few of the men help Arthur get rid of the dead horse and he vows to "get another one just as good" and finish hauling wood.
AUTHOR: Frank O'Hara
EARLIEST_DATE: 1961 (Ives-NewBrunswick)
KEYWORDS:  death lumbering recitation horse
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, pp. 76-77, "Arthur Curtis's Horse" (1 text)
Roud #1949
File: IvNB076
===
NAME: Arthur McBride
DESCRIPTION: The singer and his cousin Arthur McBride meet a recruiting party (on Christmas). The young men do not wish to join the army; they aren't interested in going overseas to be shot. The sergeant blusters; the Irish boys beat up the soldiers
AUTHOR: unknown
EARLIEST_DATE: 1909
KEYWORDS: army fight recruiting humorous
FOUND_IN: Ireland Britain(Scotland,England)
REFERENCES: (3 citations)
Ord, pp. 306-307, "The Recruiting Sergeant" (1 text)
PBB 93, "Arthur McBride" (1 text)
DT, ARTMCBRD* ARTMCBR2
Roud #2355
ALTERNATE_TITLES:
Arthur McBride and the Sergeant
File: PBB093
===
NAME: Arthur Nolan: see Alec Robertson (I) (File: MA065)
===
NAME: As Broad as I was Walking
DESCRIPTION: The singer sees a pretty maid "lamenting for her love." He courts her "in a rude and rakish way." She bids him stop, "crying out, Young man, for shame."  Her lover is gone; she vows that if she can't enjoy him, "I will rejoice in a sweet and single life."
AUTHOR: unknown
EARLIEST_DATE: before 1820 (broadside, Bodleian Harding B 17(196a))
KEYWORDS: courting loneliness separation oldmaid
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Copper-SoBreeze, pp. 230-231, "As Broad as I was Walking" (1 text, 1 tune)
Roud #1198
BROADSIDES:
Bodleian, Harding B 17(196a), "Modest Maid," J. Pitts (London), 1802-1819; also Johnson Ballads 915[last verse illegible], "Modest Maid"; Harding B 25(1310), "Nancy's Love for her Sailor"
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there
NOTES: This really, REALLY reminds me of a Riley/Broken Token ballad. But since the stanza form does not match the more common Riley ballads, and since there is no reunion at the end, I have to classify it on its own.
The title, I imagine, is a corruption of "Abroad as I was Walking." - RBW
File: CoSB230
===
NAME: As I Gaed ower a Whinny Knowe: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: As I Go Sing
DESCRIPTION: "As I walk the hills my heart is light, and as I go I sing." Her brothers urge the singer to seek wealth; her mother warns her of dying an old maid. She says she will never wed -- but allows she might if a certain man comes courting
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: love family oldmaid
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H661, p. 259, "As I Go I Sing" (1 text, 1 tune)
Roud #6899
File: HHH661
===
NAME: As I Rode Down Through Irishtown: see The Crimean War [Laws J9] (File: LJ09)
===
NAME: As I Rode Out: see The Banks of Sweet Primroses (File: ShH51)
===
NAME: As I Roved Out (I) (Tarry Trousers II)
DESCRIPTION: The singer overhears a girl talking to her mother. The mother wants her daughter to marry a farmer, but the girl prefers a sailor. (The girl and the sailor are happily wed; she tries to persuade him to go to sea no more.)
AUTHOR: unknown
EARLIEST_DATE: 1848 (Journal from the Nauticon)
KEYWORDS: lover courting mother sailor
FOUND_IN: Britain(England(South)) Canada(Mar,Newf) US
REFERENCES: (8 citations)
SharpAp 133, "Tarry Trousers" (1 text, 1 tune)
Huntington-Whalemen, pp. 96-99, "The Tarry Trousers" (2 texts, 1 tune)
Creighton/Senior, pp. 212-214, "Tarry Trousers" (2 texts, 2 tunes)
Greenleaf/Mansfield 31, "As I Roved Out" (1 text, 1 tune)
Peacock, pp. 495-496, "Anchors Aweigh, Love" (1 text, 1 tune)
Lomax-FSNA 14, "As I Roved Out" (1 text, 1 tune)
OBoyle 1, "As I Roved Out" (1 text, 1 tune)
DT 414, TARYTROU* TARYTRU2*
Roud #427
ALTERNATE_TITLES:
The Mother's Admonition
File: LoF014
===
NAME: As I Roved Out (II): see Trooper and Maid [Child 299] (File: C299)
===
NAME: As I Roved Out (III): see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: As I Roved Out (V): see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: As I Roved Out One Evening
DESCRIPTION: A son, against his parents' wishes, plans to cross the sea "in search of gold." He is afraid, if he stays, King George will be defeated. His love has wed another leaving him under oath not to wed any girl in Ireland. He leaves for the East Indies
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 25(345))
KEYWORDS: infidelity separation Ireland
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 41, "As I Roved Out One Evening" (1 text, 1 tune)
Roud #2752
BROADSIDES:
Bodleian, Harding B 25(345), "The Carrick Lovers ("As I roved out one morning I heard a mournful cry"), W. Armstrong (Liverpool), 1820-1824
NOTES: Carrick on Shannon is in County Leitrim, Ireland. - BS
File: CrSNB041
===
NAME: As I Sat on a Sunny Bank: see I Saw Three Ships (File: OBB104)
===
NAME: As I Sit Here Alone
DESCRIPTION: "As I sit here alone in the old shearer's hut...I wonder, is it worth goin' on." The shearer describes the hard work, the injuries, the poor pay, the lack of respect for inferior workers. He concludes , "I KNOW it's not worth goin' on."
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: work hardtimes sheep
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 146-147, "As I Sit Here Alone" (1 text)
File: MCB146B
===
NAME: As I Staggered From Home Yesterday Morning
DESCRIPTION: As singer staggers out, his wife (counting up his meager cash) tells him their life would be better if he quit drinking -- they'd soon be "rich as a Jew." He tells her that drink does him a world of good, and he intends to continue
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Pat Ford)
KEYWORDS: drink wife
FOUND_IN: US(MW)
REFERENCES: (0 citations)
Roud #15472
RECORDINGS:
Pat Ford, "As I staggered from home yesterday morning" [fragment] (AFS 4210 B3 & 4211 B3, 1939; in AMMEM/Cowell)
NOTES: Both [Pat Ford] recordings contain the same fragment, but are different takes. - PJS
File: RcAISFHY
===
NAME: As I Strolled Out One Evening: see Down By Blackwaterside (File: K151)
===
NAME: As I Walked Forth in the Pride of the Season
DESCRIPTION: A man promises to marry a maid he meets. He says he is poor and her "low degree" is no cause for concern. They kiss and fall asleep. When he wakes he finds her not a virgin and says they'll never marry.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: grief courting sex virginity warning floatingverses
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 422-423, "As I Walked Forth in the Pride of the Season" (1 text, 1 tune)
ST Pea422 (Partial)
Roud #9785
ALTERNATE_TITLES:
The False Young Man
NOTES: [Despite Peacock's subtitle "The False Young Man," this is] not "The False Young Man (The Rose in the Garden, As I Walked Out)." - BS
Peacock's final stanza is the floating "ripest of apples" lyric; it's not clear which of the several songs which include the verse is the source. - RBW
File: Pea422
===
NAME: As I Walked Out (I) (A New Broom Sweeps Clean)
DESCRIPTION: A young man tells a girl, "Alas, I'm tormented, for love I must die." He begs her to come away with him. She tells him, "Were I to say yes, I would say 'gainst my mind." He curses her unkindness; he will marry a girl who loves him if he marries at all
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love courting rejection
FOUND_IN: Ireland  Canada(Mar)
REFERENCES: (2 citations)
SHenry H109, p. 357, "As I Walked Out" (1 text, 1 tune)
Creighton-SNewBrunswick 40, "A New Broom Sweeps Clean" (1 text, 1 tune)
ST HHH109 (Partial)
Roud #2751
CROSS_REFERENCES:
cf. "If I Were a Fisher" (floating lyrics)
NOTES: Bodleian, Harding B 25(1325), "A New Broom Sweeps Clean" ("Why talk you of marriage, I have little wit"), Angus (Newcastle), 1774-1825; also Harding B 17(209a), "A New Broom Sweeps Clean" shares only its title, one similar verse, and dialog theme with this song. The similar verse -- with potential for floating -- is "I think it no wonder maids are fickle in their minds, Young men will deceive them be they ever so kind; They will court with strange sweethearts, be they ever so mean, It is an old saying that a new broom sweeps clean." - BS
File: HHH109
===
NAME: As I Walked Out (II): see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: As I Walked Out in the Streets of Laredo: see The Streets of Laredo [Laws B1] (File: LB01)
===
NAME: As I Walked Out One May Morning: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: As I Walked Through the Meadows
DESCRIPTION: Singer meets a young woman. She says she has come to gather may. He asks to go with her; she refuses, for fear of being led astray. He kisses her; they wander through the meadows as he picks may. Next morning he marries her to preserve her reputation.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: courting sex wedding
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Sharp-100E 53, "As I Walked Through the Meadows" (1 text, 2 tunes)
Roud #594
ALTERNATE_TITLES:
The Handful of May
NOTES: Although it's never made explicit, especially in Cecil Sharp, I know a line of asterisks when I see one! -PJS
File: ShH53
===
NAME: As I Wandered by the Brookside: see I Wandered by the Brookside (File: CrMa035)
===
NAME: As I Was A-Walking (I): see The Mantle So Green [Laws N38] (File: LN38)
===
NAME: As I Was A-Walking Down Ratcliffe Highway: see Ratcliffe Highway (File: Doe114)
===
NAME: As I Was Going into the Fair of Athy: see The Old Petticoat (File: RcOldPet)
===
NAME: As I Was Going to Banbury: see A Leg of Mutton Went Over to France (File: Pea014)
===
NAME: As I Was Going to Darby: see The Derby Ram (File: R106)
===
NAME: As I Was Walkin' Down Wexford Street: see The Croppy Boy (I) [Laws J14] (File: LJ14)
===
NAME: As I Was Walking o'er Little Moorfields: see A Leg of Mutton Went Over to France (File: Pea014)
===
NAME: As I Went by the Luckenbooths
DESCRIPTION: "As I went by the Luckenbooths I saw a lady fair... 'Oh, have you seen my lost love, With his braw Highland men?" "But when the minister came out Her mare began to prance, Then rode into the sunset Beyond the coast of France."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: beauty love nonballad Jacobite
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Montgomerie-ScottishNR 114, "(As I went by the Luckenbooths)" (1 text)
DT, LUCKBOTH
NOTES: This is an odd little piece, since half of it is just the description of the beautiful girl ("The smile about her bonnie cheek Was sweeter than the bee; Her voice was like the bird's song Upon the birken tree"). But the other half looks strongly Jacobite. On that basis, after much hesitation, I decided to include it.
Murray Shoolbraid, in his Digital Tradition notes, observes, "M[offat] says this is a spectral or 'ghostie' ballad, a great favourite of children in the 17th and 18th centuries [which I greatly doubt]." I doubt it too. (That is, I doubt the supernatural element, barring the discovery of a more explicit version). - RBW
File: MSNR114
===
NAME: As I Went Down in the Valley to Pray: see Down in the Valley to Pray (File: Br3553)
===
NAME: As I Went Down to Newbern
DESCRIPTION: "As I went down to Newbern, I went there on the tide, I just got there in time To be taken by Old Burnside." The singer complains of his treatment and bets that the Yankees will run every time they fight the Confederates
AUTHOR: unknown
EARLIEST_DATE: 1913 (Brown)
KEYWORDS: Civilwar prisoner
HISTORICAL_REFERENCES: Feb. 7, 1862 - Burnside's North Carolina expedition approaches Roanoke Island
Feb. 8, 1862 - Burnside defeats Henry Wise's local troops to capture Roanoke Island
Mar. 14, 1862 - Burnside takes New Bern
Apr. 26, 1862 - Burnside captures Beaufort
July 3, 1862 - Burnside and some 7500 of his troops are transferred to the Army of the Potomac
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 282, "As I Went Down to Newbern" (1 text)
Roud #6641
NOTES: This short little item looks both fragmentary and composite; the first part is about the Union occupation of northeastern North Carolina, but the second is a boast against the Yankees. They might belong together, but I suspect the final stanza was grafted in after the New Bern song lost most of its verses. - RBW
File: BrII282
===
NAME: As I Went Down to Port Jervis
DESCRIPTION: The singer sees a mother with her two soldier sons who are bound for battle. She wishes they were not leaving, and tells how she tried to keep them out of the army. The son(s) tell of their hard service, but say not to worry until they are dead!
AUTHOR: unknown
EARLIEST_DATE: 1982 (Cazden et al)
KEYWORDS: war battle mother children farewell
FOUND_IN: US(MA)
REFERENCES: (2 citations)
FSCatskills 12, "As I Went Down to Port Jervis" (2 texts, 2 tunes)
DT, PRTJRVS*
Roud #1924
CROSS_REFERENCES:
cf. "The Crimean War" [Laws J9] (tune, lyrics, plot, theme)
NOTES: The singers from whom Cazden et al collected this song generally felt it was a Civil War song. It can, however, be directly linked to "The Crimean War" [Laws J9]. Roud lumps the two, and I'm tempted to do the same -- but Cazden et al consider it separate, and they have heard the actual performances of the Catskills singers.
Still, you'd probably better see both songs. The Ives-New Brunswick version of "The Crimean War," e.g., is described by Cazden et al as being the same as that of "As I Went Down to Port Jervis."
This may mean less than it says, however; the Gardner/Chickering tune of "The Crimean War" is not the same as "Port Jervis" -- but similar; both are 6/8, both follow similar rhythms, both avoid the use of the fourth (causing Cazden et al to show it with no flats even though it's in F -- a confusing bit of notation). The primary difference is that the Cazden versions are true pentatonic; Gardner/Chickering do have one instance of a (major) seventh. - RBW
File: FSC012
===
NAME: As I Went Out One Summer's Day: see Bonny Wee Lass (As I Went Out One Summer's Day) (File: HHH763)
===
NAME: As I Went Up the Silver Lake
DESCRIPTION: "As I went up the silver lake, There I met a rattlesnake, He did eat so much cake That he had the tummy ache."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: animal food
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 188, "As I Went Up the Silver Lake" (1 text)
Roud #15769
File: Br3188
===
NAME: As Now We Are Sailing
DESCRIPTION: "As now we are sailing out of Sheet Harbour Bay And ... Scaterie." When the singer leaves the Labrador factory "I pray ... I'll come back here no more" and have "a chance for a wife"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: factory worker ship
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 100, "As Now We Are Sailing" (1 fragment, 1 tune)
Roud #1810
CROSS_REFERENCES:
cf. "Captain Conrod" (tune)
NOTES: Sheet Harbour is on the Atlantic coast of Nova Scotia and Scaterie Island is off Cape Breton. Creighton-Nova Scotia: "[The singer] tells me it was written about a schooner that took men to Labrador to work in a lobster factory." - BS
File: CrNS100
===
NAME: As Off to the South'ard We Go: see Heave Away Cheerily (File: Hugi310)
===
NAME: As Susan Strayed the Briny Beach: see Susan Strayed on the Briny Beach [Laws K19] (File: LK19)
===
NAME: As Sylvie Was Walking
DESCRIPTION: Sylvie, walking by the river, weeps for her lover. A young man asks the matter; she tells him that she's been deserted. She says her love will weep for her (after she dies). Astonishingly, the young man is not the departed lover, and nothing else happens.
AUTHOR: unknown
EARLIEST_DATE: 1911
KEYWORDS: loneliness love abandonment lament lover dream
FOUND_IN: Britain(England (South)) Australia
REFERENCES: (2 citations)
Vaughan Williams/Lloyd, p. 14, "As Sylvie Was Walking" (1 text, 1 tune)
DT, SYLVWALK* GRENGRO3
Roud #170
ALTERNATE_TITLES:
Once I Had a Sweetheart
A Maiden Sat a-Weeping
NOTES: The song was collected from an 80-year old woman in Australia in 1911. She had emigrated in 1855, and had learned the song in her native Gloucestershire, so [it must have been in existence by 1855]. - PJS
I'm inclined to think that this is a conflate ballad: The opening comes from a Riley ballad, the rest from a lost love song of some kind, with perhaps a little of "Green Grow the Laurel" in the mix to provide floating lyrics. (The Digital Tradition editors file their "Once I Had a Sweetheart" text with "Green Grow," but this is more than a stretch, as is the attribution to D. Adams, since Cynthia Gooding recorded it in 1953!) - RBW
File: VWL014
===
NAME: As the King Went A-Hunting: see Jolly Thresher, The (Poor Man, Poor Man) (File: R127)
===
NAME: As We Were A-Sailing: see The Female Warrior (Pretty Polly) [Laws N4] (File: LN04)
===
NAME: As Welcome as the Flowers in May
DESCRIPTION: "Last night I dreamed a sweet, sweet dream, I thought I saw my home, sweet home." The singer dreams of seeing his parents and his sweetheart Bess, who tell him they've been waiting and that he's "as welcome as the flowers in May."
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, McFarland & Gardner)
KEYWORDS: home separation dream father mother family
FOUND_IN: US(Ap,So)
REFERENCES: (2 citations)
Randolph 856, "As Welcome as the Flowers in May" (1 text)
Cambiaire, p. 101, "You're As Welcome as the Flowers in May" (1 text)
Roud #4347
RECORDINGS:
Bud & Joe Billings (pseuds. for Frank Luther & Carson Robison) "You're as Welcome as the Flowers in May" (Victor V-40039, 1929)
Mr. & Mrs. Hugh Cross, "You're as Welcome as the Flowers in May" (Columbia 15259-D, 1928)
Lester McFarland & Robert Gardner, "You're as Welcome as the Flowers in May" (Brunswick 108/Vocalion 5128, 1927; Supertone S-2037, 1930)
John McGhee, "You're As Welcome As The Flowers In May" (Supertone 9674, 1930)
Connie Sides, "You're as Welcome as the Flowers in May" (Columbia 15008-D, rec. 1924)
Frank C. Stanley, "You're As Welcome as the Flowers in May" (Imperial [UK] 44923, c. 1906)
Frank Welling & John McGhee, "You Are As Welcome as Flowers in May" (Perfect 5-12-59, 1935)
NOTES: Despite the similarity in titles (perhaps inspired by a common saying), this appears to have no relationship at all with the Sam Henry song "You're Welcome as the Flowers in May."
Dan J. Sullivan in 1902 published a song "You're As Welcome As the Flowers In May"; I don't know which of the two traditional songs of that title, if either, it represents. - RBW
Perhaps one of the recordings is responsible for the Randolph entry? It wouldn't be the first time. - PJS
File: R856
===
NAME: Ash Grove, The (Llwyn On)
DESCRIPTION: Welsh/English. The singer describes the beauty of the ash grove, which "alone is my home." The singer broods on dead friends, but rejoices to see them in the ash grove.
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: foreignlanguage home friend
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 336, "The Ash Grove" (1 English text text)
DT, ASHGROV1* ASHGROV2*
File: FSWB336B
===
NAME: Ashland Strike, The
DESCRIPTION: "I had a job; was well content And pleased in every way." "...The men, like me, I know, were satisfied with their own jobs, Then came the C.I.O." The singer describes the misery of the Ashland Strike, and hopes never again to hear of the C.I.O.
AUTHOR: Billie Menshouse?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: strike labor-movement
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 240-241, (no title) (1 text)
CROSS_REFERENCES:
cf. "The Picket Line Blues" (subject)
NOTES: We tend to think of "folk" songs as pro-union, but of course most unions find some employees opposed to their tactics. This is the song of such a man -- and, like many songs in Thomas, there is no evidence that it is actually traditional. - RBW
File: ThBa240
===
NAME: Ashland Tragedy (I), The [Laws F25]
DESCRIPTION: Three robbers break into the Gibbons house. Fanny Gibbons, a friend, and Bobby Gibbons are killed. The robbers (fail in an) attempt to burn the house. One is lynched, the others sentenced to hang. Three locals are killed by soldiers guarding the robbers
AUTHOR: Elijah Adams wrote either this or "Ashland Tragedy I" (Thomas lists "Ashland Tragedy II"; Cox seems to prefer "Ashland Tragedy I")
EARLIEST_DATE: 1918
KEYWORDS: homicide robbery execution revenge children
HISTORICAL_REFERENCES: 1884 - Ellis Craft and William Neal hung for their part on the "Ashland Tragedy" (the third robber, George Ellis, had earlier been lynched)
FOUND_IN: US(Ap,So)
REFERENCES: (4 citations)
Laws F25, "The Ashland Tragedy I"
JHCox 36, "The Ashland Tragedy" (1 text)
Burt, pp. 58-59, "The Ashland Tragedy" (1 text)
DT 737, ASHLANDM
Roud #2263
CROSS_REFERENCES:
cf. "The Ashland Tragedy (II)" [Laws F26]
cf. "The Ashland Tragedy (III)" [Laws F27]
NOTES: Cox offers details on this crime, and notes that his informant learned it from a printed sheet some five years after the event. It is likely that this (or perhaps "The Ashland Tragedy II") was a broadsheet distributed at the execution of the two murderers.
Cox's text of this piece begins,
Dear father, mother, sister, come listen while I tell
All about the Ashland tragedy, of which you know full well,
'Twas in the town of Ashland, all on that deadly night,
A horrible crime was committed, but soon was brought to light.
There seem to be no extant tunes for this item, but I suspect it belongs to the "Charles Guiteau" tune family. - RBW
File: LF25
===
NAME: Ashland Tragedy (II), The [Laws F26]
DESCRIPTION: Three robbers break into the Gibbons house. Fanny Gibbons, a friend, and Bobby Gibbons are killed. The robbers (fail in an) attempt to burn the house. One is lynched, the others sentenced to hang. Three locals are killed by soldiers guarding the robbers
AUTHOR: Elijah Adams wrote either this or "Ashland Tragedy I" (Thomas lists "Ashland Tragedy II"; Cox seems to prefer "Ashland Tragedy I")
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: homicide robbery execution revenge children
HISTORICAL_REFERENCES: 1881 - Ellis Craft and William Neal hung for their part on the "Ashland Tragedy" (the third robber, George Ellis, had earlier been lynched)
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws F26, "The Ashland Tragedy II"
Thomas-Makin', pp. 156-158, "The Ashland Tragedy" (1 text)
DT 806, ASHLAND2
CROSS_REFERENCES:
cf. "The Ashland Tragedy (I)" [Laws F25]
cf. "The Ashland Tragedy (III)" [Laws F27]
NOTES: It's not clear to me why Laws accords this full status as a traditional ballad; as with The Ashland Tragedy (III), the only source is Thomas. Her text begins,
Come dear people from far and wide
And lend a willing ear to me
While I relate the cruel facts
Of Ashland's greatest tragedy. - RBW
File: LF26
===
NAME: Ashland Tragedy (III), The [Laws F27]
DESCRIPTION: A loose account of the murder of three children (Fanny and Bobby Gibbons and Emma Carico) in the Gibbons home in Ashland. It describes the crime at some distance and with some inaccuracies and generalities
AUTHOR: Bill Terrell?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: homicide children
HISTORICAL_REFERENCES: 1881 - Ellis Craft and William Neal hung for their part on the "Ashland Tragedy" (the third robber, George Ellis, had earlier been lynched)
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws F27, "The Ashland Tragedy III"
Thomas-Makin', pp. 160-162, ("The Murder of the Gibbons Children") (1 text, 1 tune)
DT 802, ASHLAND3
Roud #2265
CROSS_REFERENCES:
cf. "The Ashland Tragedy (I)" [Laws F25]
cf. "The Ashland Tragedy (II)" [Laws F26]
NOTES: It's not clear to me why Laws accords this full status as a traditional ballad; as with The Ashland Tragedy (II), the only source is Thomas. Her text begins,
Oh have you heard the story,
It happened long ago,
Of the Gibbons's children murder
And Emma Carico. - RBW
File: LF27
===
NAME: Asleep at the Switch
DESCRIPTION: Tom the switchman has to work though his boy is dying at home. In his grief he falls asleep at the switch. A disaster is barely averted when daughter Nell, bringing good news, throws the switch. Tom is found dead of grief, but Nell is rewarded
AUTHOR: Words: Charles Shackford; several tunes, including Shackford's, are used
EARLIEST_DATE: 1897 (sheet music)
KEYWORDS: train death family disease rescue grief
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 686, "Asleep at the Switch" (1 text)
Cohen-LSRail, pp. 276-281, "Asleep at the Switch" (1 text plus excerpts from other poems with the same title as well as a copy of the sheet music cover, 1 tune)
Roud #7370
RECORDINGS:
Lester McFarland & Robert Gardner, "Asleep at the Switch" (Brunswick 461, 1930)
Ernest V. Stoneman, "Asleep at the Switch" (OKeh 45044, 1926)
NOTES: Cohen notes that (at least) two other poems were written with the title "Asleep at the Switch" before Shackford published his piece in 1897. The earliest was by George Hoey, and that poem appears to have been the most popular in the wider world; it is the only one of the three cited in _Granger's Index to Poetry_.  - RBW
File: R686
===
NAME: Aspell and Carter
DESCRIPTION: John Aspell drowns trying to save young Carter from drowning in a lake near St John's
AUTHOR: John Burke (1851-1930)
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: rescue drowning death
HISTORICAL_REFERENCES: July 1902 - drowning at Quidi Vidi (per Lehr/Best)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 4, "Aspell and Carter" (1 text, 1 tune)
NOTES: Dates for John Burke are from GEST Songs of Newfoundland and Labrador site. - BS
File: LeBe04
===
NAME: Ass and the Orangeman's Daughter, The
DESCRIPTION: Thomas Gready's ass is auctioned to an Orangeman to pay the tithe. The ass is confined and starved. Orangeman's daughter tries to have him "relinquish Popery." The cross-marked ass refuses. She threatens to whip the ass. "A multitude of asses" frees him.
AUTHOR: unknown
EARLIEST_DATE: before 1867 (broadside, Bodleian Firth b.34(4))
KEYWORDS: Ireland political talltale animal
FOUND_IN: Ireland
REFERENCES: (2 citations)
Zimmermann 46B, "The Ass and the Orangeman's Daughter" (1 text)
Hayward-Ulster, pp. 114-115, "The Ass and the Orangeman's Daughter" (1 text)
Roud #6543
BROADSIDES:
Bodleian, Firth b.34(4), "The Ass and the Orangeman's Daughter," J. Harkness (Preston), 1840-1866; also 2806 c.15(253), 2806 b.10(150), "The Ass and the Orangeman's Daughter"; 2806 b.9(169), 2806 b.9(222)[some words illegible], "The Tipperary Ass"
CROSS_REFERENCES:
cf. "The Battle of Carrickshock" (subject: The Tithe War) and references there
NOTES: The last verse raises a number of points.
Now to conclude and finish, long life to every ass,
May they live to be united, likewise to bear the cross.
We will toast a health to all our friends, likewise our gracious Queen,
May the asses meet in multitude once more in College Green.
Professor Thomas Bartlett in _The 1798 Irish Rebellion_ quoted on the BBC site: "The Society of United Irishmen, founded in 1791, embraced Catholics, Protestants and Dissenters in its aim to remove English control from Irish affairs."
Donkeys have a cross-shaped patch of dark hair on their back. In political ballads this mark is taken as a sign that donkeys are Roman Catholic.
The toast to Queen Victoria makes 1837 an earliest possible date for this broadside.
Zimmermann, commenting on the last line: "The Irish Parliament House ... stood on the N. side of College Green, Dublin." - BS
Despite the mention of the Queen, I suspect the song dates from a few years before 1837. That was indeed the year Queen Victoria came to the throne, but the Tithe War was nearly over by then. The election of Daniel O'Connell and his followers to parliament, followed by tithe riots in 1830-1831, led the British government in 1833 to cease taking the tithe by force; in 1838, the Tithe Rentcharge Act took the tithe off the backs of the (mostly Catholic) peasants and put it on the back of the (mostly Protestant) landlords, though it wasn't until 1869 that Gladstone disestablished the Anglican church in Ireland.
Thus I suspect the song dates from 1830-1832; perhaps it was modified for publication. Alternately, it might refer to the Queens of George IV (reigned 1820-1830, and regent before that) or William IV (reigned 1830-1837). Adelaide, the wife of William IV, was popular enough but hardly notable.
If the reference is to the wife of George IV, though, things become really interesting. George's first wife was the widow Maria Fitzherbert -- a Catholic! Since George had married her in secret, the marriage was held illegal and she never sat on the throne, but she was George's wife in Catholic eyes.
George's slightly more official wife was Charlotte of Caroline of Brunswick, whom he married in 1795. It is said that he was drunk at their wedding, and they were rumoured to have slept together only once.
This is all very speculative, to be sure, but a reference to "The Queen" during the reign of George IV could thus be a highly charged political statement. - RBW
File: Zimm046B
===
NAME: Ass's Complaint, The
DESCRIPTION: Singer meets a Catholic ass with the mark of the cross on his back complaining about having been sold to a Brunswicker. His MP master has turned on the ass for supporting Repeal. The singer wishes the ass may soon be stabled in College Green
AUTHOR: unknown
EARLIEST_DATE: c.1830 (Zimmermann)
KEYWORDS: Ireland political talltale animal
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 46A, "The Ass's Complaint of the Union" (2 texts)
BROADSIDES:
LOCSinging, as110720[some words are illegible], "The Papist Ass," unknown, 19C
Bodleian, Harding B 26(495)[some words are illegible], "The Papist Ass," P. Brereton (Dublin), n.d.
NOTES: Zimmermann, commenting on the last lines, "May he shortly be able in comfort to be seen, Placed in that splendid stable at home in College Green": "The Irish Parliament House ... stood on the N. side of College Green, Dublin."
Zimmermann 35: "'Brunswicker' was then more or less synonymous with 'Orangeman' or simply 'Protestant'." 
Donkeys have a cross-shaped patch of dark hair on their back. In this broadside the ass claims it as a sign bestowed at the birth of Jesus that can not be claimed by any "Brunswicker."
Broadsides LOCSinging as110720 and Bodleian Harding B 26(495) are duplicates. - BS
Zimmermann's dating for this piece seems to be based on the internal evidence: It clearly reflects the conditions in the years from about 1828 to 1832, as Daniel O'Connell (whose basic issue was "Repeal" of the Uninon between Britain and Ireland) and his supporters worked their way into parliament.
For more on this situation, see the notes to "Fergus O'Connor and Independence." - RBW
File: Zimm046A
===
NAME: Astrologer, The
DESCRIPTION: A servant girl comes to consult an astrologer; he bids her come upstairs. She says she will not go upstairs with any man. He points out that she lay with her master not long before. (She flounces out -- but only after displaying the coin her master paid)
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: sex commerce prophecy
FOUND_IN: Britain(England(South),Scotland)
REFERENCES: (2 citations)
Kinloch-BBook X, pp. 37-39, "The Astrologer" (1 text)
DT, ASTROLGR*
Roud #1598
File: KinBB10
===
NAME: At a Cowboy Dance
DESCRIPTION: "Get yo' little sage hens ready, Trot 'em out upon the floor -- Line 'em up there, you cusses! Steady!" The caller coaxes and cajoles the cowboys through the motions of a square dance.
AUTHOR: unknown
EARLIEST_DATE: 1889 (James Barton Anderson's "Breezy Western Verse")
KEYWORDS: dancing cowboy nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 105, "At a Cowboy Dance" (1 text)
Lomax-ABFS, p. 415, "An Idaho Cowboy Dance" (1 text)
Roud #11095
File: FCW105
===
NAME: At Barnum's Show
DESCRIPTION: Concerning the odd events and strange animal behaviors seen at Barnum's circus. Chorus: "If you want to have some fun, I'll tell you where to go, Go see the lion stuffed with straw At P. T. Barnum's show."
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: animal humorous
FOUND_IN: US(MW,So)
REFERENCES: (2 citations)
Randolph 450, "At Barnum's Show" (1 text)
Spaeth-ReadWeep, pp. 67-68, "P. T. Barnum's Show" (1 text)
Roud #7600
NOTES: Many of the lyrics to this song are the sort of thing you would expect to find in "Animal Fair," but there are enough references to Barnum that the piece must be considered, at the very least, a rewrite. - RBW
File: R450
===
NAME: At Brighton
DESCRIPTION: A teasing song with the omitted or hinted word occurring only once every four lines, rather than the more usual two. This begins with an old gent at Brighton swimming around the government pier, suggesting an English origin.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy
FOUND_IN: 
REFERENCES: (1 citation)
Randolph-Legman II, p. 649, "The Handsome Young Farmer" (1 text)
CROSS_REFERENCES:
cf. "Teasing Songs"
File: RL649
===
NAME: At Sullivan's Isle
DESCRIPTION: "I'll tell you, George, in meter, If you will attend the while, How we forced out Saint Peter At Sullivan's fair isle."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: battle
HISTORICAL_REFERENCES: June 28, 1776 - Clinton and Parker's failed assault on Charleston
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 196, "At Sullivan's Isle" (1 fragment, sixth of seven "Quatrains on the War")
ST Fus19gB (Full)
CROSS_REFERENCES:
cf. "Sir Peter Parker" (subject)
NOTES: There isn't much here to serve as a basis for dating the song, but the reference to Sullivan's Isle clearly takes us to Charleston Harbor. Revolutionary War or Civil War? We simply cannot tell. I'm guessing the Revolutionary War, because of the reference to "Saint Peter." There was no "Saint Peter" that I know of involved in the Union assaults on Fort Moultrie and Fort Sumter, but the name might refer to Peter Parker, co-commander of the Revolutionary battle.
For details on that fiasco, see "Sir Peter Parker." - RBW
File: Fus19gB
===
NAME: At the Boarding House: see I Know a Boarding-House (File: R479)
===
NAME: At the Boarding House Where I Live: see I Know a Boarding-House (File: R479)
===
NAME: At the Foot of the Mountain Brow: see The Foot of the Mountain Brow (The Maid of the Mountain Brow) [Laws P7] (File: LP07)
===
NAME: At the Foot of Yonder Mountain: see Pretty Saro (File: R744)
===
NAME: At the Gate Each Shearer Stood: see The Lachlann Tigers (File: FaE136)
===
NAME: At the Jail: see Logan County Jail (Dallas County Jail) [Laws E17] (File: LE17)
===
NAME: At the Sign of the Apple (The Twig So Tender; The Tavern)
DESCRIPTION: "Once upon a time I visited A hostess neat and slender, A golden apple was her sign, Hung by a twig so tender, Do did-dle de la, la la la la, Hung by a twig so tender...." When the singer asks for a bill, (s)he is told there is none
AUTHOR: unknown
EARLIEST_DATE: 1916 (Belden)
KEYWORDS: whore
FOUND_IN: US(So)
REFERENCES: (2 citations)
Belden, p. 258, "At the Sign of the Apple" (1 text)
Randolph 669, "The Twig So Tender" (1 fragment, 1 tune)
Roud #7365
NOTES: Randolph had but a single verse of this, and Belden only two, and neither is very revealing. Based on Randolph, I guessed it was about a visit to a whorehouse. Belden's additional verse just adds to the mystery; note the genders in the second line:
I asked my host to name my bill,
He smiled, and then said, "Nay, sir."
That house I'll always patronize
Whene'er I go that way, sir. - RBW
File: R669
===
NAME: At Twenty-One: see Twenty-One (File: HHH033)
===
NAME: Atching Tan Song (I), The
DESCRIPTION: Travellers' cant. Travellers arrive at an illicit camp, but awake in the morning to find their old pony impounded by the farmer. They ransom it and move on, finding water for the children
AUTHOR: unknown
EARLIEST_DATE: 1960 (recorded from Frank Copper)
KEYWORDS: hardheartedness travel farming foreignlanguage horse children Gypsy migrant
FOUND_IN: 
REFERENCES: (1 citation)
Kennedy 337, "The Atching Tan Song" (1 main text plus 1 in the notes, 1 tune)
CROSS_REFERENCES:
cf. "The Atching Tan Song (II)"
NOTES: The song is macaronic, combining Travellers' cant with English. This shares some lyrics (references to "tent-rods, ridge-poles, and kittles") in the first verse with "The Atching Tan Song (II)", but they seem otherwise separate.
An "atching tan" was a stopping place; it was common practice for Travellers to camp in an unauthorized place, then let their horses into a farmer's field after dark with the intention of retrieving them before dawn. Often as not, they were caught and the horses impounded. - PJS
File: K337
===
NAME: Atching Tan Song (II), The
DESCRIPTION: Travellers arrive at a likely camping spot; a policeman arrives and tells them to move on. Although it's the middle of the night, they do
AUTHOR: unknown
EARLIEST_DATE: 1962 or 1966 (collected from Caroline Hughes)
KEYWORDS: hardheartedness travel police Gypsy migrant
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
MacSeegTrav 130, "The Atching Tan Song" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Atching Tan Song (I)"
NOTES: his shares some lyrics (references to "tent-rods, ridge-poles, and kittles") in the first verse with "The Atching Tan Song (I)", but they seem otherwise separate.
An "atching tan" was a stopping place; it was common practice for Travellers to camp in an unauthorized place, then let their horses into a farmer's field after dark with the intention of retrieving them before dawn. Often as not, they were caught and the horses impounded. - PJS
File: McCST130
===
NAME: Atisket, Atasket (I Sent a Letter to My Love)
DESCRIPTION: "Atisket, Atasket (or: I tisket, I tasket"), A green and yellow basket, I (wrote/sent) a letter to my love And on the way I dropped it." "A little puppy picked it up And put it in his pocket, It isn't you, it isn't you, But it is *you*."
AUTHOR: unknown
EARLIEST_DATE: 1879 (Illustrated National Nursery Songs and Games)
KEYWORDS: playparty courting
FOUND_IN: US(MA) Britain(England(No,So)
REFERENCES: (3 citations)
Fuld-WFM, pp. 113-114, "Atisket, Atasket"
cf. Botkin-AmFolklr, pp. 806, "Hunt the Squirrel (Itisket, Itasket)" (1 text, 1 tune)
cf. Baring-Gould-MotherGoose #630, p. 250, "(I sent a letter to m love)"
ST BAF806A (Full)
Roud #7896
CROSS_REFERENCES:
cf. "Hunt the Squirrel" (floating lyrics, playparty form)
NOTES: There is confusion about the origin of this piece. Botkin links it to the playparty "Hunt the Squirrel." There is, however, no lyric similarity; the point of contact is that both are used with the English "drop glove" game. (For other "Drop Glove" verses, which actually mention gloves, see Baring-Gould-MotherGoose #647, p. 258, "(I've a glove in my hand).")
Fuld explicitly denies the English connection, pointing our that the earliest appearance was in Rosenwig's 1879 collection, where it was titled "I Sent a Letter to My Love." Even there, however, it is listed without an author. The Rosenwig text does not contain the "Atisket" words; these are first mentioned by Hofer in 1901.
It can be said that the two songs have cross-fertilized; see the "little dog at home" stanza, found in both "hunt the squirrel" and "Atisket."
The pop version of this song, of course, was recorded by Ella Fitzgerald. - RBW
File: BAF806A
===
NAME: Atlanta Blues: see Make Me a Pallet on Your Floor (File: Handy190)
===
NAME: Au Bord d'une Fontaine: see A La Claire Fontaine (File: FJ134)
===
NAME: Au Revoir to Our Hardy Sealers
DESCRIPTION: "Our gallant ships are going, where rude Boreas is blowing." "Oh, farewell, and may God bless you... May kind Heaven hover o'er you... Terra Nova's sons and daughters truly bid you au revoir." The singer hopes the sailors find success in the ice
AUTHOR: unknown
EARLIEST_DATE: 1917 (Murphy, Songs of Newfoundland from Various Authors)
KEYWORDS: ship sailor hunting
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 102, "Au Revoir to Our Hardy Sealers" (1 text)
NOTES: Reading this, I can't help but think it's based on something else -- but I can't tell what. - RBW
File: RySm102
===
NAME: Auction Block: see Many Thousand Gone (Auction Block) (File: FJ030)
===
NAME: Auction of a Wife: see Sale of a Wife (File: HHH226)
===
NAME: Augathella Station: see Brisbane Ladies (File: FaE162)
===
NAME: Aughalee Heroes, The
DESCRIPTION: Orangemen from County Antrim march from Portadown to Lurgan celebrating the anniversary of the Battle of the Boyne. They are greeted like heroes "that soon made the rebels subdue." At Aughalee the brandy flows with toasts to the boys or King William. 
AUTHOR: unknown
EARLIEST_DATE: 1925 (Hayward-Ulster); mid-19C? (Zimmermann)
KEYWORDS: pride Ireland political
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: (4 citations)
Zimmermann 98, "The Aughalee Heroes" (2 texts, 1 tune)
Hayward-Ulster, pp. 127-128, "The Aughalee Heroes" (1 text)
OrangeLark 23, "The Aughalee Heroes" (1 text, 1 tune)
Graham, p. 10, "The Aughalee Heroes" (1 text, 1 tune)
Roud #6546
RECORDINGS:
Robert Cinnamond, "The Aghalee Heroes" (on Voice08); "Aghaloe Heroes" (on IRRCinnamond01)
CROSS_REFERENCES:
cf. "The Battle of the Boyne (I)"  (subject: The Battle of the Boyne) and references there
File: Zimm098
===
NAME: August Gale (I), The
DESCRIPTION: The captains and crews of four ships lost are cited. Only the Annie [Young q.v.] is mentioned by name.
AUTHOR: Billy Wilson
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: death sea ship storm wreck
HISTORICAL_REFERENCES: Aug 25, 1935 - "Placentia Bay was hit by a severe storm ... which claimed the lives of forty fishermen."
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 5A, "The August Gale" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The August Gale (II)" (subject)
cf. "The Annie Young" (subject)
NOTES: The August Gale was off shore of the US and knocked out telephone and telegraph lines crossing Cape Breton. 
"A number of vessels were lost including the _Joyce Smith_ with 21 lives, 19 of whom were Newfoundlanders. The _Halifax Daily News_ later reported that the August Gale was one of the worst in the history of Nova Scotia.  Early in the morning of August 25, the August Gale crossed the Cabot Strait. Because communications had been severed because of the storm, no advance warning of the approaching storm was available....
The most severe destruction was reserved for ships at sea. According to Robert Parsons in _Lost at Sea_, the _Vienna_ of Burnt Island was lost with a crew of six, the _Hilda Gertrude_ of Rushoon went down with seven men, the _Ella May_ of Rencontre West (six men), _Annie Jane_ of Isle of Mort (4 men), Red Harbour's _John Loughlin_ (8 men) and Fox Harbour's _Annie Healey_ (7 men)."
Source: Bruce Whiffen site, copyright August 23, 1999, Bruce Whiffen, quoted with permission of copyright owner.
Northern Shipwrecks Database lists fifteen ships lost in Newfoundland waters -- between Cape Race and one at Prince Edward Island -- on August 24-25, 1935. You can use the reports of wrecks to follow the storm from Ramea in the southwest, around the south and east coast, up to Goose Cove just south of St Anthony. - BS
File: LeBe005A
===
NAME: August Gale (II), The
DESCRIPTION: The "storm on Thursday" comes up suddenly and "all the boats were on the ground around Placentia Bay"
AUTHOR: John Burke
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: death sea ship storm wreck
HISTORICAL_REFERENCES: Aug 25, 1935 - "Placentia Bay was hit by a severe storm ... which claimed the lives of forty fishermen."
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 5B, "The August Gale" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The August Gale (I)" (subject)
cf. "TheAnnie Young" (subject)
NOTES: [For background on this storm, see the notes to "The August Gale (I)" - BS, RBW]
Lehr/Best describes the storm at Placentia Bay. The captains and crews of four ships lost are cited. Only the _Annie [Young_ q.v.] is mentioned by name. - BS
File: LeBe005B
===
NAME: Auld Eddie Ochiltree
DESCRIPTION: Auld Eddie, a blue-gown beggar, comes to town and is greeted and cared for by the townsfolk. He foretells who is to be married next and makes other predictions. All are happy to see the cheerful wanderer
AUTHOR: unknown
EARLIEST_DATE: 1869 (Logan)
KEYWORDS: begging rambling
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ford-Vagabond, pp. 218-221, "Auld Eddie Ochiltree" (1 text)
Logan, pp. 166-171, "Auld Eddie Ochiltree" (1 text)
ST FVS218 (Partial)
Roud #5637
NOTES: Ford and Logan both describe the blue-gown beggars, a special order appointed by the Catholic kings of Scotland to pray for them. Not surprisingly, this order died out long ago -- but Walter Scott's _The Antiquary_ mentions a blue-gown beggar actually named Eddie Ochiltree. Obviously there is some sort of dependence involved. - RBW
File: FVS218
===
NAME: Auld Fisher's Farewell to Coquet, The
DESCRIPTION: "Come bring to me my limber gad I've fished wi' mony a year, An' let me ha'e m weel-worn creel An' a' my fishing gear...." The singer goes fishing one more time, recalls sixty years of fishing on the Coquet, and bids a farewell.
AUTHOR: Robert Roxby & Thomas Doubleday?
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: fishing farewell
FOUND_IN: Britain(England(BNorth))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 134-135, "The Auld Fisher's Farewell to Coquet" (1 text, 1 tune)
Roud #3160
File: StorR134
===
NAME: Auld Lang Syne
DESCRIPTION: Recognized by the first line "Should auld acquaintance be forgot" and the chorus "For auld lang syne." Two old friends meet and remember their times together, ending by taking "a cup o' kindness."
AUTHOR: Adapted by Robert Burns
EARLIEST_DATE: 1797
KEYWORDS: drink friend
FOUND_IN: Britain US
REFERENCES: (3 citations)
Silber-FSWB, p. 381, "Auld Lang Syne" (1 text)
Fuld-WFM, pp. 115-117, "Auld Lang Syne"
DT, AULDLANG* AULDLNG2*
Roud #13892
SAME_TUNE:
Bohunkus (Old Father Grimes, Old Grimes Is Dead) (File: R428)
On Mules We Find Two Legs Behind (Pankake-PHCFSB, p. 202; DT, MULEBEHD)
We Made Good Wobs Out There (Greenway-AFP, p. 182)
The Fish It Never Cackles Bout (Pankake-PHCFSB, p. 156)
The Salem Murder (Burt, pp. 87-88); cf. the song on the suicide of Crowningshed which follows
NOTES: This is a song that Burns rewrote (the putative original is in the Digital Tradition as AULDLNG3; compare also the broadside NLScotland, Ry.III.a.10(070), "Old Lang Syne," unknown, dated 1701 though there is no reason for this dating on the sheet); Fuld traces the "Should Auld Acquaintance" text to 1711 in James Watson's _Scots Poems_. Burns's own version was published in the _Scots Musical Museum_ in 1796/7. This had a mostly traditional first verse, with the remainder by Burns, but by error the wrong melody was printed and has become the "traditional" tune.
Murray Shoolbraid offers these additional notes upon this topic:
"The Museum text is half-and-half, 2-3 being by Burns (about youthful days on the braes etc.) and the rest (seemingly) an old fragment. One can dispute this of course, for this old text first appears in SMM.  Previously we have the 1711 version, 'Should old acquaintance be forgot / And never thought
upon,' attributed to Sir Robert Aytoun  (1570-1637/8), one of the first Scots poets to write in English (knighted by King James 1612; buried in Westminster Abbey). A bit later (1720) Allan Ramsay uses the incipit to start his own poem 'Should auld acquaintance be forgot,/ Though they return with scars?/ These are the noble hero's lot,/ Obtain'd in glorious wars.'
"These old versions go to the old tune printed in SMM: The songs that predate Burns [and B's words too] go to the old melody: in Mitchell's ballad opera _The Highland Fair_ (1731), earliest in print in Playford's _Collection of Original Scotch Tunes_ (1700), also sans title in Mgt Sinkler's MS., 1710 (the versions differ). The SMM  version is from Neil Stewart's _Scots Songs_, 1772.
"So the tune is correct; it was Burns's Edinburgh publisher Thomson (_Scotish Airs_, 1799) who reset the words to another tune, _I Fee'd a Lad at Martinmas_, otherwise called _The Miller's Wedding/Daughter_. This is the one we all sing it to today."
File: FSWB381B
===
NAME: Auld Luckie of Brunties
DESCRIPTION: "It's a' ye rovin' young men, come listen unto me, And dinna gang to Brunties toon The lasses for to see; Auld Luckie she's a wily ane, And she does watch the toon," fining visitors for vice. She traps a young couple bundling. He wishes her in hell
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: sin money punishment escape food nightvisit
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 246-247, "Auld Luckie of Brunties" (1 text)
Roud #5577
File: Ord246
===
NAME: Auld Man and the Churnstaff, The: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Auld Man's Mare's Dead, The
DESCRIPTION: "The auld man's mare's dead (x3), A mile aboon Dundee." "She had the fiercie and the fleuk... On ilka knee she had a breuk, What ailed the beast to dee?" The beast's decrepitude, and the old man's mourning, are described in repetitive detail
AUTHOR: Patrick Birnie?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: horse death disease
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 280-282, "The Auld Man's Mare's Dead" (1 text, 1 tune)
Roud #5880
File: FVS280
===
NAME: Auld Matrons [Child 249]
DESCRIPTION: Willie comes courting at Annie's door; she assures him that Matrons (an old woman by the fire) can do nothing. But Matrons summons the sheriff, who comes to take Willie -- only to have Willie escape by calling on his brother John, a fantastic fighter
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: courting seduction nightvisit age police rescue
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Child 249, "Auld Matrons" (1 text)
Leach, pp. 612-614, "Auld Matrons" (1 text)
DT 249, OLDMATRN
Roud #3915
CROSS_REFERENCES:
cf. "Adam Bell, Clim of the Clough, and William of Cloudesly" [Child 116]
NOTES: This seems to be either descended from or heavily influenced by the Robin Hood tradition, or specifically (in Child's view) "Adam Bell." One rather hopes it is the latter; the rescue by John, if anything, weakens the ballad. - RBW
File: C249
===
NAME: Auld Quarry Knowe, The
DESCRIPTION: "Oh, weel I mind the joys we had, In youth's bright sunny days... But better far I mind the time... When daffin' wi' my Jessie On the auld quarry knowe." Now old, both he and his wife are past their prime, but still he recalls the happy days
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: courting marriage age nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 141-142, "The Auld Quarry Knowe" (1 text)
Roud #6147
File: FCS141
===
NAME: Auld Robin Gray 
DESCRIPTION: Jamie leaves Jenny to earn enough to be married. Her family has bad luck. Robin Gray supports them and asks Jenny to marry. Jamie's ship is wrecked and Jennie assumes he is dead. She marries Robin. Jamie returns too late.
AUTHOR: Lady Anne Lindsay (1750-1825)
EARLIEST_DATE: before 1801 (broadside, Bodleian Harding B 14(4))
KEYWORDS: age poverty courting love marriage rescue wreck father mother sailor
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Peacock, pp. 482-483, "Old Robin Gray" (1 text, 1 tune)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #376, "Auld Robin Gray" (1 text)
ST Pea482 (Partial)
Roud #2652
BROADSIDES:
Bodleian, Harding B 14(4), "Auld Robin Gray", Fowler (Salisbury), 1770-1800; also Harding B 25(88), Firth b.27(516), Harding B 11(7), Harding B 11(162), Firth b.26(412), "Auld Robin Gray"
Murray, Mu23-y4:029, "Auld Robin Gray", John Ross (Newcastle), 19C 
NOTES: Original text is on Bartleby.com with the attribution. The date is 1794 per site for Early American Secular Music and Its European Sources, 1589-1839.
Per site for The First Hypertext Edition of The Dictionary of Phrase and Fable [this] was written to an old Scotch tune called "The bridegroom grat when the sun gaed down." - BS
Broadside Bodleian, Firth b.25(24), "The Death of Auld Robin Gray," J. T. Burdett (London), c. 1855, seems to be some sort of a by-blow of this, since the characters are Robin Gray, Jamie, and Jenny, but it manages a happy ending by having Robiin die so that Jamie and Jenny are still available for each other. - RBW
File: Pea482
===
NAME: Auld Seceder's Cat, The: see The Presbyterian Cat (The Cameronian Cat) (File: FVS319)
===
NAME: Auld Soldier, The: see The Old Tobacco Box (File: FSC143)
===
NAME: Auld Song from Cow Head, The: see The Unquiet Grave [Child 78] (File: C078)
===
NAME: Auld Wife beyont the Fire, The
DESCRIPTION: An old widow with many daughters wants "snishing/spruncin" (sex). They say she is too old and toothless. They will let her seek sex if she can break a nut with her teeth. They give her a pistol bullet instead of a nut; she cannot break it and wastes away
AUTHOR: unknown
EARLIEST_DATE: 1924
KEYWORDS: family sex bawdy age trick
FOUND_IN: Britain(Scotland) US(Ap)
REFERENCES: (1 citation)
Combs/Wilgus 128, pp. 135-136, "The Old Wife" (1 text)
Roud #4294
File: CW128
===
NAME: Aunt Dinah's Quilting Party: see Seeing Nellie Home (File: RJ19229)
===
NAME: Aunt Jemima's Plaster
DESCRIPTION: Aunt Jemimah survives by selling sticking plaster. With it she might catch a thief, keep a wayward husband from straying, etc. Chorus: "Sheepskin and beeswax Makes an awful plaster, The harder you try to get it off, The more it sticks the faster."
AUTHOR: unknown
EARLIEST_DATE: 1891
KEYWORDS: humorous commerce trick
FOUND_IN: US(Ap,NE,SE,So)
REFERENCES: (5 citations)
Randolph 414, "Sheepskin and Beeswax" (1 fragment, 1 tune)
Randolph/Cohen, pp. 354-355, "Sheepskin and Beeswax" (1 text, 1 tune -- Randolph's 414)
BrownII 271, "Aunt Jemima's Plaster" (2 texts)
JHCoxIIB, #23, pp. 23-25, "Aunt Jemima's Plaster" (1 text, 1 tune)
MHenry-Appalachians, p. 233, (first of four "Fragments from Maryland") (1 fragment, which I link to this on the basis of the mention of Aunt Jemima)
ST R414 (Partial)
Roud #974
RECORDINGS:
Margaret MacArthur, "Aunt Jemima" (on MMacArthur01)
Skyland Scotty, "Aunt Jemimah's Plaster" (Conqueror 8308, 1934)
NOTES: Said to be a version of "Bees wax," a song sung by (but perhaps not written by) Dan Emmett.  Cohen says it was written by Septimus Winner, but lists other claims of authorship. - RBW
File: R414
===
NAME: Aunt Maria
DESCRIPTION: "Old Aunt Maria (Jack-a-ma-rier) Jumped in the fire. Fire too hot, Jump in the pot. Pot so black, (S)he jumped in a crack. Crack so high, (S)he jumped in the sky. Sky so blue, (S)he jumped in a canoe. Canoe so shallow, (S)he jumped in the tallow." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry, from Minnie Stokes)
KEYWORDS: lullaby nonballad
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 134, "Jack-a-Maria" (1 text)
Botkin-SoFolklr, p. 705, "Aunt Maria" (1 text, 1 tune)
MHenry-Appalachians, p. 242, (no title) (1 text)
Roud #11418
File: BSoF705A
===
NAME: Aunt Nancy: see Go Tell Aunt Rhody (File: R270)
===
NAME: Aunt Rhody: see Go Tell Aunt Rhody (File: R270)
===
NAME: Aunt Sal's Song (The Man Who Didn't Know How to Court)
DESCRIPTION: "A gentleman came to our house, He would not tell his name." He comes to court, but acts ashamed. He sits silent next to the girl. Finally he gives up, saying courting isn't worth it. The girls laugh at the "ding-dang fool [that] don't know how to court."
AUTHOR: unknown
EARLIEST_DATE: 1935
KEYWORDS: courting humorous
FOUND_IN: US(Ap,SE,So)
REFERENCES: (5 citations)
BrownIII 15, "Courting Song" (1 text)
Lomax-FSNA 101, "Aunt Sal's Song" (1 text, 1 tune)
Ritchie-SingFam, pp. 233-234, "[Aunt Sal's Song]" (1 text, 1 tune)
Chase, pp. 140-141, "The Bashful Courtship" (1 text, 1 tune)
DT, HOWCOURT
Roud #776
CROSS_REFERENCES:
cf. "Johnson Boys" (theme)
ALTERNATE_TITLES:
Not Know How to Court
Bashful Courtship
File: LoF101
===
NAME: Aunt Tabbie: see Go Tell Aunt Rhody (File: R270)
===
NAME: Aupres De Ma Blonde
DESCRIPTION: French language. "Aupres de ma blonde, Qu'il fait bon, fait bon, fait bon... Qu'il fait bon rester. Au jardin de mon pere Les lauriers sont fleuris."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: foreignlanguage France
FOUND_IN: France Quebec
REFERENCES: (2 citations)
Silber-FSWB, p. 329, "Aupres De Ma Blonde" (1 text)
DT, AUPRBLND*
File: FSWB329A
===
NAME: Aura Lea
DESCRIPTION: "When the blackbird in the spring On the willow tree Sat and rock'd, I heard him sing, Singing Aura Lee." In praise of a "maid of golden hair." The singer describes how even the bird praise her. He begs her hand in marriage
AUTHOR: Words: W. W. Fosdick / Music: George R. Poulten
EARLIEST_DATE: 1861
KEYWORDS: courting love nonballad lyric
FOUND_IN: US
REFERENCES: (3 citations)
RJackson-19CPop, pp. 14-17, "Aura Lea" (1 text, 1 tune)
Fuld-WFM, p. 117, "Aura Lea--(Love Me Tender)"
DT, AURALEE*
ST RJ19014 (Full)
NOTES: At times like this, one wishes we had a keyword, "Great-tune-lousy-words."
Originally published as a minstrel tune in 1861, verses were printed by both Union and Confederate presses, and the first important parody ("Army Blue") was used by the West Point class of 1865.
As for what Elvis Presley did with the tune, the less we say of that here, the better. - RBW
File: RJ19014
===
NAME: Aurore Pradere
DESCRIPTION: Creole French. "Aurore Pradere, belle 'ti fille (x3), C'est li mo 'oule, s'est le ma pren." The singer praises the beauty of Aurore, and says that she is what he wants and will have. He describes what others say of her, but as for him, he still wants her
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: love courting foreignlanguage
FOUND_IN: US
REFERENCES: (2 citations)
Scarborough-NegroFS, p. 121, "Aurore Pradere" (1 text, 1 tune)
Lomax-ABFS, pp. 220-221, "Aurore Pradere" (1 text plus translation, 1 tune)
File: LxA220
===
NAME: Australia (Virginny)
DESCRIPTION: "When I was a young man, my age seventeen, I ought ha' been serving Victoria our Queen, But those hard-hearted judges, how cruel they've been, To send us poor lads to Australia." To please his girlfriend, the singer turns outlaw, and winds up transported
AUTHOR: unknown
EARLIEST_DATE: 1969 (collected from Bob Hart by Rod & Danny Stradling, according to Patterson/Fahey/Seal)
KEYWORDS: transportation courting work outlaw
FOUND_IN: Australia Britain(England(Lond,South))
REFERENCES: (2 citations)
Fahey-Eureka, pp. 12-13, "Australia" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 47-48, "Australia" (1 text)
Roud #1488
RECORDINGS:
Bob Hart, "Australia" (on BHart01, HiddenE)
Cyril Poacher, "Australia" (on Voice04)
NOTES: Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 4" - 19.8.02: "Originally an 18th century song about transportation to the American State of Virginia. Later broadside printers changed it to Australia, to suit the then current destination of transports." - BS
This is at least possible (with the footnote that no one was ever transported to the *state* of Virginia, but rather to the *colony*). Though Virginia did not receive a high number of transportees. The transport system arose around 1650, and by the time the American colonies had been closed off by the Revolution, only about 50,000 prisoners had been sent (see _The Oxford Companion to British History_, article on "Transportation"). And most of these went to the West Indies (see Samuel Eliot Morison, _The Oxford History of the American People_, p. 82), with only a handful to Virginia, Maryland, and New England. And many of *them* were Jacobite refugees exiled in the aftermath of the 1745 rebellion. (Plus, of course, a lot of Jacobites came voluntarily; see, e.g. the notes to "Flora MacDonald's Lament.") - RBW
File: FaE012
===
NAME: Australia for Me!: see Give Me a Hut (File: MA137)
===
NAME: Australia's on the Wallaby
DESCRIPTION: "Our fathers came to search for gold, The claim it proved a duffer. The syndicates and bankers' bosses made us all to suffer.... Australia's on the wallaby, Listen to the cooee." Most of the song is devoted to the animals the settler sees
AUTHOR: unknown
EARLIEST_DATE: 1933 (Old Bush Recitations)
KEYWORDS: animal Australia
FOUND_IN: Australia
REFERENCES: (4 citations)
Meredith/Anderson, pp. 199-200, "Australia's on the Wallaby" (1 text, 1 tune)
Fahey-Eureka, pp. 70-71, "Australia's on the Wallaby" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 286-287, "Australia's on the Wallaby" (1 text)
DT, WALLABB2*
CROSS_REFERENCES:
cf. "Freedom on the Wallaby" (tune, theme)
NOTES: Some feel that this is a parody, others a forerunner, of Henry Lawson's more political "Freedom on the Wallaby." - RBW
File: MA199
===
NAME: Automobile Trip Through Alabama
DESCRIPTION: Narrative: surreal description of speaker's trip through Alabama in an talking Ford filled with "Loco-Pep" gasoline. They fight off biting insects and a rattlesnake; the car falls to pieces, then reassembles itself. Incorporates bearhunt tall-tale
AUTHOR: probably Red Henderson
EARLIEST_DATE: 1920s (recording, Red Henderson & Emmett Bankston)
KEYWORDS: travel hunting technology humorous nonsense recitation talltale
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Red Henderson & Emmett Bankston, "Automobile Trip [or Ride] Through Alabama, pts. 1 & 2" (OKeh 45283, c. 1929; rec. 1928)
New Lost City Ramblers, "Automobile Trip Through Alabama" (on NLCR13, NLCRCD2)
File: RcATTA
===
NAME: Autumn Dusk/Coimfeasgar Fogmair
DESCRIPTION: "It was on an autumn twilight, I watched the seagulls glide, When the fairest of all maidens Stole softly by my side." He describes her beauty and how they met and embraced. He wishes he were still with her
AUTHOR: English words: George Graham (?)
EARLIEST_DATE: 1916 (Morris)
KEYWORDS: love beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H831, p. 235-236, "Autumn Dusk/Coimfeasgar Fogmair" (1 text, 1 tune)
File: HHH831
===
NAME: Autumn to May: see Little Brown Dog (File: VWL101)
===
NAME: Auxville Love, The: see Love Has Brought Me to Despair [Laws P25] (File: LP25)
===
NAME: Ave, Maris Stella (Hail, Star of the Sea)
DESCRIPTION: A French/Quebecois song of praise to the Virgin Mary (sung in Latin): "Ave, maris stella, Dei Mater alma, Atque semper virgo, Felix coeli porta (x2)" "Sumus illud Ave Gabrielis ora, Funda nes in pace, Mutans Hevae nomen."
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: religious nonballad Quebec foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 19-20, "Ave, Maris Stella" (1 text, 1 tune)
ST FMB019 (Full)
BROADSIDES:
LOCSheet, sm1871 11058, "Ave maris stella," Balmer & Weber (Saint Louis), 1871 (tune); also sm1873 01284; sm1877 05005; sm1873 01284; sm1882 13480
NOTES: According to Fowke/Mills, this song was adopted as the quasi-official hymn of the French colony in Canada at the suggestion of Louis XIII, and is still sung on special occasions by the Acadians.
The original Latin text is longer and older than the commonly sung version; it has been dated as early as the seventh century. It is perhaps typical of the Marian cult that only one of the images of the poem (the visitation by Gabriel, Luke 1:26f.) is biblical. The others are either from the creed (the trinitarian imagery) or directly from Catholic legend (Mary's eternal virginity, etc.) or apparently specific to the poem (e.g. the reference to the "maris stella" -- the "of-the-sea star"). - RBW
File: FMB019
===
NAME: Average Boy, The
DESCRIPTION: A southern alphabet song: "A is the green apple with bites all around, B is the ball that is lost on the ground, C is the cigarette making him pale... Yell is the yell he emits all the day, Z is for zeal he shows in his play."
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 874, "A Is for Apple Pie" (4 texts, but only the "D" text goes here)
Roud #7539
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
NOTES: The title of this song refers, of course, to all the traits found in the "average boy." - RBW
File: R874A
===
NAME: Average Rein
DESCRIPTION: The rider, on the advice of the cowboys, bridles the horse "Lumberjack" with an "average rein." As a result, he is thrown. He determines thereafter to seek better advice
AUTHOR: Johnny Baker
EARLIEST_DATE: 1973
KEYWORDS: horse cowboy trick
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 94, "Average Rein" (1 text, 1 tune)
NOTES: Ohrlin explains that bronc riders always tried to determine how much rein a horse would need (the length of leather depended on the horse's tricks). Usually the rider asked other cowboys -- but, of course, they might not be entirely honest. - RBW
File: Ohr094
===
NAME: Avondale Disaster (I), The (The Mines of Avondale) [Laws G6]
DESCRIPTION: Flames are seen outside the Avondale mines; the miners' families realize there is a fire below. The two men who enter the mine find all the miners suffocated. Over one hundred men die
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: mining disaster death
HISTORICAL_REFERENCES: Sept 6, 1869 - The fire in the Avondale coal mines near Wilkes-Barre, Pennsylvania. The fire blocked the only exit route and consumed all the oxygen in the tunnels. A total of 110 miners died, with 76 found in one ineffective shelter.
FOUND_IN: US(MA) Canada(Newf)
REFERENCES: (8 citations)
Laws G6, "The Avondale Mine Disaster I"
Greenleaf/Mansfield 60, "Mines of Avondale" (1 text)
Leach-Labrador 106, "The Mines of Avondale" (1 text, 1 tune)
Leach, pp. 783-785, "The Avondale Mine Disaster" (1 text)
Friedman, p. 307, "The Avondale Mine Disaster" (1 text)
Lomax-FSNA 64, "The Avondale Mine Disaster" (1 text, 1 tune)
Darling-NAS, pp. 215-218, "The Avondale Mine Disaster" (1 text)
DT 713, AVONDAL1
Roud #698
RECORDINGS:
John J. Quinn, "The Avondale Mine Disaster" (AFS, 1946; on LCTreas)
CROSS_REFERENCES:
cf. "The Avondale Disaster II" [Laws G7] (subject)
NOTES: Much the more common of the Avondale Disaster songs (which Laws calls independent ballads, though there are strong similarities between the two which may imply common influence), this one is characterized by the fairly fixed first stanza, "Good Christians all, both great and small, I pray you lend an ear / And listen with attention while the truth I will declare; / When you hear this lamentation it will cause you to weep and wail / About the suffocation in the mines of Avondale." - RBW
File: LG06
===
NAME: Avondale Disaster (II), The [Laws G7]
DESCRIPTION: A fire in the Avondale Mine kills 110 miners. Relatively few details of the disaster and rescue are given, with the focus being on the plight of the bereaved families.
AUTHOR: unknown
EARLIEST_DATE: 1934 (Gardner/Chickering)
KEYWORDS: mining disaster death
HISTORICAL_REFERENCES: Sept 6, 1869 - The fire in the Avondale coal mines near Wilkes-Barre, Pennsylvania. The fire blocked the only exit route and consumed all the oxygen in the tunnels. A total of 110 miners died, with 76 found in one ineffective shelter.
FOUND_IN: US(MA,MW)
REFERENCES: (3 citations)
Laws G7, "The Avondale Disaster II"
Gardner/Chickering 122, "The Avondale Disaster" (1 text, 1 tune)
DT 784, AVONDAL2
Roud #3250
CROSS_REFERENCES:
cf. "The Avondale Disaster I  (The Mines of Avondale)" [Laws G6] (subject)
NOTES: Laws lists only two versions of this ballad, one of those from manuscript. The first stanza is superficially similar to "The Mines of Avondale," but differs in detail: "Come, friends and fellow Christians, and listen to my tale, And as I sing, pray drop a tear for the dead of Avondale." - RBW
File: LG07
===
NAME: Awake Awake (Awake Sweet England)
DESCRIPTION: "Awake, awake, sweet England, sweet England now awake, And do your prayers obediently." Listeners are told to repent, reminded that worms will eventually eat their flesh, reminded that wealth is useless after death, and blessed
AUTHOR: unknown
EARLIEST_DATE: 1909 (Leather)
KEYWORDS: Bible religious burial nonballad carol
FOUND_IN: Britain(England(West))
REFERENCES: (1 citation)
Leather, pp. 194-195, "Awake, Awake" (1 text, 1 tune)
ST Leath194 (Partial)
Roud #2111
CROSS_REFERENCES:
cf. "The Moon Shines Bright (The Bellman's Song)" (lyrics)
NOTES: Several verses of this are shared with "The Moon Shines Bright (The Bellman's Song)," and they probably have some sort of common ancestry. But this strikes me as even more gloomy somehow. - RBW
File: Leath194
===
NAME: Awake, Awake, You Drowsy Sleeper: see The Drowsy Sleeper [Laws M4] (File: LM04)
===
NAME: Away Down East (I)
DESCRIPTION: "There's a famous fabled country never seen by mortal eyes... And this famous fabled country is away down east." A man sets out to seek the place, and eventually is tricked into jumping off an east-facing cliff. His mother mourns
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: talltale travel trick suicide mother
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Linscott, pp. 158-160, "Away Down East" (1 text, 1 tune)
Botkin-NEFolklr, pp. 533-535, "Away Down East" (1 text, 1 tune)
ST BNEF533 (Partial)
Roud #3726
File: BNEF533
===
NAME: Away in a Manger
DESCRIPTION: "Away in a manger, no crib for a bed, The little Lord Jesus lay down his sweet head." The baby never complains even amid the noise of the cattle. The singer asks that Jesus protect him/her and all children
AUTHOR: unknown
EARLIEST_DATE: 1885 ("Little Children's Book: for Schools and Families")
KEYWORDS: religious Jesus animal Christmas
FOUND_IN: 
REFERENCES: (5 citations)
Silber-FSWB, p. 373, "Away In A Manger" (1 text)
Fuld-WFM, pp. 120-121+, "Away in a Manger"
DT, AWAYMNGR*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), p. 111, "Away In A Manger" (1 text, 1 tune)
Ian Bradley, _The Penguin Book of Carols_ (1999), #10, "Away In a Manger" (1 text)
CROSS_REFERENCES:
cf. "Flow Gently Sweet Afton" (tune)
NOTES: Although often called "Luther's Cradle Hymn," it is known that this is not by Martin Luther, and apparently is a purely American creation. Johnson, who usually gives some sort of background even if inaccurate, has nothing whatsoever to say about the piece.  Fuld gives such details as are known.
Several tunes are in use; the usual American form is a relative of Jonathan Edwards Spilman's "Flow Gently Sweet Afton."
Ian Bradley, in _The Penguin Book of Carols_, admits that this is "one of the most unScriptural" of popular carols (though he follows this up with a fierce defence of its place in the tradition). This is nothing less than the truth; the only part with Biblical authority is the manger (Luke 2:7, 12, 16); there is no proof there were animals in the vicinity. - RBW
File: FSWB373B
===
NAME: Away Out On the Mountain
DESCRIPTION: "I packed my grip for a farewell trip; I kissed Susan Jane goodbye at the fountain. 'I'm going,' says I, 'to the land of the sky, Away out on the mountain.'" The singer describes mountain life -- the wind, the animals; he will feast on meat and honey
AUTHOR: Kelly Harrell
EARLIEST_DATE: 1927 (copyrighted by author)
KEYWORDS: food animal nonballad travel farewell
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 318, "Away Out On the Mintain" (1 text)
Roud #15887
RECORDINGS:
Bud Reed, "Away Out On The Mountain" (on Reeds01)
Frankie Marvin, "Away Out On The Mountain" (on Edison 11006, 1929)
Riley Puckett, "Away Out On The Mountain" (on Columbia 15324-D, 1928)
Jimmie Rodgers, "Away Out On The Mountain" (on Victor 21142, 1927)
NOTES: Pity we don't have a keyword "travelogue." - PJS
File: Br3318
===
NAME: Away with Rum: see Rum By Gum (Temperance Union Song) (File: R317)
===
NAME: Away, Idaho: see We're Coming, Arkansas (We're Coming, Idaho) (File: R343)
===
NAME: Away, Rio!: see Rio Grande (File: Doe064)
===
NAME: Awful Wedding, The: see The Nobleman's Wedding (The Faultless Bride; The Love Token) [Laws P31] (File: LP31)
===
NAME: Awful, Awful, Awful: see Death is a Melancholy Call [Laws H5] (File: LH05)
===
NAME: Aye She Likit The Ae Nicht
DESCRIPTION: The man gets into bed, knocks the bottom boards over the woman's head, gives her his "hairy peg." She likes it. (Refrain: "Lassie, let me in, O") When he comes down, the "auld wife" is standing there; she lifts her clothes and says "Laddie, put it in"
AUTHOR: unknown
EARLIEST_DATE: 1962 (collected from Maggie McPhee)
KEYWORDS: sex nightvisit bawdy humorous mother
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
MacSeegTrav 41, "Ae She Likit The Ae Nicht" (1 text, 1 tune)
Roud #135
RECORDINGS:
cf. "Let Me In This Ae Nicht" (chorus, theme)
CROSS_REFERENCES:
cf. "Courting the Widow's Daughter (Hard Times)" [Laws H25] (plot)
NOTES: This has a good deal in common with "Let Me In This Ae Nicht," aka "Cold Haily Windy Night," but as the plots are quite different, MacColl & Seeger split them, and so do I. - PJS
I'm glad you added that note, though, or I might have lumped them. (Roud did.) I almost wonder if this isn't "Let Me In This Ae Nicht," with an ending related to "Courting the Widow's Daughter" [Laws H25). - RBW
File: McCST041
===
NAME: Aylesbury Girl, The: see Haselbury Girl, The (The Maid of Tottenham, The Aylesbury Girl) (File: K176)
===
NAME: B'y' Sara Burned Down: see The Bayou Sara (File: DTBayous)
===
NAME: Baa Baa Black Sheep
DESCRIPTION: "Baa baa, black sheep, have you any wool?" The sheep replies that it does, and details what might be done with it
AUTHOR: unknown
EARLIEST_DATE: c. 1744 (Tom Thumb's Pretty Song Book)
KEYWORDS: animal sheep nonballad clothes
FOUND_IN: US
REFERENCES: (3 citations)
Baring-Gould-MotherGoose #16, p. 33, "(Bah, Bah a black Sheep)"
Opie-Oxford2 55, "Baa, baa, black sheep" (1 text)
Fuld-WFM, pp. 593-594, "Twinkle, Twinkle, Little Star -- (ABCDEFG; Baa, Baa, Black Sheep; Schnitzelbank)"
Roud #4439
BROADSIDES:
LOCSheet, sm1871 10570, "Baa, baa, black sheep," G. D. Russell & Co (Boston), 1871; sm1881 04227, "Ba-a, ba-a, black sheep," Geo. Molineux? (unknown), 1881 (tune)
CROSS_REFERENCES:
cf. "Twinkle, Twinkle, Little Star" (tune)
NOTES: Although the lyrics of this are older than "Twinkle Twinkle Little Star," and indeed are older than the oldest known form of the music ("Ah! Vous Dirai-Je, Maman," published 1761), text and tune, according to Fuld, were not united until 1879.
The 1881 sheet music credits this to C. M. Wiske, but I would suspect that is the arrangement. The 1871 sheet music is credited to Charles Moulton, but it's a different tune (don't ask me why everyone suddenly got the idea to set this to be music)
According to the Baring-Goulds, Katherine Elwes Thomas (who could always be relied upon to find expansive explanations when simple ones would do) reads this as a complaint against the exactions of the English royalty and nobility. - RBW
File: BGMG016
===
NAME: Baa-Baa Black Sheep (II): see All the Pretty Little Horses (File: LxU002)
===
NAME: Babbity Bowster
DESCRIPTION: "Wha learned you to dance, Babbity Bowster, Babbity Bowster? Wha learned you to dance, Babbity Bowster, brawly." "My minie learned me to dance." "Wha gae you the keys to keep?" "My minne gae me the keys to keep."
AUTHOR: unknown
EARLIEST_DATE: 1862 (Chambers)
KEYWORDS: dancing nonballad mother
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Montgomerie-ScottishNR 89, "(Who learned you to dance)" (1 text)
DT, BABOWSTR
Roud #8772
File: MSNR089
===
NAME: Babcock Bedtime Story, The
DESCRIPTION: A cante-fable: Old El, crippled and without resource, is sentenced to the poorhouse. His wife must go to another poorhouse. They are preparing to part for the last time. The song (to the tune of Loch Lomond) recalls their happy times together, now gone
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: injury poverty work separation husband wife age
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 176, "The Babcock Bedtime Story" (1 text, 1 tune)
ST FSC176 (Partial)
CROSS_REFERENCES:
cf. "Loch Lomond" (tune & meter, some words) and references there
File: FSC176
===
NAME: Babe of Bethlehem, The
DESCRIPTION: A nativity hymn, generally following the Lukan story, and beginning: "Ye nations all, on you I call, Come, hear this declaration, And don't refuse the wond'rous news Of Jesus and salvation...."
AUTHOR: William Walker?
EARLIEST_DATE: 1835 (Walker's "Southern Harmony")
KEYWORDS: Christmas religious Jesus Bible
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 554, "Babe of Bethlehem" (1 fragment)
Botkin-SoFolklr, p. 757, "The Babe of Bethlehem" (1 text, 1 tune)
DT, BABEBETH*
Roud #11878
NOTES: The sundry references:
"As was foretold by prophets old, Isaiah, Jeremiah." -- Many prophecies of the Messiah are found in Isaiah (e.g. Isa. 7:14f.; also the "servant" prophecies of Isa. 53, etc.). The only prophecy of Jeremiah quoted about Jesus (as opposed to being quoted BY Jesus), however, is in Matt. 27:9-10 -- and this is actually a prophecy of Zechariah! Thus Jeremiah cannot be held to have foretold Jesus.
"To Abraham the promise came, and to his seed for ever" -- Gen. 15:5, 22:17; also Gen. 26:4, Isa. 51:2, etc.
"A light to shine in Isaac's line" -- cf. Gen. 21:12=Rom. 9:7=Heb. 11:18; also Gen. 26:4
"God's blessed word made flesh and blood, assumed the human nature." -- John 1:1f.
"They found no bed to lay his head, but in the ox's manger... But in the hay the stranger lay, with swaddling bands around him" -- Luke 2:7
"On the same night a glorious light to shepherds there appeared, Bright angels came in shining flame, they saw and greatly feared" -- Luke 2:9
"The angels said:  Be not afraid, although we much alarm you, We do appear good news to bear, as now we will inform you." -- Lukw 2:10f.
"When this was said, straightway was made a glorious sound from heaven" -- Luke 2:13
"Each flaming tongue an anthem sung" (not associated with the birth of Jesus; see Acts 2:3)
"At Jesus' birth be peace on earth" -- loosely paraphrased from Luke 2:14
"To Bethlehem they quickly came, the glorious news to carry, And in the stall they found them all, Joseph, the Babe, and Mary." -- Luke 2:16
The shepherds then return'd again to their own habitation" -- Luke 2:20 - RBW
File: BSoF757
===
NAME: Babes in the Greenwood, The: see The Cruel Mother [Child 20] (File: C020)
===
NAME: Babes in the Wood (II): see The Three Lost Babes of Americay (File: Peac030)
===
NAME: Babes in the Woods, The: see Children in the Wood, The  (The Babes in the Woods) [Laws Q34] (File: LQ34)
===
NAME: Babies on Our Block
DESCRIPTION: "If you long for information or in need of merriment, Come over with me socially to MurphyÕs tenement." The singer catalogs all the myriad Irish babies living in the area, who join in singing "Little Sally Waters"
AUTHOR: Words: Edward Harrigan / Music: David Braham
EARLIEST_DATE: 1879 (original publication)
KEYWORDS: baby family
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 91-92, "Babies on Our Block" (1 text)
Roud #9572
NOTES: According to Sigmund Spaeth, _A History of Popular Music in America_ Random House, 1948, pp. 186-187, the late 1870s saw a series of musical skits called the Mulligan series. "January 13, 1879, was the historic date of the opening of the full-sized _Mulligan Guard Ball,_which ran right on to the end of that season.... [T]he _Mulligan Guard Bal_ maybe considered the real revelation of what was thereafter known as the Harrigan and Hart style...."
"Harrigan himself represented thebrains and energyof thetroup, writing dialogue and the song lyrics, casting and directing every production, acting and singing the leading roles and often also serving as manager. Braham composed all themusic and conucted the orchestra in the pit. Tony Hart continued to be the foil to Harrigan's characterizations and was particularly good as a female impersonator...."
"The _Mulligan Guard Ball_ contained, in addition to its parent song, such musical hits as _The Skidmore Fancy Ball_ (a satirical treatment of a colored company), _We're all Young Fellows Bran New,_ _Singing at the Hallway Door,_ and _The Babies on Our Block._ The latter was the definitive  forerunner of _The Sidewalks of New York,_ giving a detailed picture of life in the humbler sections of the metropolis,with actual quotations from old Irish song scattered throughout the music."
I read somewhere that Braham (1838-1905) was the father-in-law of Harrigan. - RBW
File: Dean091
===
NAME: Baby Livingston: see Bonnie Baby Livingston [Child 122] (File: C222)
===
NAME: Baby Please Don't Go
DESCRIPTION: The prisoner begs his girl not to abandon him: "Now your man done gone (x3) To the county farm." "Baby, please don't go (x3) back to Baltimore." ""Turn your lamp down low." ""You know I loves you so." "I beg you all night long."
AUTHOR: unknown
EARLIEST_DATE: 1935 (recording, Joe Williams)
KEYWORDS: love separation prisoner abandonment
FOUND_IN: US
REFERENCES: (2 citations)
Courlander-NFM, pp. 108-109, "Baby, Please Don't Go" (2 texts, 1 tune)
Silber-FSWB, p. 65, "Baby, Please Don't Go" (1 text)
RECORDINGS:
Sam Montgomery, "Baby Please Don't Go" (ARC 6-11-55, 1936)
Tampa Red, "Baby Please Don't Go" (Decca 7278, 1937, rec. 1936)
Joe Williams, "Baby Please Don't Go" (Bluebird B-6200, 1936, rec. 1935)
File: CNFM108
===
NAME: Baby, All Night Long
DESCRIPTION: Floating blues verses; "I'm going to the depot/Look up on the board"; "If I had listened/To what mama said," etc. Chorus is "All night long/Baby, all night long/Got the Richmond blues/Baby, all night long."
AUTHOR: unknown (credited to Ada Jones & Shelton Brooks on the Stanleys' recording)
EARLIEST_DATE: 1924 (recording, Roba & Bob Stanley)
KEYWORDS: loneliness rambling railroading lyric nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Cohen/Seeger/Wood, pp. 172-173, "Baby, All Night Long" (1 text, 1 tune)
Silber-FSWB, p. 74, "All Night Long" (1 text)
RECORDINGS:
[Clarence] Ashley & [Gwen] Foster, "Baby, All Night Long" (Vocalion 02780, 1934)
[Richard] Burnett & [Leonard] Rutherford (Columbia 15314-D, 1928; rec. 1927; on BurnRuth01, KMM)
Clint Howard & Fred Price, "The Richmond Blues" (on Ashley02, WatsonAshley01)
Frank Hutchison, "All Night Long" (OKeh 45144, 1927)
Earl Johnson & his Dixie Entertainers, "All Night Long" (OKeh 45383, 1929; rec. 1927)
Miles & Bob Pratcher, "If It's All Night Long" (on LomaxCD1703)
[Leonard] Rutherford & [John] Foster, "Richmond Blues" (on KMM)
Roba & Bob Stanley, "All Night Long" (OKeh 40295, 1925; rec. 1924)
CROSS_REFERENCES:
cf. "All Night Long" (words)
cf. "Railroad Blues (I)" (words)
SAME_TUNE:
Byrd Moore, "All Night Long" (Gennett 6686, 1928/Conqueror 7259 [as by Oscar Craver], 1929)
ALTERNATE_TITLES:
Richmond Blues
NOTES: The Oscar Craver recording uses the same tune and structure, but most of the lyrics are variants on "Mary Had a Little Lamb" verses. - PJS
File: CSW172
===
NAME: Babylon Is Fallen (II): see Babylon Is Falling (File: R229)
===
NAME: Babylon Is Falling
DESCRIPTION: "Way up in the cornfield where you hear the thunder, That is our old forty pounder gun, When the shells are missin' then we load with pumpkins, All the same we make the cowards run." The slave rejoices to triumph over the master
AUTHOR: Henry Clay Work?
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: Civilwar battle slave
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 229, "Babylon Is Falling" (1 text, 1 tune)
Greenway-AFP, p. 103, "Babylon is Fallen" (1 text)
DT, BBLNFALL
Roud #7706
CROSS_REFERENCES:
cf. "Kingdom Coming (The Year of Jubilo)" (theme)
NOTES: Not to be confused with the hymn, "Babylon Is Fallen." - RBW
File: R229
===
NAME: Babylon, or, The Bonnie Banks o Fordie [Child 14]
DESCRIPTION: An outlaw accosts (three) sisters, demanding that one of them marry him on pain of death. As all refuse, he kills all but the youngest. She accidentally learns that he is their brother. The outlaw usually then kills himself in remorse.
AUTHOR: unknown
EARLIEST_DATE: 1803 (Scots Magazine)
KEYWORDS: brother sister outlaw crime incest
FOUND_IN: Britain(Scotland,England) US(NE,SE,So) Canada(Mar,Newf)
REFERENCES: (19 citations)
Child 14, "Babylon, or, The Bonnie Banks o Fordie" (6 texts)
Bronson 14, "Babylon, or, The Bonnie Banks o Fordie" (8 versions plus 2 in addenda)
BarryEckstormSmyth p. 72, "Babylon" (1 fragment)
Flanders/Olney, pp. 61-63, "The Burly, Burly Banks of Barbry-O" (1 text, 1 tune) {Bronson's #5}
Flanders-Ancient1, pp. 213-222, "Babylon" (4 texts, 3 tunes) {A=Bronson's #8, C=#5}
Davis-More 9, pp. 68-71, "Babylon, or, The Bonnie Banks o Fordie" (1 text)
BrownII 8, "Babylon; or, The Bonnie Banks o Fordie" (1 text)
OBB 57, "Babylon, or, The Bonnie Banks o Fordie" (1 text)
Fowke/Johnston, pp. 18-19, "The Bonny Banks of Virgie O" (1 text, 1 tune) {Bronson's #3, but the texts differ noticeably}
Greenleaf/Mansfield 4, "The Bonnie Banks of the Virgie, O" (1 text, 1 tune) {Bronson's #4}
Peacock, pp. 809-811, "The Bonny Banks of Ardrie-O" (1 text, 2 tunes)
Karpeles-Newfoundland 3, "Bonny Banks of Virgie-O" (1 text, 4 tunes) {Bronson's #3}
Leach, pp. 88-90, "Babylon, or, The Bonnie Banks o Fordie" (2 texts)
Niles 11, "Babylon; or, The Bonnie Banks o Fordie" (1 text, 1 tune)
Lomax-FSNA 71, "Three Young Ladies" (1 text, 1 tune) {Bronson's #3, but with different information about the collector and informant}
MacSeegTrav 6, "Babylon" (1 text, 1 tune)
Gummere, pp. 188-189+344, "Babylon; or The Bonnie Banks o Fordie" (1 text)
HarvClass-EP1, pp. 58-59, "Babylon; or, the Bonnie Banks o Fordie" (1 text)
DT 14, VIRGIBNK* VIRGIBN3* BONFARDY
Roud #27
RECORDINGS:
Ken Peacock, "Bonnie Banks of the Virgie-O" (on NFKPeacock)
CROSS_REFERENCES:
cf. "The Bonnie Hind" [Child 50] (plot)
ALTERNATE_TITLES:
Bonny Farday
The Rocky Banks of the Buffalo
Baby Lon
NOTES: According to a study cited by Matt Ridley (_The Red Queen_, p. 281), "two siblings reared apart are surprisingly likely to fall in love with each other if they meet at the right age" (cf. Ridley's _The Agile Gene_, p. 173). The reference is to M. Greenberg and R. Littlewood, "Post-adoption incest and phenotypic matching: Experience, personal meanings, and biosocial implications," in the _British Journal of Medical Psychology_, 68:29-44, 1995.
There does seem to be anecdotal evidence for this; newspaper reports say that Britain in 2008 started to work on laws to make sure adopted children knew about any relatives they had. This was in response to a case of two twins separated in infancy; they met when they grew up, fell in love, and were married before anyone realized they were siblings. But this is just an isolated incident, not a rule.
I have not seen Greenberg and Littlewood to know if Ridley is describing it correctly, let alone to know if the conclusions are justified. But it may be less surprising than it sounds. Evolutionary success consists in conserving one's genes. This means that the evolutionary ideal is to marry someone related at about the first or second cousin level --  close enough to share a lot of genes, not so close as to have a particularly high risk of reinforcing dangerous recessives.
(There does seem to be one side footnote to this: Olivia Judson, in _Dr. Tatiana's Sex Advice to All Creation_, Henry Holt/Owl Books, 2002, pp. 52-53, notes that there are many variants in the genes of the MHC, or major histocompatibility index -- and that people apparently can tell, by smell, who shares their MHC genes; women don't want to be involved with men who are too close in MHC. But, of course, brother and sister need not share MHC genes -- given the size and complexity of the gene group, they very likely will not --  it's just that the odds are higher than among strangers.)
It is interesting to note that surveys have shown that beauty is in the eye of the beholder, but ugliness is not -- that is, almost everyone agrees that certain people are ugly, but not everyone agrees on who is attractive. It is further interesting to note that -- insofar as this has been studied -- we seem to find attractive people who appear to share our own genetic traits. (This is not from Ridley; I can't remember where I read this.)
On the other hand, people don't tend to fall in love with people they grow up with. Presumably this is a semi-instinctive incest taboo: The deep-down emotional assumption seems that these people are siblings or parents or offspring (so Edward Westermarck; again see Ridley, _The Red Queen_, p. 283; _The Agile Gene_, pp. 171-173).
Obviously a sibling is the closest relative we can find within our generation. If siblings are raised separately, they will not feel the raised-together taboo, so the shares-my-genes attraction will produce a tendency to fall in love. At least, that seems the logical implication of the data. And hence songs such as this and "Sheathe and Knife" and "Lizie Wan."
Though the siblings, it appears, would have to be separated by the age of three. But Ridley adds that the aversion seems to be stronger in females. If the brother is older (as seems to be the case, e.g., in "Lizie Wan," and probably here), he might have left the household before the girl reached the "aversion threshold."
In that context, it's worth remembering that sons of noble families were often sent away from their homes to be raised and trained in arms. In England, noble siblings were rarely raised together in the Middle Ages. So -- assuming all this theorizing is correct -- incestuous love affairs would be much more common among the nobility than the common folk. Indeed, there was a rumor that Ernest, Duke of Cumberland, the fifth son of George III who later became King of Hanover, fathered a child on his sister Sophia; see Christopher Sinclair-Stevenson, _Blood Royal: The Illustrious House of Hanover_, p. 123, 128. Sinclair-Stevenson thinks it impossible that Cumberland was actually the father, but it hardly matters if he was; the point is that he could have been. (A *really* dirty part of my mind notes that George III -- like his descendant Nicolas II of Russia -- long forced his daughters of marriageable age to stay at home with him. But George's daughters, at least, managed affairs -- see Sinclair-Stevenson, p. 124).
An even stronger instance of brother-sister incest occurs in the Bible, no less. Very few female members of the Davidide royal family are mentioned in the Bible -- except one. 2 Samuel, chapter 13 (one of the chapters that seems to have been written by an immediate witness -- some suspect the priest Abiathar), details the rape of David's daughter Tamar by her half-brother Amnon; the next several chapters are devoted to the dreadful after-effects of that rape.
The ultimate example of incestuous royal families, though, is surely the Ptolemaic Dynasty, which ruled Egypt from the time of Alexander the Great until the Roman conquest. Ptolemy II, late in life, would marry his sister Arsinoe II, and Ptolemy IV took up with his sister Arsinoe III.
And then there are the children of Ptolemy V. The older son, Ptolemy VI Philometer (which means "loving his mother"!), married his sister Cleopatra II; they had a daughter Cleopatra III. The second son of Ptolemy V was Ptolemy VIII Physcon, who in his turn married Cleopatra II and then, while she was still alive, her daughter Cleopatra III. Their children were Ptolemy IX Lathyrus, Cleopatra IV, and Ptolemy X Alexander. Ptolemy Alexander would later marry Cleopatra Berenice, the daughter of Ptolemy Lathyrus and Cleopatra IV. (This did have genetic effects, to be sure. The later Ptolemies were mostly immensely, grotesquely fat and diseased. On the other hand, Cleopatra VII  -- "the" Cleopatra, of Julius Caesar and Mark Antony fame, whose mother and grandmother were non-Ptolemies -- was certainly accomplished and probably quite beautiful.) 
Later, Cleopatra VII would marry a couple of her brothers, but that was political. In the cases of Arsinoe II and Cleopatra III, their royal brothers and uncles married for love, or at least lust. Thus, historically, royal incest seems not to have been all that uncommon. Probably more common than the above would imply, given how strongly it would be hushed up! - RBW
File: C014
===
NAME: Bachelor Blues
DESCRIPTION: Singer laments his bachelor life. He sends a letter to his girlfriend, proposing that she share his lot; she answers by telegram, refusing. He replies, "If you don't like my bait, you need not to bite my hook"
AUTHOR: Steve Ledford
EARLIEST_DATE: 1964 (recording, New Lost City Ramblers)
KEYWORDS: loneliness courting rejection bachelor
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Bill Carlisle, "Batchelor's Blues" (Vocalion 02879, 1935)
Steve Ledford, "Bachelor Blues" (Bluebird B-7626, 1938)
New Lost City Ramblers, "Bachelor Blues" (on NLCR13)
File: RcBacBlu
===
NAME: Bachelor's Complaint, The: see A Bachelor's Lament (File: JHCox160)
===
NAME: Bachelor's Hall (I)
DESCRIPTION: About the sad life of a bachelor: "Bachelor's Hall, what a queer looking place it is, Keep me from such all the days of my life." The singer describes the mess and squalor of the place, and the pitiful lives of its inhabitants.
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: bachelor loneliness
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 475, "Bachelor's Hall" (1 text)
Roud #7031
CROSS_REFERENCES:
cf. "A Bachelor's Lament" (subject, lyrics)
cf. "Married and Single Life" (subject)
NOTES: There is another "Bachelor's Hall" which describes the good life in the Hall: "No woman to scold you, No children to bawl, Always stay single, keep Bachelor's Hall."
As I have only one version of this text, I cannot really determine the relationship between the two -- but the present text is not in the same meter as the other.
Charles Dibdin wrote a piece called "Batchelor's Hall" in 1794, but I haven't found a text of that, either. - RBW
File: R475
===
NAME: Bachelor's Hall (II)
DESCRIPTION: "When young men go courting they'll dress up so fine," meet the girls, dress up -- and end up worn out, (broke), and claiming, "I believe it's the best to court none at all, And live by myself and keep bachelor's hall," where neither wife nor children nag
AUTHOR: unknown
EARLIEST_DATE: 1925 (recording, Fiddlin' John Carson)
KEYWORDS: courting bachelor
FOUND_IN: US(Ap,MW,SE) Canada(Newf)
REFERENCES: (9 citations)
Abrahams/Foss, p. 120, "Bachelor's Hall" (1 text, 1 tune)
Gardner/Chickering 183, "Bachelor's Hall" (1 text, 1 tune)
Fuson, p. 133, "Bachelor's Hall" (1 text)
Ritchie-Southern, p. 35, "Bachelor's Hall" (1 text, 1 tune, with a first verse that seems to have floated in from "The Wagoner's Lad")
Peacock, pp. 237-238, "Bachelor's Hall" (1 text, 1 tune)
Fowke/MacMillan 36, "Bachelor's Hall" (1 text, 1 tune)
BrownIII 337, "When Young Men Go Courting" (1 fragment, probably this)
Darling-NAS, p. 273, "Bachelor's Hall" (1 text)
DT, BACHHALL
Roud #385
RECORDINGS:
Fiddlin' John Carson, "The Batchelor's Hall" (OKeh 45056, 1926; rec. 1925; on TimesAint04 as "Bachelor's Hall")
Earl Shirkey & Roy Harper [pseud. for Roy Harvey], "Keep Bachelor's Hall" (Columbia 15429-D, 1929)
CROSS_REFERENCES:
cf. "Putting on Airs" (theme)
NOTES: There is another "Bachelor's Hall" which describes the difficult life in the Hall: "Sure when I think what a burning disgrace it is, Never at all to be getting a wife, See the old bachelor gloomy and sad enough...."
As I have only one version of #1, I cannot really determine the relationship between the two -- but the present text is not in the same meter as the other.
Charles Dibdin wrote a piece called "Batchelor's Hall" in 1794, but I haven't found a text of that, either.
Gardner and Chickering's text is rather confusing and perhaps composite; it starts by talking about *girls* and the troubles of marriage -- "When young girls get married, their pleasure is all gone; They doubt on their prospects, their troubles come on." But it ends with the warnings found in this song. It appears that their text is either a fusion of two songs or an incomplete attempt to convert this piece to a woman's point of view.
Jean Ritchie's version also hints at that, but with a different first verse. - RBW
File: AF120
===
NAME: Bachelor's Hall (III)
DESCRIPTION: "Young ladies all, both short, fat, and tall, On me you will surely take pity, For a bachelor's hall is no place at all." The singer would rather be married: it's less expensive. He lists his household assets in hopes of attracting a wife.
AUTHOR: Larry Gorman
EARLIEST_DATE: 1957 (Ives-DullCare)
KEYWORDS: courting bragging humorous nonballad bachelor
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 39-41,241, "Bachelor's Hall" (1 text, 1 tune)
Roud #14002
CROSS_REFERENCES:
cf. "The Courting Case" (theme)
cf. "Michael O'Brien" (theme)
File: IvDC039
===
NAME: Bachelor's Lament, A
DESCRIPTION: "As I was walking all alone, I heard an old bachelor making his moans: I wonder what the matter can be, Dog them pretty girls won't have me." The bachelor describes those he has courted, the offers he has made, the horses he has ruined -- to no avail
AUTHOR: unknown
EARLIEST_DATE: 1905 (Belden)
KEYWORDS: bachelor loneliness courting
FOUND_IN: US(Ap,MA,MW,NE,So)
REFERENCES: (3 citations)
Belden, p. 263, "The Old Bachelor" (1 text)
JHCox 160, "A Bachelor's Lament" (1 short text)
Brewster 70, "The Old Bachelor" (1 text)
ST JHCox160 (Partial)
Roud #3771
RECORDINGS:
Eugene Jemison, "The Bachelor's Complaint" (on Jem01)
CROSS_REFERENCES:
cf. "Bachelor's Hall (II)" (subject, lyrics)
NOTES: The texts in Belden and Cox have hardly a word in common, but the themes and forms are so similar that I don't hesitate to lump them. Brewster's text is similar to the one in the description. - RBW
Paul Stamler notes that at least one version ends with the bachelor dying; the singer tells women to put him in the ground, for fear he might come back to life and keep trying to find a wife.- (PJS, RBW)
The Jemison recording includes at least one verse that overlaps Fiddlin' John Carson's version of "Bachelor's Hall." I called that "Bachelor's Hall (II)"; the Jemison recording sounds more like "Bachelor's Hall (I)." - PJS
File: JHCox160
===
NAME: Bachelor's Walk
DESCRIPTION: The singer describes "the murderous outrage that took place in Dublin Town." Armed Irish rebels came to Dublin, and disturbances followed. In the confusion, the King's Own Scottish regiment kills three people
AUTHOR: unknown
EARLIEST_DATE: 1914 (OLochlainn)
KEYWORDS: Ireland rebellion death
HISTORICAL_REFERENCES: 1914 - the riot in Bachelor's Walk
FOUND_IN: Ireland
REFERENCES: (2 citations)
PGalvin, pp. 55-56, "Batchelor's Walk" (1 text, 1 tune)
OLochlainn 100, "Bachelor's Walk: Mournful Lines on the Military Outrage in Dublin" (1 text, 1 tune)
Roud #3049
NOTES: This song illustrates clearly the sad state of Anglo-Irish relations in the early twentieth century. The British troops (who, according to  George Danderfield's _The Damnable Question_, p. 121, were not trained in riot work) were doing their best to keep order -- but the Irish called them "cowards" and "murderers."
The massacre came about as a result of rising tensions in Ireland. Many in Britain were ready to grant the Irish Home Rule (internal self government; see, e.g., "Home Rule for Ireland") -- but the folk of Ulster feared the Catholics so much that they formed paramilitary forces and began smuggling in guns. The rest of the Irish also started to organize armies.
The British were in an uncomfortable situation; they had to put more soldiers in the streets. Unfortunately, the soldiers were met by catcallers and stone throwers.
The Bachelor's Walk massacre was the result of just such a provocation. According to Robert Kee, _The Bold Fenian Men_, being volume II of _The Green Flag_, pp. 214-215, the soldiers had been sent out to try to stop some arms-runners. They failed -- sort of. The British law of the time was peculiar: Owning firearms was permitted, but importing them was not. Had the British caught the arms coming in, they could have impounded them. But by the time the soldiers arrived, the arms (some 15,000 rifles and 100,000 rounds of ammunition, according to Ulick O'Connor, _Michael Collins & The Troubles_, p. 60) had been distributed and therefore legal. Besides, the Irish Volunteers scattered when they saw the soldiers. But in the process, the soldiers loaded their guns, and did not unload. (Or so it was reconstructed later.)
So the soldiers started back, to be greeted by a jeering mob. An officer told the troops to face the crowd; he wanted to address the demonstrators. The report is that he did not know the soldier's guns were loaded. He held up his hand for silence. Someone apparently took this as a signal to fire, and the rest of the troops, who were being severely goaded, joined in.
The net toll of the "massacre," according to Kee, was three Irish dead (none of them among the thousand or so soldiers who provoked the riots) and 38 wounded (O'Connor claims four killed and 38 wounded) -- but the British troops (King's Own Scottish Borderers), though they suffered no fatalities, also took their share of injuries.
This is not to say that the British were entirely without fault. Calton Younger, in _Ireland's Civil War_, p. 23, notes that both Nationalists and Unionists were running guns. The British hadn't done much when the Ulster Volunteers had marched earlier in the week, but they watched the Irish Volunteers closely, resulting in the tragedy.
For some reason, Galvin spells the name of this song "Batchelor's Walk," which I followed in the first version of the Index because it was the only version I'd seen. But the first four genuine histories I checked -- Younger,  Dangerfield, O'Connor, and Kee -- prefer the more normal spelling "Bachelor's Walk." - RBW
File: PGa055
===
NAME: Back Bay Hill
DESCRIPTION: The singer meets a girl "tripping and slipping down (Back Bay Hill)." They are married the next day. They have three children; during a disagreement about names, the father insists the child be named after the hill! He advises others to visit the place
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-Nova Scotia)
KEYWORDS: courting children
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (3 citations)
Fowke/Johnston, pp. 164-165, "Citadel Hill" (1 text, 1 tune)
Blondahl, p. 107, "Sig-i-nal Hill" (1 text, 1 tune)
Creighton-NovaScotia 101, "Back Bay Hill" (1 text, 1 tune)
ST FJ165 (Partial)
Roud #1811
NOTES: Creighton reports, "[Informan Frank Faulkner] learned this song while sealing in 1902.... The name Back Bay may be changed to any hill in the place where the song is sung." - RBW
Blondahl: "Signal Hill, St John's, is famed for many deeds (and mis-deeds) which have taken place over the past three or four centuries." - BS
File: FJ165
===
NAME: Back o' Bennachie, The: see Where the Gadie Rins (I), (II), etc. (File: Ord347)
===
NAME: Back o' Rarey's Hill, The (The Jilted Lover)
DESCRIPTION: "It was on a Saturday evening, As I went to Dundee, I met wi' an old sweetheart," and one thing led to another. They share a glass, he departs, then writes a letter saying he will marry her only if she comes to him. She warns other girls of her sad fate
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting sex abandonment betrayal
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 156-157, "The Back o' Rarey's Hill" (1 text)
Roud #6847
File: Ord156
===
NAME: Back to Jericho
DESCRIPTION: Reworked floating verses in white-blues form: "I'm going back to Jericho, sugar babe (x3)"; "Never seen the likes since I've been born...." "Old Aunt Jemima going through the sticks...." "What you gonna do when the meat gives out...."  Etc.
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Dock Walsh)
KEYWORDS: humorous nonballad floatingverses
FOUND_IN: 
REFERENCES: (1 citation)
Cohen/Seeger/Wood, pp. 170-171, "Back to Mexico" (1 text, 1 tune)
Roud #7694
RECORDINGS:
Carolina Tar Heels, "Back to Mexico" (Victor 23611, 1931)
Dock Walsh, "Going Back to Jericho" (Columbia 15094-D, 1926)
Doc Watson, Gaither Carlton & Ralph Rinzler, "I'm Going Back to Jericho" (on Ashley02, WatsonAshley01)
CROSS_REFERENCES:
cf. "Crawdad" (words, pattern, tune)
NOTES: Jericho is a town in South Carolina. The singer is probably referring to that Jericho, not the one in the Bible. - PJS
I was tempted to classify this as a version of "Crawdad," since that is the source for so many of the verses. I'm still not sure about the matter. Does anyone know any other versions of this song? - RBW
Rinzler notes that Gaither Carlton learned this as a boy (c. 1915?), while Doc Watson learned it from his father. The song may date from the 1900s, therefore. While it's clearly related to "Crawdad Song," I think they're different enough to continue splitting them. - PJS
File: CSW170
===
NAME: Back to Larkins' Bar
DESCRIPTION: The singer writes a letter to his (girl/wife); the (soldiering/cockie's) life is hard and lonely. He pleads, "Take me back to the Holbrook streets, And back where the beer-hogs are, Back to the sound of the barrel taps And back to Larkins' bar."
AUTHOR: James "Digger" O'Brien?
EARLIEST_DATE: 1987
KEYWORDS: home Australia drink
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 273-274, 274-275, "Back to Larkins' Bar" (2 texts, 2 tunes)
NOTES: Meredith collected this song twice, in fragmentary but strikingly different forms, from two residents of Holbrook, Australia. Marilyn McPherson credited it to her father, Digger O'Brien; Jack Campbell also apparently had it from him. On its face, that would seem to disqualify it from "folk song" status -- except for the extreme set of variations.
Larkins' Bar is apparently one of the chief landmarks of Holbrook (this is Australia, after all). - RBW
File: MCB273
===
NAME: Back Water Blues: see Backwater Blues (File: FSWB073A)
===
NAME: Backblock Shearer, The
DESCRIPTION: "I'm only a backblock shearer, as easily can be seen... I've shorn in most of the famous sheds, I've seen big tallies done, But somehow or other, I don't know why, I never became a gun." The shearer describes his many attempts to make the century
AUTHOR: W. Tully
EARLIEST_DATE: 1953 (Collected from Jack Lee by John Meredith)
KEYWORDS: sheep work contest
FOUND_IN: Australia
REFERENCES: (4 citations)
Meredith/Anderson, pp. 38-39, "The Backblock Shearer" (1 text, 1 tune)
Manifold-PASB, pp. 128-129, "Widgegoara Joe (The Backblock Shearer)" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 200-202, "The Backblocks Shearer" (1 text)
DT, BACKBLCK
NOTES: A "gun" was a high-speed shearer who could shear "the century" (100 sheep) in an eight hour day. - RBW
File: MA038
===
NAME: Backward, Turn Backward (I)
DESCRIPTION: "Backward, turn backward, O Time, in your flight, Bring back my ability if just for tonight. Bring back that riding ability of mine, Don't let the bull buck my ass off this time."
AUTHOR: Joe Cavanaugh?
EARLIEST_DATE: 1954
KEYWORDS: parody cowboy animal humorous
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 55, "Backward, Turn Backward" (1 short text, 1 tune)
Roud #5092
CROSS_REFERENCES:
cf. "Rock Me to Sleep Again, Mother" (tune)
cf. "Cowboy Again for a Day" (tune, lyrics)
NOTES: Ohrlin believed that Joe Cavanaugh made up this parody on the spot at a competition in 1954. (The original is "Rock Me to Sleep Again, Mother," and is quoted by Laura Ingalls Wilder in chapter 19 of _Little Town on the Prairie_, but this is probably derived from "Cowboy Again for a Day.") But this cannot be absolutely proved, so it goes into the Index. - RBW
File: Ohr055
===
NAME: Backward, Turn Backward (II): see Cowboy Again for a Day (File: FCW116)
===
NAME: Backwater Blues
DESCRIPTION: "Well, it rained five days and the sky was dark (x2), There's trouble in the lowlands tonight. "I got up one morning, I couldn't even get out of my door." The storms and floods drive many poor people from their homes
AUTHOR: Bessie Smith?
EARLIEST_DATE: 1927 (recording, Bessie Smith)
KEYWORDS: storm flood home disaster
HISTORICAL_REFERENCES: 1927 - Mississippi River floods, devastating the Delta region and leaving thousands homeless
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Silber-FSWB, p. 73, "Back Water Blues" (1 text)
DT, BACKWATR*
RECORDINGS:
Big Bill Broonzy, "Backwater Blues" (on Broonzy01)
Lonnie Johnson, "Backwater Blues" (King 4251, 1948)
Bessie Smith, "Back Water Blues" (Columbia 14195-D, 1927)
CROSS_REFERENCES:
cf. "Mississippi Heavy Water Blues" (subject)
ALTERNATE_TITLES:
Backwater Blues
File: FSWB073A
===
NAME: Backwoodsman, The (The Green Mountain Boys) [Laws C19]
DESCRIPTION: The singer, a wood-hauler, having gotten drunk, is convinced to go a ball. He spends a riotous night. He hopes that others will not exaggerate what happened.
AUTHOR: unknown
EARLIEST_DATE: 1920 (Cox)
KEYWORDS: drink hardtimes
FOUND_IN: US(Ap,MA,MW,NE,SE) Canada(Ont,West)
REFERENCES: (10 citations)
Laws C19, "The Backwoodsman (The Green Mountain Boys)"
Rickaby 35, "The Backwoodsman" (1 text)
Gardner/Chickering 168, "The Backwoodsman" (1 text)
JHCox 132, "When I Was One-and-Twenty" (1 text)
BrownIII 340, "The Wood Hauler" (2 texts)
FSCatskills 119, "The Cordwood Cutter" (2 texts, 2 tunes)
Fowke-Lumbering #49, "The Backwoodsman" (1 text, 1 tune)
Fowke/MacMillan 30, "The Backwoodsman" (1 text, 1 tune)
Flanders/Brown, pp. 43-45, "The Green Mountain Boys" (1 text)
DT 604, BACKWOOD* CAMCNTRY*
Roud #641
RECORDINGS:
Maynard Britton, "I Came to this Country" (AFS, c. 1937; on KMM; there is probably some mixture in this version)
James B. Cornett, "Spring of '65" (on MMOK, MMOKCD)
Robert C. Paul, "The Backwoodsman" (on Saskatch01)
Vern Smelser, "The Morning of 1845" (on FineTimes)
Emerson Woodcock, "The Backwoodsman" (on Lumber01)
CROSS_REFERENCES:
cf. "In Eighteen-Forty-Nine" (floating lyrics)
cf. "In Seventeen Ninety-Five" (lyrics)
ALTERNATE_TITLES:
The Cordwood Cutter
NOTES: Laws made rather a botch of this piece, omitting the Cox and Brown texts and causing me to split the song in two for a time. It doesn't help that it's an extremely diverse item; there is hardly a single feature common to all versions. Many versions start with the lines, "I woke up on morning in (1805/1845/1865), (Thought/Found) myself quite (happy/lucky) to find myself alive."
This is not, however, diagnosic. Cox's text, for instance, begins with the line, "When I was one-and-twenty," but is obviously not to be confused with the A. E. Housman poem of the same title.
Many texts say that the young man was able to go on a spree because of a gift from his father. But in Brown's "B" text, he's treated to an election spree (a common technique in nineteenth century elections: Give the voters enough free liquor and they would be expected to vote for you. Though it's rather odd to see an election held in *1845*).
The singer is often a hauler, and may ring in his mule -- but may not.
We often find a description of a wild dance, but this seems to vary also.
And so it goes.
Fowke's text has a curious reference to a fiddle tune "The Bluebells of Ireland." Wonder how the Scots felt about that title. - RBW
File: LC19
===
NAME: Bad Ale Can Blow a Man Down
DESCRIPTION: "Go bring me a mug of your very best ale, Bad ale can drag a man down." "The lord of the castle a bold knight was he, He started to London the Queen for to see." "His cloak it was velvet for a grand lord was he, He rode a white charger...."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: nobility royalty drink travel
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 30, (no title) (1 text)
CROSS_REFERENCES:
cf. "Abie's White Mule" (lyrics)
NOTES: Thomas, obscurely, lists this in her section on chanteys. The first verse, I suppose, might be; the second and third appear to be part of an unrelated ballad. But with only two lines of the first and four of the second, I can't identify it.
It may well be mixed up with another song in Thomas, "Abie's White Mule." - RBW
File: ThBa030
===
NAME: Bad Brahma Bull (The Bull Rider Song)
DESCRIPTION: A parody of "The Strawberry Roan," in which the boss hires the cowman to ride a "big Brahma bull" in a rodeo. The rest follows the original: The rider winds up being thrown, and "high-tail[s] it back to that old Flying U."
AUTHOR: Curly Fletcher
EARLIEST_DATE: 1942
KEYWORDS: parody cowboy injury
FOUND_IN: US(SW)
REFERENCES: (3 citations)
Fife-Cowboy/West 68, "The Strawberry Roan" (2 texts, 1 tune, the second text being this one)
Logsdon 13, pp. 97-101, "The Flyin' U Twister" (1 text, 1 tune)
DT, BADBRAHM*
Roud #3239
NOTES: This is reportedly Curly Fletcher's parody of his own "Strawberry Roan." (Fletcher in fact wrote several such parodies; see also "The Castration of the Strawberry Roan.") Roud appears to lump the pieces. - RBW
File: FCW68B
===
NAME: Bad Company: see Young Companions [Laws E15] (File: LE15)
===
NAME: Bad Girl's Lament, The (St. James' Hospital; The Young Girl Cut Down in her Prime) [Laws Q26]
DESCRIPTION: The bad girl tells of how she reveled at the ale-house and the dance hall, then found herself in the poorhouse, and now is at death's door. She makes her final requests, and asks that young sailors carry her coffin
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: drink poverty death
FOUND_IN: Canada(Mar,Newf) Britain(England) US(So) Ireland
REFERENCES: (11 citations)
Laws Q26, "The Bad Girl's Lament (St. James' Hospital; The Young Girl Cut Down in her Prime)"
Munnelly/Deasy-Lenihan 21, "Saint James' Hospital" (1 text, 1 tune)
Peacock, pp. 420-421, "Annie Franklin" (1 text, 1 tune)
Friedman, p. 426, "The Bad Girl's Lament (St. James Hospital)" (1 text)
Fowke/Johnston, pp. 160-161, "The Bad Girl's Lament" (1 text, 1 tune)
Creighton-NovaScotia 102, "Bad Girl's Lament" (1 text, 1 tune)
Mackenzie 119, "The Bad Girl's Lament" (1 text)
Randolph-Legman II, pp. 604-608, "The Bad Girl's Lament" (1 text)
Lomax-FSNA 97, "The Bad Girl" (1 text, 1 tune)
Darling-NAS, p. 8, "One Morning in May" (1 text)
DT 350, UNFORTLS*
Roud #2
RECORDINGS:
James "Iron Head" Baker, "St. James Hospital" (AFS 204 B1, 206 A2, 1934)
(AFS 718 B1, 1936)
Tom Lenihan, "Saint James' Hospital" (on IRTLenihan01)
Mose "Clear Rock" Platt, "St. James Hospital" (AFS 194 B2, 1933)
CROSS_REFERENCES:
cf. "The Streets of Laredo" [Laws B1] (tune & meter, plot) and references there
cf. "The Unfortunate Rake" (tune & meter, plot)
cf. "The Sailor Cut Down in His Prime" (tune & meter, plot)
cf. "My Home's in Montana" (tune, floating lyrics)
cf. "Saint James Infirmary" (theme)
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 tune and metre, and all involve a person dying as a result of a wild life, but the nature of the tragedy varies according to local circumstances. There is a certain amount of cross-fertilization between versions; see the cross-references. - RBW
Legman provides extensive notes to the entire "Unfortunate Rake" song cycle in Randolph-Legman II. - EC
There is a particular sub-family of this type, which I've heard done up-tempo with a rather different tune. The Darling "One Morning in May" text appears to belong here. If there is a characteristic line, it seems to be the one "My body is elevated [by the mercury treatments for venereal disease] and I am bound to die." - RBW
Without hearing Platt's & Baker's recordings, I can't tell whether this is "Bad Girl's Lament" or "Unfortunate Rake," but I'm playing the percentages and putting them here. - PJS
For the treatment of syphilis prior to the twentieth century, see the notes to "The Unfortunate Rake." - RBW
File: LQ26
===
NAME: Bad Lee Brown (Little Sadie) [Laws I8]
DESCRIPTION: The singer goes out one night to "make his rounds." He meets his (girlfriend/wife), Little Sadie, and shoots her. He flees, but is overtaken and sentenced to (a long prison term/life)
AUTHOR: unknown
EARLIEST_DATE: 1922 (Randolph)
KEYWORDS: homicide prison
FOUND_IN: US(Ap,So,SE)
REFERENCES: (9 citations)
Laws I8, "Bad Lee Brown"
Randolph 155, "Bad Lee Brown" (2 fragments, 1 tune)
Cambiaire, p. 22, "Little Sadie" (1 text)
MWheeler, pp. 109-111, "Late One Night" (1 text, 1 tune)
BrownII 252, "Sadie" (1 text)
MHenry-Appalachians, pp. 39-40, "Little Sadie" (1 text)
Scarborough-NegroFS, p. 243, (no title) (1 fragment)
Lomax-ABFS, pp. 89-91, "Bad Man Ballad" (1 text, 1 tune)
DT 659, LILSADIE*
Roud #780
RECORDINGS:
Clarence Ashley, "Little Sadie" (Columbia 15522-D, 1930; rec. 1929; on RoughWays1)
Blue Heaven, "Bad Man Ballad" (AAFS 384 B)
Mrs. Lloyd Bare Eagle, "Little Sadie" (AAFS 2851 B1)
Louise Foreacre, "Little Sadie" (on Stonemans01)
Wendell Hart & group of convicts, "Bad Man Ballad" (AAFS 2591 B2)
Willie Rayford, "Bad Man Ballad" (AAFS 2591 B2)
Wade Ward, "Little Sadie" [instrumental] (on Holcomb-Ward1)
Clarence Ashley & Doc Watson, "Little Sadie" (on Ashley03, WatsonAshley01)
Unidentified Negro convict, "Bad Man Ballad" (AAFS 1859 A1-10)
ALTERNATE_TITLES:
Bad Man's Blunder
File: LI08
===
NAME: Bad Luck Attend the Old Farmer
DESCRIPTION: A warning to servant boys seeking employment by farmers at hiring fairs. You are badly fed and "cold as lead." The singer will not hire for another half year. "Don't hire with any farmer ... But sail off to Amerikay, To a land where you'll be free"
AUTHOR: unknown
EARLIEST_DATE: 1980 (IRHardySons)
KEYWORDS: emigration hardtimes farming food America servant
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #17894
RECORDINGS:
James Halpin, "Bad Luck Attend the Old Farmer" (on IRHardySons)
CROSS_REFERENCES:
cf. "The Hiring Fair at Hamiltonsbawn" (subject: hiring fair servant's half-year term hard times)

ALTERNATE_TITLES:
The Ingy Buck
NOTES: The alternate title, "The Ingy Buck," refers to maize or "Indian Buck." (source: Notes to IRHardySons)
File: RcBLATOF
===
NAME: Bad Man Ballad: see Bad Lee Brown (Little Sadie) [Laws I8] (File: LI08)
===
NAME: Bad Mind
DESCRIPTION: "In every home that you can find There are people who have bad mind. (x2) Certain bad mind that sit and lie, Sit and criticize people who go by." Other stanzas offer examples, e.g. "You kneel in your home to pray; They say a hypocrite you did play."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: accusation nonballad
FOUND_IN: West Indies
REFERENCES: (1 citation)
Courlander-NFM, p. 74, (no title) (1 text)
File: CNFM074
===
NAME: Bad Tom Smith
DESCRIPTION: "I am passing through the valley here in peace (x2), O when I am dead and buried in the cold and silent tomb, I don't want you to grieve after me." "I am leaving all my friends here in peace... I don't want you to grieve after me."
AUTHOR: unknown
EARLIEST_DATE: 1967
KEYWORDS: death grief burial
HISTORICAL_REFERENCES: June 28, 1895 - Hanging of "Bad" Tom Smith in Jackson, Kentucky for the murder of Dr. John E. Rader
FOUND_IN: US(Ap,SE)
REFERENCES: (1 citation)
Combs/Wilgus 162, p. 187, "Bad Tom Smith" (1 text)
Roud #4300
NOTES: Reported to be the last "goodnight" of Tom Smith, but obviously based on "Don't You Grieve After Me." - RBW
File: CW187
===
NAME: Bad Wife, The: see Scolding Wife (IV) (File: HHH145)
===
NAME: Badai na Scadan (The Herring Boats)
DESCRIPTION: Gaelic. The singer recalls that his son was killed when his herring boat was wrecked on a submerged rock. He names the men drowned and their mourning family members. He hopes that the bodies will be found.
AUTHOR: unknown
EARLIEST_DATE: 1976 (OBoyle)
KEYWORDS: foreignlanguage grief death fishing sea ship wreck moniker
FOUND_IN: Ireland
REFERENCES: (1 citation)
OBoyle 2, "Badai na Scadan" (1 text, 1 tune)
NOTES: O Boyle does not translate the text. There is an English translation by Eamonn O Donaill on RootsWeb site Transcriptions-Eire-L Archives. The description follows that translation. The notes on that site say this "is a song from Donegal which was composed by a grief stricken father whose sons were killed in a shipwreck near Inisfree Island." - BS
File: OBoy002
===
NAME: Badger Drive, The
DESCRIPTION: A song of praise to logdrivers. It mentions the hardships of the job. It praises manager Bill Dorothy, and points out that drivers supply the pulpwood for paper. The drive on Badger is described. The singer hopes that the company will continue to succeed
AUTHOR: Words: John V. Devine
EARLIEST_DATE: 1933
KEYWORDS: logger river work
FOUND_IN: Canada(Newf)
REFERENCES: (5 citations)
Fowke/Johnston, pp. 84-86, "The Badger Drive" (1 text, 1 tune)
Greenleaf/Mansfield 160, "The Badger Drive" (1 text, 1 tune)
Doyle2, p. 29, "The Badger Drive" (1 text, 1 tune)
Doyle3, p. 13, "The Badger Drive" (1 text, 1 tune)
Blondahl, pp. 49-50, "The Badger Drive" (1 text, 1 tune)
ST FJ084 (Partial)
Roud #4542
RECORDINGS:
Omar Blondahl, "The Badger Drive" (on NFOBlondahl01)
CROSS_REFERENCES:
cf. "The Drive" (theme)
File: FJ084
===
NAME: Baffin's Bay: see Hurrah for Baffin's Bay (File: Harl230)
===
NAME: Baffled Knight, The [Child 112]
DESCRIPTION: A (knight/shepherd) sees a lady (bathing), and wishes to lie with her. She convinces him not to touch her until they reach her father's gate. She jumps in, locks him out, and scolds him for his base thoughts and/or his lack of assertiveness.
AUTHOR: unknown
EARLIEST_DATE: 1609 (Ravenscroft)
KEYWORDS: seduction escape trick knight
FOUND_IN: Britain(England(All),Scotland(Aber,Bord)) US(MW,NE,SE) Canada(Mar,Newf)
REFERENCES: (17 citations)
Child 112, "The Baffled Knight" (6 texts)
Bronson 112, "The Baffled Knight" (40 versions+3 in addenda) -- but #26-33 (his Appendix A) are "The New-Mown Hay," which may be separate, and #34-#39 (his Appendix B) are "Katie Morey" [Laws N24] which is certainly separate
Percy/Wheatley II, pp. 336-342, "The Baffled Knight, or Lady's Policy" (1 text; tune in Chappell)
Stokoe/Reay, pp. 112-113, "Blow the Winds I-Ho!" (1 text, 1 tune) {Bronson's #6}
BarryEckstormSmyth pp. 454-456, "The Baffled Knight" (notes plus a modified version from Ravenscroft=Child A, also a claimed link to "Katey Morey")
Flanders-Ancient3, pp. 89-99, "The Baffled Knight" (5 texts, but the "A" text is from "The Charms of Melody" rather than tradition and "B-I" through "B-IV" are "Katie Morey" [Laws N24] rather than "The Baffled Knight")
Creighton/Senior, pp. 63-65, "The Baffled Knight" (1 text, 1 tune) {Bronson's #25}
Peacock, pp. 272-275, "The Foolish Shepherd" (2 texts, 2 tunes)
Karpeles-Newfoundland 16, "The Baffled Knight" (1 text fragment, 1 tune)
Leach, pp. 320-321, "The Baffled Knight" (1 text)
Friedman, p. 154, "The Baffled Knight" (1 text)
PBB 35, "Blow the Winds, I-Ho" (1 text)
Sharp-100E 19, "Blow Away the Morning Dew" (1 text, 1 tune) {Bronson's #16}
Chappell/Wooldridge I, p. 136, "Yonder Comes a Courteous Knight" (1 tune, partial text) {Bronson's #1}; Chappell/Wooldridge II, pp. 69-70, "The Baffled Knight" (1 tune, partial text; full text is in Percy/Wheatley) {Bronson's #2}
Silber-FSWB, p. 190, "Blow Away The Morning Dew" (1 text)
BBI, ZN2505, "There was a Knight was drunk with Wine"; cf. ZN2506, "There was a knight was wine-drunke"
DT 112, MORNDEW* MORNDEW2
Roud #11
RECORDINGS:
Emily Bishop, "The Baffled Knight (Clear Away the Morning Dew" (on FSB5, FSBBAL2)
Sam Larner, "Blow Away the Morning Dew" (on SLarner02)
BROADSIDES:
Bodleian, Johnson Ballads 739 [mostly illegible], "Blow the Wind, I, O", J. Pitts (London), 1802-1819; also Harding B 13(224), Harding B 11(337), Harding B 15(21b), Firth b.27(27), "Blow the Winds I[.] O"; Harding B 5(5), Douce Ballads 3(52b), "The Baffled Knight" or "The Lady's Policy"
CROSS_REFERENCES:
cf. "Katie Morey" [Laws N24] (plot)
cf. "The New-Mown Hay" (plot)
cf. "The Lovely Banks of Mourne" (plot)
cf. "Jock Sheep" (plot)
ALTERNATE_TITLES:
Blow Ye Winds High-O
Clear Away the Morning Dew
NOTES: Child relegates the Percy text, and a similar one in the Roxburghe collection, to an appendix to this piece. I really don't see why. The result is long and complex, and may well have been retouched, but it's certainly a variant of this song.
It is noteworthy that Bronson classifies most versions of this song into a large tune group -- but that none of the early printed texts (e.g. Ravenscroft's and D'Urfey's) fit this form.
The song "Jock Sheep" is clearly a rewrite of this, with an anti-feminist ending, and as such was lumped with Child 112 in earlier versions of this index. But it is distinct enough, and survives widely enough on its own, that we now split the two. As does Roud. (Thanks to Ben Schwartz for doing the research to split them.) - RBW
File: C112
===
NAME: Bagenal Harvey's Farewell
DESCRIPTION: Harvey bids farewell to his father's estate, his tenants, and "my true United Men who bravely with me fought." If he is executed at Wexford he asks to be buried at his father's tomb. The estate will be returned when Ireland is free.
AUTHOR: unknown
EARLIEST_DATE: 1998 ("The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes)
KEYWORDS: rebellion Ireland execution patriotic nonballad recitation
HISTORICAL_REFERENCES: June 28, 1798 - Bagenal Harvey is executed in Wexford. (source: Moylan)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 90, "Bagenal Harvey's Farewell" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Kelly, the Boy from Killane" (character of Bagenal Harvey)
cf. "Croppies Lie Down (II)" (character of Bagenal Harvey)
NOTES: Moylan: "the song is modelled on the Jacobite song 'Derwentwater's Farewell'" and was sung to that tune. The last verse of "Bagenal Harvey's Farewell" begins "So farewell to Bargy's lofty towers since from you I must part, A stranger now may call you his ..."; the following lines are from "Derwentwater's Farewell": "Farewell to pleasant Dilston Hall, my father's ancient seat, A stranger now must call thee his ..." 
The ballad is recorded on two of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Sean Garvey, "Bagenal Harvey's Farewell" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes) 
Franke Harte and Donal Lunny, "Bagnal Harvey's Farewell" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998))
Harte: Harvey "was a Protestant, a popular landlord and ... a senior member of the United Irishmen in Wexford." When the rebellion collapsed Harvey tried to escape but was betrayed, taken, court-martialled, hanged and his head placed on a spike over the Wexford courthouse. "The song was written shortly after 1798 but was only heard as a recitation until an air was put to it by Tommy Mallon. Since then it has been widely sung." - BS
Bagenal Harvey was by no means the best choice to command the Wexford rebels. Although in genuine sympathy with the United Irishmen (the British had put him in prison for this; see Thomas Pakenham, _The Year of Liberty_, p. 188), he was a Protestant, and a landlord -- and, seemingly, a militarily inept coward. His incompetence was largely responsible for the defeat at New Ross (see the notes to "Kelly, the Boy from Killane"), which led to the gradual but inevitable decline of the Wexford rebellion. Having lost at New Ross, he fled, was captured, an eventually hanged (see the notes to "Croppies Lie Down (II)" and "The Wexford Schooner"). - RBW
File: Moyl090
===
NAME: Baggage Coach Ahead, The
DESCRIPTION: The passengers on the train are awakened by a child's cries. They complain to the child's father. He tells them that the child's mother is dead "in the baggage coach ahead." Upon learning this, the passengers turn helpful
AUTHOR: Gussie L. Davis?
EARLIEST_DATE: 1898
KEYWORDS: family children mother death train
FOUND_IN: US(So)
REFERENCES: (6 citations)
Cohen-LSRail, pp. 304-315, "In the Baggage Coach Ahead" (1 text plus some excerpts, a copy of the sheet music cover, and four texts on related theme, 1 tune)
Randolph 704, "The Baggage Coach Ahead" (1 text)
LPound-ABS, 58, pp. 131-132, "The Baggage Coach Ahead" (1 text)
Spaeth-ReadWeep, pp. 155-156, "In the Baggage Coach Ahead" (fragmentary text, partial tune)
Geller-Famous, pp. 173-178, "In the Baggage Coach Ahead" (1 text, 1 tune)
cf. Gardner/Chickering, p. 477, "The Baggage Coach Ahead" (source notes only)
Roud #3529
RECORDINGS:
Fiddlin' John Carson, "The Baggage Coach Ahead"  (OKeh 7006, 1924)
Vernon Dalhart, "In the Baggage Coach Ahead" (Columbia 15028-D, 1925) (Edison 51557 [as Vernon Dalhart & Co.], 1925) (Victor 29627, 1925) (Supertone 9248, 1928)  (Perfect 12199 [as Bob Massey]; Perfect 12644, 1930) (CYL: Edison [BA] 5011 [as Vernon Dalhart & Co.], n.d.)
Red Evans, "In the Baggage Coach Ahead" (Vocalion 5173, 1927)
George Gaskin, "In the Baggage Coach Ahead" (CYL: Collumbia 4080, c. 1898)
George Hobson [possibly a pseudonym for George Reneau?] "The Baggage Coach Ahead" (Silvertone 3047, 1924)
Andrew Jenkins & Carson Robison, "In the Baggage Coach Ahead" (OKeh 45234, 1928)
Lester McFarlane & Robert Gardner, "The Baggage Coach Ahead"  (Brunswick 200Brunswick 326/Vocalion 5200, 1928; rec. 1927)
George Reneau, "The Baggage Coach Ahead" (Vocalion 14918, 1924)
Kate Smith, "In the Baggage Coach Ahead" (Columbia 2605-D, 1932)
Ernest Thompson, "In The Baggage Coach Ahead"  (Columbia 216-D, 1924; Harmony 5124-H [as Ernest Johnson], c. 1930)
NOTES: Various "real" stories have been claimed as the inspiration of this ballad -- e.g. Randolph reported it to be based on the real-life story of Dr. James B. Watson and family. Watson's daughter Nellie was born in 1867, and the girl's mother died in 1869. Watson was taking his wife's body back to her home in Pennsylvania when the events described took place.
On the other hand, Spaeth notes that Charles K. Harris wrote a song "Is Life Worth Living," with almost the same plot, some years before Davis produced "Baggage Coach." Whether based on an actual incident or not, the idea amply met the nineteenth century demand for tearjerkers.
Cohen's notes on the song include four other dead-body-on-the-train songs, and list other people on whose story the song might have been based. Adding it all up, it seems likely that there was *something* in existence before Davis worked on ths song, though the Davis text does seem to have become canonical. - RBW
File: R704
===
NAME: Bailiff's Daughter of Islington, The [Child 105]
DESCRIPTION: A youth is in love with the Bailiff's daughter. He is apprenticed in London for seven years. At last she disguises herself to see if he is still true. They meet; he asks of his love. She says she is dead; he grieves; she reveals herself
AUTHOR: unknown
EARLIEST_DATE: 1731 (ballad opera, "The Jovial Crew"); before 1697 (broadside, Bodleian Douce Ballads 2(230a))
KEYWORDS: love separation disguise apprentice
FOUND_IN: Britain(England(All),Scotland(Aber,Hebr)) US(Ap,MA,MW,NE,SE,So) Canada(Mar,Newf) Ireland
REFERENCES: (23 citations)
Child 105, "The Bailiff's Daughter of Islington" (1 text)
Bronson 105, "The Bailiff's Daughter of Islington" (35 versions+4 in addenda)
BarryEckstormSmyth pp. 225-227, "The Bailiff's Daughter of Islington" (1 text)
Percy/Wheatley III, pp. 135-137, "The Bailiff's Daughter of Islington" (1 text)
Davis-Ballads 28, "The Bailiff's Daughter of Islington" (1 text plus a fragment, 1 tune) {Bronson's #25}
Belden, pp. 68-69, "The Bailiff's Daughter of Islington" (1 text, 1 tune) {Bronson's #6}
Hudson 18, pp. 114-116, "The Bailiff's Daughter of Islington" (1 text)
Flanders/Olney, pp. 41-42, (no title) (2 excerpts which the editors apparently regard as part of "The Bailiff's Daughter")
Flanders-Ancient3, pp. 67-75, "The Bailiff's Daughter of Islington" (2 texts plus 2 fragments, 4 tunes, two of the tunes being from the same informant and used for the same text, with some of the differences being perhaps transcribers' variants) {A(1)=Bronson's #31b, A(2)=#31a, B=#23}
Linscott, pp. 160-162, "The Bailiff's Daughter of Islington" (1 text, 1 tune) {cf. Bronson's #24, seemingly the source for the tune printed}
Creighton/Senior, pp. 58-62, "The Bailiff's Daugher of Islington" (3 texts, 3 tunes) {Bronson's #19, #20, #18}
Greenleaf/Mansfield 14, "The Bailiff's Daughter of Islington" (1 fragment)
Karpeles-Newfoundland 15, "The Bailiff's Daughter of Islington" (1 text, 1 tune)
Leach, pp. 313-315, "The Bailiff's Daughter of Islington" (2 texts, but the second of these looks more like a George/John Riley text)
Friedman, p. 140, "The Bailiff's Daughter of Islington" (1 text, 1 tune)
OBB 162, "The Bailiff's Daughter of Islington" (1 text)
SharpAp 30, "The Bailiff's Daughter of Islington" (2 texts, 2 tunes){Bronson's #3, #5}
Hodgart, p. 67, "The Bailiff's Daughter of Islington" (1 text)
Chappell/Wooldridge II, p. 159, "The Bailiff's Daughter" (1 tune, partial text) {Bronson's #16}
Darling-NAS, pp. 73-75, "The Bailiff's Daughter of Islington" (1 text)
Silber-FSWB, p. 219, "Bailiff's Daughter Of Islington" (1 text)
BBI, ZN2549, "There was a youth, and a well belov'd youth"
DT 105, BAILDAUG*
Roud #483
RECORDINGS:
Albert Beale, "The Bailiff's Daughter of Islington" (on FSBBAL1)
Tony Wales, "The Bailiff's Daughter of Islington" (on TWales1)
BROADSIDES:
Bodleian, Douce Ballads 2(230a), "True Love Requited" or "The Bayliffs Daughter of Islington", P. Brooksby (London), 1672-1696; also Douce Ballads 2(229a),  Harding B 5(8), Douce Ballads 3(94a), "True Love Requited[!]" or "The Bailiff's Daughter of Islington"; Firth c.26(181), "The Bailiff's Daughter of Islington"; Harding B 11(129), Harding B 11(1196), "[The] Bailiff's Daughter"
SAME_TUNE:
I Have a Good Old Mother at Home (per broadside Bodleian Douce Ballads 2(230a))
ALTERNATE_TITLES:
The Comely Youth
Nancy the Bailiff's Daughter
True Love Requited
NOTES: The 1731 date is for the tune, but the the broadside, ZN2549, was published by Phillip Brooksby sometime between 1683 and 1696. - WBO
File: C105
===
NAME: Bailiff's Daughter, The: see The Bailiff's Daughter of Islington [Child 105] (File: C105)
===
NAME: Bainbridge Tragedy, The
DESCRIPTION: "In Bainbridge town there dwelt of late A worthy youth who met his fate." Urial Church and girlfriend Louisa go strolling in the snow; he throws snow in her face. She playfully throws a scissors at him -- but wounds him; it festers and he dies. All grieve
AUTHOR: unknown
EARLIEST_DATE: 1939 (Garnder/Chickering)
KEYWORDS: injury death love courting warning
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 124, "The Bainbridge Tragedy" (1 text, very probably from print)
ST GC3700 (Partial)
Roud #3700
File: GC3700
===
NAME: Bal Chez Boule, Le (Boule's Ball)
DESCRIPTION: French: Jose wishes to go to Boule's Ball; his mother makes him stay until his chores are done. At last he finishes and hurries off to the dance -- only to fall down and be thrown out. His Lisette proceeds to dance with another swain
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: work dancing courting foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke/Johnston, pp. 108-109, "Le Bal Chez Boule (Boule's Ball)" (1 text, 1 tune)
NOTES: Fowke reports (at about fourth hand) that this is a true story about one Jose Blais. "He went to a ball without being invited, had the misfortune to trip the daughter of the house, and was thrown out bodily by her father." - RBW
File: FJ108
===
NAME: Balaclava (I): see The Famous Light Brigade (File: Doe276)
===
NAME: Balaclava (II): see The Last Fierce Charge [Laws A17] (File: LA17)
===
NAME: Balbriggen Landlord
DESCRIPTION: "Low-bred landlords" raise rents and drive starving tenants. "Viva la for Hampton landlords" who voted against Union and stood with Flood, Burke, Grattan and Parnell. "Viva la" for Parnell "driving foes and Landlord Reptiles from his native land"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Ireland nonballad political landlord
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Harding B 26(659), "A New Song Dedicated to an Upstart Balbriggan Landlord" ("Viva la our landlords' mounted"), unknown, n.d.
CROSS_REFERENCES:
cf. "The Blackbird of Avondale (The Arrest of Parnell)" (subject of Charles Stewart Parnell)
cf. "Viva La, the French They Are Coming" (tune, per broadside Bodleian Harding B 26(659))
NOTES: Broadside Bodleian Harding B 26(659) is the basis for the description.
Zimmermann pp. 61-62: "From a moderate and somewhat ineffective party, the Home Rule movement became a decisive force when Charles Stewart Parnell rose to leadership. In forming a temporary alliance with the revolutionaries and playing an important part in the Land League agitation, he vastly increased his prestige. Old song-themes were revived in his honour." This broadside is one of the examples Zimmermann cites.
Balbriggan is in County Dublin, Ireland.
Henry Grattan (1746-1820) and Henry Flood (1732-1791) were eighteenth century Protestants who formed a Patriot Party calling for Irish independence (source: "1700 - 1800" in _Ireland Information_ at the World Infozone site). Burke may be one of the Fenians General Thomas H Burke or Colonel Richard O'Sullivan Burke [one of whom is assumed to be the Burke of "Burke's Dream"]; Edmund Burke, though a supporter of Irish Catholic liberation, seems unlikely [to me]. [Me too. Extremely. He was too conservative. - RBW] For some information on Parnell (1846-1891) and the Land League see RBW's note to "The Bold Tenant Farmer." - BS
In addition, there is information on Grattan and Flood in the entry on "Ireland's Glory" and "Harry Flood's Election Song."
Since Saint Patrick was credited (falsely) with driving the snakes from Ireland, the reference to "driving... Landlord reptiles" is surely a way of calling then snakes. Which, in context, is largely true; while British policy toward Ireland was usually benighted, it was the landlords -- many of them Irish, we note -- who truly ruined the lot of the Irish peasants. - RBW
File: BrdBaLan
===
NAME: Bald Knobber Song, the
DESCRIPTION: "Adieu to old Kirbyville, I can no longer stay. Hard Times and Bald Knobbers have driven me away." He does not wish to leave family and home, but the vigilante Bald Knobbers drove him away. He describes their various villainies
AUTHOR: Andrew Coggburn?
EARLIEST_DATE: 1932 (Randolph)
KEYWORDS: exile crime outlaw violence
HISTORICAL_REFERENCES: 1884 - Organization of the Bald Knobbers
1889 - Dispersal of the Bald Knobbers
FOUND_IN: US(Ro,So)
REFERENCES: (3 citations)
Randolph 154, "The Bald Knobber Song" (1 text plus a fragment, 1 tune, plus a third brief fragment of another piece)
Randolph/Cohen, pp. 175-177, "The Bald Knobber" (1 text, 1 tune -- Randolph's 154A)
Burt, p. 164-165, "(Bald Knobbers' Song)" (1 text, 1 tune)
Roud #5486
NOTES: The Bald Knobbers were named after the rise of ground on which they met. They organized in 1884 to combat outlaws in Taney County, Missouri, but soon turned outlaw themselves, being regarded by some as the Ozark equivalent of the Klan. More details can be found in Randolph, who describes their leader and some of their victims, including the alleged author of the song. - RBW
File: R154
===
NAME: Bald-Headed End of the Broom, The
DESCRIPTION: The singer warns men against marriage: It's fun at first, but wait till you're stuck "with a wife and (sixteen) half-starved kids." "So keep away from the girls... For when they are wed, they will bang you on the head With the bald-headed end of a broom"
AUTHOR: Harry Bennett?
EARLIEST_DATE: 1877 (Copyright)
KEYWORDS: courting marriage warning wife children family hardtimes poverty
FOUND_IN: US(Ap,SE,So) Australia Ireland
REFERENCES: (10 citations)
Randolph 386, "The Bald-Headed End of the Broom" (2 texts, 1 tune)
Randolph/Cohen, pp. 313-315, "The Bald-Headed End of the Broom" (1 text, 1 tune -- Randolph's 386A)
BrownII 206, "Boys, Keep Away from the Girls" (1 text)
MHenry-Appalachians, p. 34, "Advice to the Boys" (1 fragment, only two stanzas and without a reference to the broom but with lyrics and theme much like this)
Fahey-Eureka, pp. 190-191, "The Bald-Headed End of the Broom" (1 text, 1 tune)
Kennedy 193, "The Bald-Headed End of the Broom" (1 text, 1 tune)
Darling-NAS, pp. 273-274, "Baldheaded End of the Broom" (1 text)
Gilbert, p. 105, (No title) (1 partial text)
Rorrer, p. 94, "Look Before You Leap" (1 text, probably somewhat rewritten and without a chorus)
DT, BALDBROM BALDBRM2*
Roud #2129
RECORDINGS:
Grandpa Jones, "The Bald Headed End of A Broom" (King 717, 1948)
Charlie Poole and the North Carolina Ramblers, "Look Before You Leap" (probably rewritten; Columbia 15601-D, 1930; on CPoole03)
George Reneau, "Bald Headed End of The Broom" (Vocalion 14930, Silvertone 3052, 1924; Vocalion 5052, c. 1926)
Walter "Kid" Smith & Norman Woodlief with Posey Rorer, "The Bald-Headed End of a Broom" (Gennett 6887/Champion 15772 [as by Jim Taylor and Bill Shelby]/Supertone 9454 [as by Jerry Jordan], 1929)
Mike Seeger, "The Baldheaded End of a Broom" (on MSeeger01)\
File: FaE190
===
NAME: Baldheaded End of the Broom, The: see The Bald-Headed End of the Broom (File: FaE190)
===
NAME: Baldy Green
DESCRIPTION: "Come listen to my ditty... 'Tis about one Baldy Green... He was a way up six horse driver On Ben Holiday's stage line." Green is halted by robbers, but rather than yielding the gold, he restarts the team. Green is shot; the money is saved
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: robbery gold horse homicide
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 209-210, "(Baldy Green)" (1 text)
NOTES: Burt claims this incident actually happened, but can offer no supporting evidence, nor even cite the location of the failed robbery. - RBW
File: Burt209
===
NAME: Balinderry: see Ballinderry (File: HHH080)
===
NAME: Ball of Kirriemuir, The
DESCRIPTION: A quatrain ballad, the scores of verses to this song describe the sexual feats at the "gathering of the clans."
AUTHOR: unknown
EARLIEST_DATE: c.1938 (sung by Mikeen McCarthy on Voice14)
KEYWORDS: bawdy sex
FOUND_IN: Australia Britain(England,Scotland) Ireland US New Zealand
REFERENCES: (2 citations)
Cray, pp. 95-101, "The Ball of Kirriemuir" (2 texts, 1 tune)
DT, KERIMUIR*
Roud #4828
RECORDINGS:
Anonymous singers, "The Ball of Kirriemuir" (on Unexp1)
John MacDonald, "The Ball O'Kerriemeer" (on Voice07)
Mikeen McCarthy, "The Ball O'Kerriemeer" (on Voice14)
ALTERNATE_TITLES:
The Ball at Kerrimuir
The Gatherin' of the Clan
NOTES: A few verses are attributed, with little evidence, to Robert Burns. - PJS
File: EM095
===
NAME: Ball of Yarn
DESCRIPTION: The narrator asks a pretty little miss "to wind her ball of yarn." He contracts gonorrhea, then is arrested nine months later, and sentenced to the penitentiary, all for "winding up that little ball of yarn."
AUTHOR: Unknown; parody of "Winding Up Her Little Ball of Yarn" (words: Earl Marble; tune: Polly Holmes)
EARLIEST_DATE: 1890; original song copyrighted 1884
KEYWORDS: bawdy disease pregnancy sex punishment prison parody
FOUND_IN: Britain(England) Ireland US(MA,MW,Ro,So,SW)
REFERENCES: (8 citations)
Cray, pp. 89-95, "Ball of Yarn" (3 texts, 1 tune)
Randolph-Legman I, pp. 97-104, "Little Ball of Yarn" (10 texts, 3 tunes)
Hugill, pp. 533-534, "The Little Ball O' Yarn" (1 text, 1 tune) [AbrEd, pp. 385-386]
Kennedy 180, "The Little Ball of Yarn" (1 text, 1 tune)
MHenry-Appalachians, p. 249, "And She Skipped Across the Green" (1 fragment)
Gilbert, pp. 74-75, "Little Ball of Yarn" (1 partial text)
Silber-FSWB, p. 155, "Little Ball of Yarn" (1 text)
DT, BALLYARN* BALLYAR2* BALLYAR3
Roud #1404
RECORDINGS:
Mary Ann Haynes, "The Little Ball of Yarn" (on Voice20)
New Lost City Ramblers, "Little Ball of Yarn" (on NLCR14)
Southern Melody Boys, "Wind the Little Ball of Yarn" (Bluebird B-7057/Montgomery Ward 7227, 1937) [Note: Not having heard this record, I don't know whether it's the parody or the original. - PJS]
Nora Cleary, "Little Ball of Yarn" (on IRClare01)
Unidentified woman, Mena, Ark., "Little Ball of Yarn" (LC AAFS 3236 A1, 1936)
CROSS_REFERENCES:
cf. "The Fire Ship" (plot) and references there
cf. "Blackbirds and Thrushes (I)"
NOTES: Randolph-Legman has extensive notes on the history of this ballad, tracing it to Burns's "Yellow, Yellow Yorlin." - EC
It should be noted, however, that Cray's tune does not match the versions of "Yellow, Yellow Yorlin," and while there are lyrical similarities, the metrical pattern is also slightly different. - RBW
The song of which this is almost certainly a parody can be found [in the Library of Congress online collection]. - PJS
And said song is pretty bad; it begins
It was many years ago,
With my youthful blood aglow,
I engaged to teach a simple district school.
I reviewed each college book,
And my city home forsook,
Sure that I could make a wise man from a fool.
Mister School Committee Frye thought 'twould do no harm to try,
To see if unruly scholars I could l'arn.
When his daughter I espied, with her knitting by her side,
As she wound up her little ball of yarn.
The singer wooed and won the girl in short order, and now that he is old, he remembers the good old days every time he sees her darning socks! - RBW
A broadside id for a Library of Congress reference is LOCSheet, sm1884 20995, "Winding Up her Little Ball of Yarn," White, Smith & Co. (Boston), 1884 (tune); the sheet music attributes the words to Earl Marble and the music to Miss Polly Holmes.
Mary Ann Haynes version on Voice20 lacks the gonorrhea and arrest touches; the girl has a baby and warns other young girls to "never trust a farmer." - BS
File: EM089
===
NAME: Ballad of Ben Hall, The
DESCRIPTION: Ben Hall was "a peaceful, quiet man until he met Sir Fred." Then, with his homestead burnt and his cattle dead, he turned outlaw. The song describes the reward for Dunn, Gilbert, and Ben, and exhorts the listeners to toast their memories
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson's Old Bush Songs)
KEYWORDS: abuse outlaw police Australia
HISTORICAL_REFERENCES: May 5, 1865 - Ben Hall is ambushed and killed by police near Forbes, Australia
FOUND_IN: Australia
REFERENCES: (3 citations)
Fahey-Eureka, pp. 88-89, "The Ballad of Ben Hall" (1 text, 1 tune)
Manifold-PASB, pp. 55-57, "Ballad of Ben Hall's Gang" (1 text, 2 tunes)
Paterson/Fahey/Seal, pp. 75-79, "Dunn, Gilbert, an Ben Hall" (1 text)
CROSS_REFERENCES:
cf. "Ben Hall" (plot)
cf. "Streets of Forbes" (plot)
cf. "The Death of Ben Hall" (plot)
cf. "My Name is Ben Hall" (subject)
NOTES: On the basis of internal references (see below), this song might be a variant of "Ben Hall." However, the metre is slightly different and there are few similarities of texts beyond the names of the robbers.
Ben Hall is widely regarded as "the noblest of the bushrangers." This song tells the common story that he was hounded from his home by the police, and only then turned to crime. Even as a bushranger, he attacked only the rich and never shed blood.
The truth is not quite so pretty; for background, see the notes to "Ben Hall."
Dunn and Gilbert, like Hall, were associated with Frank Gardiner's outlaw band. John Gilbert brought the full force of the law down on the gang when he shot a policeman, and he died along with Johnny Dunn in 1866. Johnny O'Meally, also mentioned in the song, was a member of the gang killed in 1863. (Gardiner was eventually taken, but was paroled after ten years and allowed to emigrate to the U.S., where he opened a saloon and, it is said, was shot in a poker fight in 1903.)
"Sir Fred" is Sir Frederick Pottinger, a "monumentally inept" officer of the crown who bungled the whole case -- and eventually managed to accidentally kill himself -- again see "Ben Hall" for background.
To tell this song from the other Ben Hall songs, consider this first stanza:
Come all you sons of liberty and listen to my tale;
A story of bushranging days I will to you unveil.
It's of those gallant heroes, God bless them one and all!
So let us sit and sing: 'God save the King, Dunn, Gilbert, and Ben Hall.'"
- RBW
File: FaE088
===
NAME: Ballad of Ben Hall's Gang, The: see The Ballad of Ben Hall (File: FaE088)
===
NAME: Ballad of Billy the Bull Rider
DESCRIPTION: Billy takes his girl to a rodeo where he is riding bulls. He assures her that all will be well -- but he is thrown as his girlfriend watches: "There wasn't a thing she could do But stand there and watch the boy die." She has nightmares of his last ride
AUTHOR: Johnny Baker
EARLIEST_DATE: 1973
KEYWORDS: cowboy injury death dream
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 95, "Ballad of Billy the Bull Rider" (1 text, 1 tune)
File: Ohr095
===
NAME: Ballad of Bunker Hill, The
DESCRIPTION: "The soldiers from town to the foot of the hill... They pottered and dawdled and twaddled until We feared there would be no attack at all." The Colonials inflict heavy casualties on the British, but then "We used up our powder and had to go home!"
AUTHOR: Words: Edward Everett Hale? / Music traditional, set by John Allison
EARLIEST_DATE: 1908
KEYWORDS: battle patriotic
HISTORICAL_REFERENCES: June 17, 1775 - American defeat at the Battle of Bunker Hill. The Americans are pushed from their positions, but inflict heavy casualties on the British, and so feel they have earned some bragging rights.
FOUND_IN: US
REFERENCES: (1 citation)
Botkin-NEFolklr, pp. 541-542, "The Ballad of Bunker Hill" (1 text, 1 tune)
NOTES: Recorded by John and Lucy Allison. There is no reason to believe this song ever circulated in oral tradition. - RBW
File: BNEF541
===
NAME: Ballad of Captain Bob Bartlett, Arctic Explorer
DESCRIPTION: "Bob Bartlett, born in Brigus, of a bold sea-faring breed, Became a master-mariner as destiny decreed; He won renown... When Peary used his services to the Northern Pole." We are told of the hardships in the arctic, and of the sealing ships he captained
AUTHOR: A. C. Wornell?
EARLIEST_DATE: 1951 (Wornell, Rhymes of a Newfoundlander)
KEYWORDS: hunting ship exploration
HISTORICAL_REFERENCES: 1875-1946 - Life of Robert Abram Bartlett
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 85, "Ballad of Captain Bob Bartlett, Arctic Explorer" (1 text)
CROSS_REFERENCES:
cf. "Captain Bob  Bartlett" (subject)
cf. "The Roving Newfoundlanders (I)" (brief mention or Bob Bartlett)
NOTES: Robert Bartlett is now remembered mostly as an arctic explorer (Robert Peary took him on three expeditions, and in 1913 Bartlett, as commander of the _Karluk_, was wrecked, and saved his expedition by a sled trip to Alaska). But it is clear that he was well known in Newfoundland even before that; several of the poems in Ryan/Small, including those written before Peary's explorations, mention him.
It is possible that some of this is by confusion with his uncles Isaac and John Bartlett, who also were sealing captains and connected with the quest for the North Pole.
For more background, see the notes to "Captain Bob Bartlett." - RBW
File: RySm085
===
NAME: Ballad of Captain Kidd, The: see Captain Kidd [Laws K35] (File: LK35)
===
NAME: Ballad of Davy Crockett, The: see Davy Crockett (File: R423)
===
NAME: Ballad of Hardin Town, The
DESCRIPTION: "I'll tell you a tale of Ioway... about a crime in Hardin Town...." Barowner Thorne has betrayed an Indian chief's daughter. The chief seeks him out in the bar, but is shot by an unknown assailant. The chief's son kills a bar patron and goes to prison
AUTHOR: unknown
EARLIEST_DATE: 1951 (Hempel, Annals of Iowa)
KEYWORDS: homicide Indians(Am.) revenge prison punishment
HISTORICAL_REFERENCES: 1847 - The Hardin Tragedy. An old Indian was shot to death, and his son randomly killed Patrick Riley in revenge. There was no ravished daughter, and the old man was not a chief
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 136-137, "(The Ballad of Hardin Town)" (1 text)
File: Burt136
===
NAME: Ballad of Kelly's Gang: see The Ballad of the Kelly Gang (File: FaE108)
===
NAME: Ballad of Major Andre, The: see Major Andre's Capture [Laws A2] (File: LA02)
===
NAME: Ballad of Master M'Grath, A: see Master McGrath (File: Hodg215)
===
NAME: Ballad of Master McGrath, A: see Master McGrath (File: Hodg215)
===
NAME: Ballad of New Orleans (II), The
DESCRIPTION:  In 1814 Andrew Jackson recruits pirate Jean Lafitte to help his American backwoodsmen-soldiers defeat Pakenham's forces at New Orleans. They do, with many humorous tales (including an alligator converted to a cannon), then celebrate with the local girls
AUTHOR: Words: Jimmy Driftwood
EARLIEST_DATE: 1958 (recording by author)
KEYWORDS: army battle war food humorous animal soldier pirate
HISTORICAL_REFERENCES: Jan 8, 1815 - Battle of New Orleans. Although a peace had already been signed, word had not yet reached Louisiana, which Pakenham sought to invade. Andrew Jackson's backwoodsmen easily repulsed Pakenham's force; the British commander was killed in the battle.
FOUND_IN: US
REFERENCES: (1 citation)
DT, BATNEWOR
RECORDINGS:
Pete Seeger, "Battle of New Orleans" (on PeteSeeger25)
CROSS_REFERENCES:
cf. "The Battle of New Orleans" [Laws A7] (subject)
cf. "The Hunters of Kentucky" [Laws A25] " (subject)
cf. "Pakenham" (subject)
cf. "The Eighth of January" (tune)
NOTES: I think this song is in the process of entering American tradition, and as such it deserves a place in the Index. - PJS
For background on this battle, see the traditional song "The Battle of New Orleans" [Laws A7]; also "The Hunters of Kentucky" and other songs celebrating the battle. - RBW
File: DTbatnew
===
NAME: Ballad of New Scotland, A
DESCRIPTION: "Let's away to New Scotland, where Plenty sits queen O'er as happy a country as ever was seen." The abundant riches of Nova Scotia are praised, and the lack of duties and landlords is pointed out
AUTHOR: unknown
EARLIEST_DATE: 1750 ("The Gentleman" magazine)
KEYWORDS: emigration Canada nonballad
HISTORICAL_REFERENCES: 1749 - First large group of English colonists embark for New Scotland. The town they built is Halifax, Nova Scotia
FOUND_IN: 
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 44-45, "A Ballad of New Scotland" (1 text, 1 tune)
NOTES: Although fitted with an excellent melody (the magazine reports it to be "to the tune of 'King John and the Abbot of Canterbury'" -- the Derry Down tune), this song does not seem ever to have been found in tradition.
According to Laura M. McDonald, _The Curse of the Narrows_, p. 4, Halifax was founded  in 1749 by 2576 (Protestant) settlers. It was intended primarily as a fortress against the French. It was a hard place to settle -- a basin in the midst of relatively infertile hills, with trees growing all the way down to the water -- but with a fine, sheltered, ice-free harbour that made it a natural seaport. - RBW
File: FMB044
===
NAME: Ballad of Sealing Ships and Sealers
DESCRIPTION: "Come all ye hearty Newfoundlanders, join your voices now with me: Of our sealing ships and sealers let us sing." The speaker describes how the fleet leaves port, hunts the seals, survives problems; he urges listeners to pray for crew and captains
AUTHOR: A. C. Wornell ?
EARLIEST_DATE: 1954 (Wornell, Rhymes of a Newfoundlander)
KEYWORDS: hunting ship nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 147-148, "Ballad of Sealing Ships and Sealers" (1 text)
File: RySm147
===
NAME: Ballad of Springhill: see Springhill Mine Disaster (1958) (File: FSWB124A)
===
NAME: Ballad of the Braswell Boys
DESCRIPTION: The Braswell Boys have been sentenced to death for murder. They attempt to escape from prison, but are captured. At the scaffold, among prayers and sad relatives, they confess to the crime. They are executed and buried
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: homicide trial execution burial
HISTORICAL_REFERENCES: Nov 29, 1875 - Murder of Russell and John Allison of Putnam County, TN. They were allegedly killed by Joe and George "Teek" Braswell (and two others) as the Braswells attempted a robbery
Mar 27, 1878 - Hanging of the Braswells. Joe confessed to his crimes, but Teek maintained his innocence to the end
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
McNeil-SFB1, pp. 48-52, "The Ballad of the Braswell Boys" (1 text, 1 tune)
Burt, pp. 204-206, "(The Braswell Boys)" (1 excerpted text, 1 tune)
Roud #4772
CROSS_REFERENCES:
cf. "Life's Railway to Heaven (Life is Like a Mountain Railroad)" (tune)
File: MN1048
===
NAME: Ballad of the Drover (Death of Harry Dale)
DESCRIPTION: Harry Dale, the drover, is heading home after many months away. He comes to a river in flood. He tries to cross, but is swept from his horse. His dog leaps in to save him, but is also washed away. Now "in the lonely homestead the girl shall wait in vain"
AUTHOR: Henry Lawson
EARLIEST_DATE: 1968
KEYWORDS: death river drowning dog horse Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 191-192, 206, 269-270, "Ballad of the Drover" (3 texts, 3 tunes)
CROSS_REFERENCES:
cf. "Martha Dexter" (theme)
cf. "The Mother's Malison, or Clyde's Water" [Child 216] (theme)
NOTES: This piece has often been included in school readers in Australia, and has therefore achieved popularity perhaps beyond what its merits warrant. - RBW
File: MA191
===
NAME: Ballad of the Erie Canal: see A Trip on the Erie (Haul in Your Bowline) (File: Wa035)
===
NAME: Ballad of the Frank Slide
DESCRIPTION: "On a grim and tragic morning In nineteen hundred three A little babe lay weeping... There in the shiv'ring morning." A rockslide buries the town; a few miners dig their way out of the mine to find the little girl -- and everything else ruined and dead
AUTHOR: Robert Gard
EARLIEST_DATE: 1949 (copyright)
KEYWORDS: disaster mining death
HISTORICAL_REFERENCES: April 29, 1903 - A rockslide on Turtle Mountain falls on Crow's Nest Pass. Despite the legend that only one little girl survived the slide, in fact over two hundred of the town's three hundred inhabitants came out alive, and the town was only partly ruined
FOUND_IN: 
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 192-194, "Ballad of the Frank Slide" (1 text, 1 tune)
NOTES: Although this piece apparently fits in well with the folklore of the Frank Slide, there is no evidence that it has ever gone into oral tradition. - RBW
File: FMB192
===
NAME: Ballad of the Kelly Gang
DESCRIPTION: The singer tells of the large rewards offered for the Kelly Gang, but claims "if the sum were doubled, sure, the Kelly boys would live." The song goes on to describe in great detail the 1878 robbery at Euroa
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: outlaw Australia robbery fight escape
HISTORICAL_REFERENCES: 1855 - Birth of Ned Kelly
1880 - Execution of Kelly. His last words are reported to have been "Such is life."
FOUND_IN: Australia
REFERENCES: (4 citations)
Fahey-Eureka, pp. 108-111, "The Ballad of the Kelly Gang" (1 text, 1 tune)
Manifold-PASB, pp. 73-75, "The Ballad of Kelly's Gang" (1 text, in two parts; 1 tune)
Paterson/Fahey/Seal, pp. 87-91, The Ballad of the Kelly Gag"" (1 text)
DT, KELLBYRN
CROSS_REFERENCES:
cf. "The Wearing of the Green (I)" (tune)
cf. "The Kelly Gang" (subject)
cf. "Ye Sons of Australia" (subject)
cf. "Kelly Song (Farewell Dan and Edward Kelly)" (subject)
cf. "Kelly Was Their Captain" (subject)
cf. "My Name is Edward Kelly" (subject)
cf. "Stringybark Creek" (subject)
cf. "The Kelly Gang Were Strong" (subject)
ALTERNATE_TITLES:
Kellys, Byrne, and Hart
The Kelly Gang
NOTES: Lloyd states that the song must have been made up between 1878 (when the robbery took place) and 1880 (when Kelly was hanged).  Lloyd's tune for this song is not "The Wearing of the Green," but the Irish tune "Mary from Murroo", sometimes known in Australia as "The Cherry Tree." - PJS
The association with "The Wearing of the Green" is very early, though, as several texts of the song begin with a verse such as
Sure Paddy dear and did you hear the news that's going round?
On the head of bold Ned Kelly they've placed five thousand pound'
For Dan, Steve Hart, and Joey Byrne a thousand each they'll give,
But if the sum was double sure the Kelly boys would live. - RBW
File: FaE108
===
NAME: Ballad of the Tea Party
DESCRIPTION: "Tea ships near to Boston lying, On the wharf a numerous crew, Sons of freedom, never dying, Then appeared in view." (The Sons of Freedom) attack the British vessel and dump the "cursed weed of China's coast."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: rebellion ship 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: US
REFERENCES: (2 citations)
Botkin-NEFolklr, pp. 538-539, "Ballad of the Tea Party" (1 text, 1 tune)
DT, TEAPART
File: BNEF538
===
NAME: Ballad of the Virgin Sturgeon, The: see Caviar Comes from the Virgin Sturgeon (File: EM240)
===
NAME: Ballad of White-Water Men, A
DESCRIPTION: Singer tells of Mike Corrigan, the best white-water man. Among his deeds: breaking up logjams at Sour-na-Hunk and Ambejejus Falls, flying like a bird, landing on his pike-pole and whizzing around so fast that his hair scorched the air and fried the wind
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: lumbering work logger talltale river
FOUND_IN: US(NE,MW)
REFERENCES: (1 citation)
Beck 26, "A Ballad of White-Water Men" (1 text)
Roud #8858
File: Be026
===
NAME: Ballad of William Bloat, The
DESCRIPTION: William Bloat's wife "got his goat" so he cut her throat. "To finish the fun so well begun He resolved himself to kill" He hangs himself with a sheet. He died but she survives: "for the razor blade was German made But the sheet was Belfast linen"
AUTHOR: Raymond Calvert (1830-1883) (source: Hammond-Belfast)
EARLIEST_DATE: 1978 (Hammond-Belfast)
KEYWORDS: marriage homicide suicide humorous wife shrewishness
FOUND_IN: Ireland
REFERENCES: (2 citations)
Hammond-Belfast, p. 59, "The Ballad of William Bloat" (1 text, 1 tune)
DT, WMBLOAT*
NOTES: In an interesting twist, the Clancy Brothers made the (ineffective) razor English rather than German, and the (effective) sheet an Irish product. I am somewhat surprised to find such hostility to Germany from an author who died in 1883; at that time, English relations with Germany were relatively cordial. It was only after Wilhelm II started messing around that they turned bad.
The one thing that occurs to me is that the English royal family itself was German; George I (reigned 1714-1727) and George II (reigned 1727-1760) both spoke German as their primary language, and George III (1760-1820) was the first of the Hannoverian kings to speak English without a German accent; even Victoria (1837-1901) spoke German as her native language. So a slam on Germany, if made before about 1850, could be a dig at the Royal Family.
I was reminded a bit of this controversy in reading a story about George III, found on page 17 of James Dugan's _The Great Mutiny_ (G. P. Putnam's Sons, 1965): "Although he had never visited Gerany, as the Elector of Hannover-Braunschweig George believed that everything German was superior to everything British, including discipline and underwear. He wore only German linen, unaware that one suit had been forged in Dublin as a secret joke on a monarch otherwise difficult to link to anything humorous." - RBW
File: Hamm059
===
NAME: Ballad to a Traditional Refrain
DESCRIPTION: "O the bricks they will bleed and the rain it will weep, And the damp Lagan fog lull the city to sleep; It's to hell with the future and live on in the past: May the Lord in His mercy be kind to Belfast" and other political statements.
AUTHOR: Maurice James Craig (b.1919) (source: Hammond-Belfast)
EARLIEST_DATE: 1978 (Hammond-Belfast)
KEYWORDS: nonballad political
FOUND_IN: 
REFERENCES: (1 citation)
Hammond-Belfast, p. 63, "Ballad to a Traditional Refrain" (1 text, 1 tune)
ALTERNATE_TITLES:
Be Kind to Belfast
File: Hamm063
===
NAME: Ballan Doune Braes
DESCRIPTION: "The laird o' the town" tells Betsy "that a father, a brother, and a husband he'd be" But "short was his courtship ... When he cam' to his own he wad own me nae mair" People mock her. Left forlorn with children she returns to die on Ballan Doune braes
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Harding B 11(677)
KEYWORDS: seduction promise home betrayal childbirth death
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (0 citations)
Roud #6819
BROADSIDES:
Bodleian, Harding B 11(677), "Sweet Barren Doun Braes" ("As I walked out one morning, one morning in spring"), J. Pitts (London), 1819-1844; also Harding B 26(24), "Ballandine Braes" ; Firth b.28(31a), "Ballandine Breas"; Harding B 19(30), 2806 c.15(173), "Ballintown Brae"; 2806 c.14(89) , "Sweet Ballenden Braes"
Murray, Mu23-y1:049, "Ballandine Braes!" ("Over yon moorlands and down by yon glen"), James Lindsay Jr. (Glasgow), 19C 
CROSS_REFERENCES:
cf. "Bessie of Ballington Brae" [Laws P28] (sequel)
NOTES: Broadside Harding B 11(677) is an abbreviated version of the story but shares its chorus ("False was his promise guile was his way, He decoyed me far far from sweet Barren Down Brae") with the longer versions.  By the time it was collected in GreigDuncan6 those lines were only in the first verse. The GreigDuncan6 first line is the line from the broadsides listed other than Harding B 11(677): "Over yon moorlands and down by yon glen." - BS 
File: BdBaDoBr
===
NAME: Ballentown Brae: see Bessie of Ballington Brae [Laws P28] (File: LP28)
===
NAME: Ballet of de Boll Weevil, De: see The Boll Weevil [Laws I17] (File: LI17)
===
NAME: Ballinderry
DESCRIPTION: The singer recalls the joys of living in (Balinderry) and spending time with "(Phelim), my (diamond/demon)." But now she is sad and lonely, as Phelim died (at sea)
AUTHOR: unknown
EARLIEST_DATE: 1840 (Edward Bunting in "Ancient Music of Ireland," according to Sean O Boyle, notes to David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland)
KEYWORDS: love separation death burial
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H80, pp. 386-387, "Phelimy Phil" (1 text, 1 tune)
Tunney-SongsThunder, pp. 78-79, "Ballinderry" (1 text)
Hayward-Ulster, pp. l5-16, "Oh! 'Tis Pretty to be in Ballinderry" (1 text)
DT, BALNDERY*
Roud #2983
RECORDINGS:
Robert Cinnamond, "Tis Pretty to be in Ballinderry" (on IRRCinnamond03)
The Clancy Brothers and Tommy Makem, "Ballinderry" (on IRClancyMakem02)
NOTES: Tunney-SongsThunder: "This form of song or lament is perhaps the best example of keening, or caoineadh, present in the English language. That it is derived from the Irish, there is not the slightest doubt. A most highly developed and sophisticated form of crying after the dead existed in Gaelic-speaking Ireland for centuries and had a degree of professionalism about it."
Also collected and sung by David Hammond, "'Tis Pretty To Be in Ballinderry" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959)). According to Sean O Boyle's notes to that album, "Ballinderry is a beautiful district on the eastern shore of Lough Neagh, in which lies the lovely little Ram's Island." O Boyle quotes Bunting about the song: "it has been a favourite performance with the peasantry of the counties of Down Antrim, the words being sung by one person, while the rest of the party chant the CRONAN (ochone!) in consanance." - BS
File: HHH080
===
NAME: Ballinderry Marriage, The
DESCRIPTION: The singer recalls the marriage. After the priest arrives, "with long rakes and pitchforks they welcomed the bride." The feast is fine. The bride is "small round the waist as a two year old mare." They seek the bride, who has "trotted off"
AUTHOR: unknown
EARLIEST_DATE: 1939 (Sam Henry collection)
KEYWORDS: wedding humorous abandonment separation party food
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H805, p. 73-74, "The Ballinderry Marriage" (1 text, 1 tune)
Roud #9049
File: HHH805
===
NAME: Ballindown Braes: see Bessie of Ballington Brae [Laws P28] (File: LP28)
===
NAME: Ballintown Brae: see Bessie of Ballington Brae [Laws P28] (File: LP28)
===
NAME: Balls to Mister Banglestein
DESCRIPTION: "Balls to Mister Banglestein, Banglestein, Banglestein, Balls to Mister Banglestein, Dirty old man. For he keeps us waiting While he's masturbating, So balls to Mister Banglestein, Dirty old man."
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: bawdy nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Cray, pp. 338-339, "Balls to Mister Banglestein" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Ach, Du Lieber, Augustin" (tune)
File: EM338
===
NAME: Bally James Duff: see Ballyjamesduff (File: RcBalJDu)
===
NAME: Ballyburbling
DESCRIPTION: The singer escapes the world to head for Ballymackleduff. The friends of his youth meet him. They have a wonderful time at places with improbable names. The factories are all shut, the bars open, with kissing and dancing. "Why did I stay away so long?"
AUTHOR: Paul Jennings (source: OLochlainn-More)
EARLIEST_DATE: 1959 (first published in _The Observer,_ according to OLochlainn-More)
KEYWORDS: dancing drink music Ireland humorous reunion
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 46A, "Ballyburbling" (1 text, 1 tune)
NOTES: OLochlainn-More 46A is headed by the note "Ballymackleduff, Derryfubble, Benburb.--Address of subscriber in N. Ireland Telephone Directory." An explanatory note at the end is "A skit on Ulster place names ...." - BS
File: OLCM046A
===
NAME: Ballycastle, O!
DESCRIPTION: The singer recalls Ballycastle, noting, "That place is ever dear to me, no matter when or where I be." He says that no soldier has found a place more hospitable, no land knows plants so fair. Those from far away sigh because they cannot find its like
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H28b, pp. 158-159, "Ballycastle, O!" (1 text with many variant readings, 1 tune)
Roud #13455
File: HHH028b
===
NAME: Ballyeamon Cradle Song
DESCRIPTION: The mother bids her child, "Rest tired eyes a while, sweet is thy baby smile, Angels are guarding and watch o'er thee." Birds sing, fairies dance, "for very love of thee." Mother loves the child, too, and bids him sleep and dream
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: mother lullaby nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H596, pp. 6-7, "Ballyeamon Cradle Song" (1 text, 1 tune)
File: HHH596
===
NAME: Ballyjamesduff
DESCRIPTION: "The garden of Eden has vanished, they say, But I know the lie of it still": Its image survives in Ballyjamesduff. Paddy Reilly tells that he was a quiet baby because he knew he was born there. Now grown, every breeze tells him to come back
AUTHOR: unknown
EARLIEST_DATE: 1953 (recording, Margaret Barry)
KEYWORDS: home exile baby
FOUND_IN: Ireland
REFERENCES: (0 citations)
RECORDINGS:
Margaret Barry, "Ballyjamesduff" (on IRMBarry-Fairs)
ALTERNATE_TITLES:
Bally James Duff
File: RcBalJDu
===
NAME: Ballymonan Brae
DESCRIPTION: The singer bids farewell to Ballymonan, land of green leaves and pretty girls. He recalls the pleasant nights there. He gives his name as John by counting through the alphabet. He bids success to Ballymonan
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: home farewell wordplay nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H643, p. 159, "Ballymonan Brae" (1 text, 1 tune)
Roud #13456
File: HHH643
===
NAME: Ballynure Ballad, The
DESCRIPTION: On the road to Ballynure the singer "heard a wee lad behind a wee ditch That to his wee lass was talking" He asks her to give him a kiss. She says "kisses are not for giving away But they are for the taking." Remember that when you go to kiss a girl
AUTHOR: unknown
EARLIEST_DATE: 1925 (Hayward-Ulster)
KEYWORDS: courting humorous
FOUND_IN: Ireland
REFERENCES: (2 citations)
Hayward-Ulster, pp. 43-44, "The Ballynure Ballad" (1 text)
DT, BALLYNUR*
Roud #6549
File: HayU043
===
NAME: Ballyshannon Lane, The
DESCRIPTION: The singer stops at Ballyshannon Lane and thinks of "scenes of ninety-eight," recalling Scullabogue on the one hand and the death of rebels on the other. Many are named. The singer says "in Ireland's need I am here to bleed in Ballyshannon Lane" 
AUTHOR: Michael O'Brien (source: Moylan)
EARLIEST_DATE: 1998 (Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998))
KEYWORDS: rebellion Ireland death patriotic
HISTORICAL_REFERENCES: 1798 - Irish rebellion against British rule
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 75, "The Ballyshannon Lane" (1 text, 1 tune)
NOTES: Moylan: "This somewhat confused song seems to relate a series of outrages by government troops against the narrator's neighbors and relations." 
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, "Ballyshannon Lane" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS
It sounds as if the idea is to measure Scullabogue against the atrocities committed by the British in 1798. This is suprisingly hard to do, given the nature of feelings about the matter (see the notes to "Father Murphy (II) (The Wexford Men of '98)"). Nonetheless, I'd have to say that Scullabogue, in which a handful of Irish killed a hundred or more loyalists in cold blood, was the single worst atrocity of 1798, and it would take quite a few acts againstt the Irish to balance this particular act of non-civilization.
File: Moyl075
===
NAME: Balm in Gilead
DESCRIPTION: "There is a balm in Gilead to make the wounded whole; There is a balm... to heal the sin-sick soul." "Sometimes I feel discouraged... But then the Holy Spirit Revives my soul again." "If you can preach like Peter... Go and tell your neighbour...."
AUTHOR: unknown
EARLIEST_DATE: 1909 (recording, Fisk University Jubilee Quartet)
KEYWORDS: religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (4 citations)
MWheeler, pp. 68-70, "I Come Up Out uv Egypt" (1 text, 1 tune, with this verse and several others not found in the common versions of this song; the result is sort of a bluesy spiritual)
Fuson, pp. 199-200, "The Little Shepherd" (1 text, with this chorus and verses of the form "I am a little (shepherd/scholar/watchman/etc.), I (feed my master's sheep), Over the hills and mountains I daily do them keep")
Silber-FSWB, p. 360, "Balm in Gilead" (1 text)
DT, BALMGIL*
Roud #11967
RECORDINGS:
Harry C. Browne, "Balm of Gilead" (Columbia A-2179, 1917)
Campbell College Quartet, "There Is a Balm in Gilead" (OKeh 8900, 1931; rec. 1930)
Fisk University Jubilee Quartet, "There is a Balm in Gilead" (Victor 16487, 1910; rec. 1909)
Beverly Green, "Balm in Gilead" (on BlackAmRel1)
The King's Heralds, "Balm in Gilead" (Chapel CR 23, n.d.)\
Utica Institute Jubilee Singers, "Balm in Gilead" (Victor 21842, 1929)
NOTES: The Book of Jeremiah refers twice to Gilead's balm (Jer. 8:22, 46:11), but there is no real discussion of what it is used for nor why it is unusually effective (if it is; it is perhaps worth noting that, by Jeremiah's time, Gilead had been in foreign hands for about a century, and had been in Israelite rather than Judean hands for two centuries before that). - RBW
File: FSWB360A
===
NAME: Baltimore (Up She Goes)
DESCRIPTION: Shanty. "He kissed her on the cheek and the crew began to roar, Oh, oh, up she goes, we're bound for Baltimore." Verses continue with kissing on the neck, arms, legs, and other parts which the printed sources politely refrain from mentioning.
AUTHOR: unknown
EARLIEST_DATE: 1938 (Colcord)
KEYWORDS: shanty bawdy nonballad sailor
FOUND_IN: Germany US Britain(England(Lond))
REFERENCES: (2 citations)
Colcord, p. 92, "Up She Goes" (1 text, 1 tune)
Hugill, p. 418, "Baltimore" (1 text, 1 tune) [AbEd, p. 319]
Roud #4690
RECORDINGS:
John Doughty, "Baltimore" (on Voice12)
CROSS_REFERENCES:
cf. "A-Roving" (theme)
cf. "Tickly My Toe" (theme)
NOTES: Colcord takes her version from Baltser's _Knurrhahn_, a book compiled for the German merchant marines. Hugill says that he never heard this on any British ships, but that it was very popular on German ones, and suggests that supports his theory that German and Scandinavian seamen adapted British and American shore-songs and turned them into shanties. - SL
Stan Hugill, _Shanties from the Seven Seas_ (2003), p. 319: "It was a shanty very popular in German sailing ships, usually sung at the capstan.... It was never heard in British ships, and it helps to strengthen my theory that German and Scandinavian seamen adapted British and American shore-songs and turned them into shanties long after the art of 'inventing' shanties had died out aboard British and American ships... Of course many of the final verses have had to be censored!" - BS
File: Hugi418
===
NAME: Baltimore Fire, The
DESCRIPTION: "It was on a silver falls by a narrow That I heard a cry I ever will remember... Fire, fire, I heard the cry From every breeze that passes by... While in ruin the fire was laying Fair Baltimore, the beautiful city." About the terrible fire in Baltimore
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Charlie Poole & the North Carolina Ramblers; first printed in Maury's Songster of about 1905)
KEYWORDS: disaster fire
HISTORICAL_REFERENCES: Feb. 7-8, 1904 - Fire wipes out practically the entire downtown section of Baltimore.
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Cohen/Seeger/Wood, p. 97, "Baltimore Fire" (1 text, 1 tune)
Rorrer, p. 87, "Baltimore Fire" (1 text)
DT, BALTFIRE*
Roud #12392
RECORDINGS:
New Lost City Ramblers, "Baltimore Fire" (on NLCR03)
Charlie Poole and the North Carolina Ramblers, "Baltimore Fire" (Columbia 15509-D, 1930; rec. 1929; on CPoole02)
File: CSW097
===
NAME: Bamboo Briars, The: see The Bramble Briar (The Merchant's Daughter; In Bruton Town) [Laws M32] (File: LM32)
===
NAME: Banbury Cross
DESCRIPTION: "Ride a cock horse to Banbury cross To see a fine lady upon a white horse. Rings on her fingers and bells on her toes, And she shall have music wherever she goes."
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammar Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: nonballad music horse
FOUND_IN: US(SE) Britain(England)
REFERENCES: (3 citations)
BrownIII 140, "Banbury Cross" (1 text, a composite of "Banbury Cross," "Ring Around the Rosie," and an item about learning to ride (?))
Opie-Oxford2 29, "Ride a cock-horse to Banbury Cross" (2 texts)
Baring-Gould-MotherGoose #619, p. 247, "(Ride a cock-horse to Banbury cross)"; cf. #617, "(Ride a Cock Horse)"; #618, "(Ride a cock-horse)"
NOTES: This little item has prompted the usual wild speculation: That the lady is Lady Godiva, or Elizabeth I, or one Celia Fiennes (fl. 1697). - RBW
File: Br3140
===
NAME: Band o' Shearers, The
DESCRIPTION: As shearing season approaches, the lad asks, "My bonnie lassie, will ye gang, And shear wi' me the whole day long, And love will cheer us as we gang And join the band of shearers." The two find they are happy together, and decide to wed
AUTHOR: Robert Hogg ?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: love courting work sheep
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Ford-Vagabond, pp. 196-197, "The Band o' Shearers" (1 text, 1 tune)
Ord, pp. 268-269, "The Band o' Shearers" (1 text)
DT, BANSHEAR*
Roud #1524
BROADSIDES:
NLScotland, RB.m.143(126), "The Band o' Shearers," Poet's Box (Dundee), n.d.
CROSS_REFERENCES:
cf. "The Gallant Shearers" (chorus)
NOTES: This song and "The Gallant Shearers" share a chorus and a theme, and are undoubtedly connected, though it's not clear which is older. But the feel of the verses is different enough that I follow Ord in splitting them, as does Roud. - RBW
File: FVS196
===
NAME: Band Played On, The
DESCRIPTION: Known by the chorus, "Casey would waltz with a strawberry blonde, and the band played on...." The verses concern the social club founded by Matt Casey, and the kissing, courting, and dancing which took place there
AUTHOR: Words: John F. Palmer / Music: Charles B. Ward
EARLIEST_DATE: 1895 (New York World)
KEYWORDS: courting dancing music
FOUND_IN: 
REFERENCES: (6 citations)
Spaeth-ReadWeep, pp. 163-164, "The Band Played On" (1 text, 1 tune)
Geller-Famous, pp. 75-80, "The Band Played On" (1 text, 1 tune)
Gilbert, p. 254, "The Band Played On" (1 partial text)
Silber-FSWB, p. 246, "The Band Played On" (1 text)
Fuld-WFM, p. 123, "The Band Played On"
DT, PLAYEDON*
Roud #9615
RECORDINGS:
Dan Quinn, "The Band Played On" (Berliner 0961, 1898)
NOTES: According to Gilbert, Palmer could not sell this song to anyone. One day, Ward heard him humming the tune, took it and touched it up, and thus was a hit born.
James J. Geller's story is more detailed. Palmer's sister Pauline had ordered breakfast, but her servant did not respond quickly; there was a streat band performing. Pauline tried to hurry the servant, but Palmer said, "Let the band play on." Pauline told him that that would be a good song title.
Palmer eventually evolved the story of Matt Casey, his social club, and his wooing of his strawberry blonde wife. The rest is as in Gilbert.
An 1878 song by Harrigan and Braham was called "The Casey Social Club"; I don't know if it provided a degree of inspiration. - RBW
File: SRW163
===
NAME: Bandit Cole Younger: see Cole Younger [Laws E3] (File: LE03)
===
NAME: Bandyrowe: see Kemo Kimo (File: R282)
===
NAME: Bang Away, Lulu (I)
DESCRIPTION: A quatrain ballad that celebrates Lulu's sexual exploits, her peccadillos, and the singer's affection for the lady in question.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous scatological sex
FOUND_IN: Canada Britain(England) US(Ap,NW,So,SW)
REFERENCES: (3 citations)
Cray, pp. 173-180, "Bang Away, Lulu I" (6 texts, 1 tune)
Randolph-Legman I, pp. 351-355, "Bang Away, Lulu" (7 texts, 1 tune, but the "F" text is "Bang Away, Lulu (II)")
Logsdon 25, pp. 154-159, "My Lula Gal" (1 text, 1 tune, of this form though it lacks the "Bang Lulu" chorus)
Roud #8349
CROSS_REFERENCES:
cf. "Bang Away, Lulu II, III"
File: EM173
===
NAME: Bang Away, Lulu (II)
DESCRIPTION: A teasing-song version of "Bang Away, Lulu I," i.e.: "Lulu's got a rooster. / Lulu's got a duck. / She put them in the bathtub / To see if they would --." Chorus: "Bang, bang Lulu," etc. (Note that the last line of each verse is left unfinished)
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous wordplay
FOUND_IN: US(So)
REFERENCES: (2 citations)
Cray, pp. 180-182, "Bang Away, Lulu II" (1 text, 1 tune)
Randolph-Legman I, p. 353, "Bang Away, Lulu" (the "F" text is this piece; the others are "Bang Away, Lulu (I)")
Roud #4835
RECORDINGS:
Bang Boys [pseud. for Roy Acuff] "When Lulu's Gone" (Vocalion 03372, c. 1937)
New Lost City Ramblers, "Bang, Bang Lulu" (on NLCREP3)
CROSS_REFERENCES:
cf. "Bang Away, Lulu I, III"
NOTES: I am guessing, on circumstantial evidence, that the Bang Boys recording falls under this entry rather than the other "Bang Away, Lulu" songs -- but you should look there, too. - PJS
Robert A. Heinlein, in _To Sail Beyond the Sunset_ (p. 144 of the Ace paperback edition) claims that this song was in existence some time before 1918. This seems likely enough, but of course (it being a work of fiction) Heinlein does not document it. And the book was written some seventy years after that, and Heinlein was only 11 years old in 1918. Sure, he might have learned it by then -- but I wouldn't bet on it. I mention it because it *might* be an earliest date, but point out how tenuous that dating is. - RBW
File: EM180
===
NAME: Bang Away, Lulu (III)
DESCRIPTION: This is a compromise between Lulu I and II. Typical stanza: "Lulu gave a party, Lulu gave a tea, Then she left the table To see her chicken peck."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous wordplay
FOUND_IN: US(SW)
REFERENCES: (2 citations)
Cray, p. 182, "Bang Away, Lulu III" (1 text)
DT, BANGLULU? BANGLU2?
Roud #4835
CROSS_REFERENCES:
cf. "Bang Away, Lulu I, II"
File: EM182
===
NAME: Bangidero
DESCRIPTION: Shanty. "To Chile's coast we are bound away, To my hero Bangidero. To Chile's coast we are bound away, We'll drink and dance fandango..." Verses sing the praises of Spanish girls and various sexual exploits.
AUTHOR: unknown
EARLIEST_DATE: 1917 (_The Bellman_)
KEYWORDS: shanty bawdy
FOUND_IN: Britain US
REFERENCES: (2 citations)
Colcord, p. 98, "Bangidero" (1 text, 1 tune)
Hugill, pp. 53-54, "The Gals O' Chile" (1 text, 1 tune) [AbrEd, pp. 49-50]
ST Hug053 (Partial)
Roud #3222
ALTERNATE_TITLES:
Timme Heave-o, Hang Her, Hilo
To My Hero Bangidero
The Girls of Chile
NOTES: Colcord got this from Captain Robinson's collection, "Songs of the Chantey Man," published during July and August of 1917 as a series in the periodical _The Bellman._ (Minneapolis, MN, 1906-1919). Robinson stated that the refrain given was never actually sung, but substituted for the original which was too vulgar for publication. Hugill also states that he changed both the verses and refrains to make the song printable. In addition, he makes a comment on this and other so-called "rare" shanties, that they were not so much rare in use as they were difficult to clean up and camouflage for publication and so when an opportunity came to write things down, they were left out. - SL
File: Hug053
===
NAME: Bangor and No Surrender
DESCRIPTION: "Let craven hearts to tyranny Their coward homage render; The watchword of the brave and free Will still be "No Surrender!" "We kept our commemoration In honour of our Hero great Who freed the British nation" "We shall up and we shall on"
AUTHOR: William Johnston (source: OrangeLark)
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: Ireland nonballad patriotic political
HISTORICAL_REFERENCES: Jul 12, 1867 - William Johnston leads an Orange March in Bangor and is subsequently jailed for breaking the Party Processions Act (source: OrangeLark)
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 17, "Bangor and No Surrender" (1 text, 1 tune)
NOTES: "This song was written by William Johnston of Ballykilbeg while a prisoner in Downpatrick prison. He was serving a two months sentence for breaking the Party Processions Act as he had led Orangemen from Newtownards to Bangor on the Twelfth [of July] 1867."
"On the morning of 12th July 1867, Johnston headed a procession from Newtownards which consisted of over 10,000 Orangemen. As the parade reached Bangor it increased to such an extent that it is estimated that between 30,000 and 40,000 people took part in the final march through the town." Johnston was among those sentenced to serve one month the following February. He was released early because of poor health. (source: "Johnston, Grand Lodge and the Party Processions Controversy" at Newtownards District [of the Grand Orange Lodge of Ireland] site).
"The Hero" of the song is William III and the commemoration is the Boyne celebration on July 12. It would not be clear without the OrangeLark comment. - BS
For the background of the phrase "No Surrender," which arose during the siege of (London)derry, see the notes to "No Surrender (I)" and "The Shutting of the Gates of Derry."
The Party Processions Act is just what it sounds like: An attempt by the British government to control the marches and demonstrations which so often ended in violence. According to the _Oxford Companion to Irish History_, it was passed in 1850 in the aftermath of the Dolly's Brae conflict (for which see "Dolly's Brae (I)"). The _Oxford Companion_ lists William Johnston (1829-1902), the author of this piece, as the measure's chief opponent. The Act was repealed in 1872. On the whole, it probably did help reduce violence -- but it also deepened the underlying resentment of both sides.
For background on William Johnston, who was once imprisoned for violating the Party Processions Act, see the notes to "William Johnston of Ballykilbeg." - RBW
File: OrLa017
===
NAME: Bangum and the Bo': see Sir Lionel [Child 18] (File: C018)
===
NAME: Bangum Rid by the Riverside: see Sir Lionel [Child 18] (File: C018)
===
NAME: Banished Defender, The
DESCRIPTION: "For the sake of my religion I was forced to leave my native home." "They swore I was a traitor and a leader of the Papist band, For which I'm in cold irons, a convict in Van Diemen's Land ... as a head leader of Father Murphy's Shelmaliers"
AUTHOR: "Most probably by James Garland [d. c.1842]" (according to Zimmermann)
EARLIEST_DATE: c.1800 (Zimmermann)
KEYWORDS: rebellion transportation Ireland religious
FOUND_IN: Ireland
REFERENCES: (3 citations)
Zimmermann 24, "The Banished Defender" (1 text, 1 tune)
Moylan 70, "The Banished Defender" (1 text, 1 tune)
Healy-OISBv2, pp. 56-58, "The Brave Defenders" (1 text)
Roud #13469
BROADSIDES:
Bodleian, 2806 b.10(10), "The Banish'd Defender," H. Such (London), 1863-1885; also Harding B 15(5b), "The Banished Defender"; 2806 c.15(215), "The Brave Defenders"
CROSS_REFERENCES:
cf. "The Defender's Song" (some text)
NOTES: At the end of the eighteenth century the Catholic "Defenders" were opposed to the Protestant "Peep o'Day Boys" or "Orangemen" (source: Zimmermann). - BS
The attribution of this to a Defender is rather peculiar. The Defenders certainly took part in the 1798 rising (see, e.g., "Bold McDermott Roe"), and they, unlike the United Irishment, were definitely Catholic -- but they were almost all concentrated in Ulster. To encounter one serving under Father Murphy in Wexford seems somewhat improbable. One suspects the author didn't want the singer to be associated with the more secular United Irishmen.
Robert Kee quotes this in _The Most Distressful Country_ (being Volume I of _The Green Flag_), p. 126. This version is unlikely on at least two counts -- notably, if the singer had indeed been taken with his weapons, as described in the song, he would most likely have been killed on the spot.
"Harry's Breed" refers to Henry VIII, who converted England (but not Ireland, nor Scotland for that matter) to Protestantism. But the charge is false; most of the troops who put down the 1798 rebellion were Irish and Catholic.
Healy's version at least refers to "Moses and Ely." That should be "Eli," the High Priest at the end of the period of the Judges; his story is intertwined with that of his young attendant Samuel in the early chapters of I Samuel.
The song also states that Jesus was crucified with "rusty" nails. There is no evidence of this in the Bible (though it's likely enough).
The song refers to "Luther's breed and Calvin's seed." The Anglican church, however, derives its doctrines neither from Luther nor Calvin. There were Calvinists in Ireland (the Dissenters of Ulster), but at least some of them were on the side of the rebels.
Finally, I can't help but comment on the strange allusion to Transubstantiation. Yes, this was a Catholic doctrine not shared by Protestants, but even if you can accept the theological twisting behind the doctine, it is based primarily not on the sixth chaptier of John (which talks about the Bread of Life but doesn't say that the communion bread becomes the flesh of Jesus) but the Last Supper (Mark 1422fff. and parallels). Nor is it likely that one of the Irish rebels could quote the relevant scriptures. - RBW
File: Zimm024
===
NAME: Banished Lover, The (The Parish of Dunboe)
DESCRIPTION: The singer wanders out and recalls the home from which (his parents) banished him. He recalls how the locals dislike strangers. He meets a "pretty fair maid who sore lamented." She says that her lover has been taken away. He reveals that he is her lover
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: love separation mother father reunion
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H23, p. 307, "The Banished Lover"; H726, pp. 307-308, "Learmont Grove" (2 texts, 2 tunes)
Roud #2963
NOTES: The second Henry text, "Learmont Grove," is a very worn down version in which the plot barely survives; it is identified with the first based primarily upon common lyrics.
The date of this text is given incorrectly in Henry/Huntington/Herrmann; it should be 1937, not 1927. - RBW
File: HHH023
===
NAME: Banishment: see My Dearest Dear (File: SKE40)
===
NAME: Banishment of Patrick Brady, The
DESCRIPTION: Patrick Brady is "forced to banishment ... for being an upright Irishman that loved the shamrock green." At Carmanrock fair he and his comrades fought against those who swore to pull down the church. Brady is arrested but rescued and escapes to America.
AUTHOR: unknown
EARLIEST_DATE: first half 19C (Zimmermann)
KEYWORDS: battle emigration escape rescue America Ireland religious
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 33, "The New Song on the Banishment of Patrick Brady" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Pat Brady" (subject)
File: Zimm033
===
NAME: Banjo Pickin' Girl: see Going Around the World (Banjo Pickin' Girl) (File: RcGAtW)
===
NAME: Banjo Picking, The: see Go Slow, Boys (Banjo Pickin') (File: R278)
===
NAME: Banjo Song, The: see De Fust Banjo (The Banjo Song; The Possum and the Banjo; Old Noah) (File: R253)
===
NAME: Banjo Tramp
DESCRIPTION: "Come all you people that are here tonight... I've traveled this country over... But because I'm thin they call me slim, I'm a regular banjo tramp." The singer steals a man's trunk, is imprisoned, and vows to settle down but expects he'll ramble again
AUTHOR: unknown
EARLIEST_DATE: 1936 (Brown)
KEYWORDS: rambling railroading food hardtimes prison judge home theft thief punishment
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 362, "Banjo Tramp" (1 text)
Roud #11732
File: Br3362
===
NAME: Banker Brown
DESCRIPTION: A girl tells her mother that she loves Jack but will marry old Banker Brown for his money. Mother advises her to "wed the man you love." Daughter marries Banker Brown and, a year later, admits to her mother that it was a mistake.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: greed marriage husband mother money
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 39, "Banker Brown" (1 text, 1 tune)
ST LLab39 (Partial)
Roud #9989
NOTES: The cynic in me thinks some wag rewrote this to reverse the speeches of mother and daughter. - RBW
File: LLab39
===
NAME: Banks o' Deveron Water, The
DESCRIPTION: The singer goes out to take the air by (Deveron) water, and chooses "a maid to be my love." He says her equal is not to be found elsewhere, describes her beauty, and says he would not trade her for great riches. He hopes they will someday wed
AUTHOR: Alexander Lesley ?
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting river
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 29-30, "The Banks o' Deveron Water" (1 text)
Roud #3784
NOTES: Ord reports that this was written in 1636 by Alexander Lesley. However, there are signs of oral tradition, so I can't say with certainty whether Lesley originated or transmitted the piece. - RBW
File: Ord029
===
NAME: Banks o' Doon, The
DESCRIPTION: The singer asks how the banks of bonnie Doon can bloom "sae fresh and fair" when she is separated from her love. She pulled a rose, which her lover took while leaving her the thorn
AUTHOR: Robert Burns
EARLIEST_DATE: 1792 (Scots Musical Museum)
KEYWORDS: love courting abandonment nonballad
FOUND_IN: 
REFERENCES: (2 citations)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #55, "Ye Banks and Braes o' Bonnie Doon" (1 text)
DT, BNKSBRAE* BANKBRA2*
Roud #13889
RECORDINGS:
Henry Burr, "Ye Banks and Brae o' Bonnie Doon" (Columbia A339, 1909; rec. 1902)
BROADSIDES:
NLScotland, L.C.1269(108a), "Banks of Doon," unknown, c. 1880
NOTES: Burns, curiously, seems to have written two versions of this poem, both coming out in 1791. The first begins, "Ye flowery banks o' bonie Doon, How can ye blume sae fair"; it is to the tune "Cambdelmore," which is in 4/4 time.
The other version, more familiar to me and seemingly more popular in tradition, opens "Ye banks and braes o' bonie Doon, How can ye bloom sae fresh and fair"; the tune is "The Caledonian Hunt's Delight," in 6/8 time. The two are nonetheless obviously the same song. - RBW
File: CTbnksbr
===
NAME: Banks o' Skene, The
DESCRIPTION: "When I was just a rantin' girl, About the age of sixteen, I fell in love wi' a heckler lad Upon the banks o' Skene." The girl cuts her hair, puts on men's clothes, offers to be his apprentice. He sees through the disguise and offers to make her his wife
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting clothes cross-dressing marriage pregnancy
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, p. 395, "The Banks o' Skene" (1 text)
DT, BANKSKEN*
Roud #5613
CROSS_REFERENCES:
cf. "The Soldier Maid" (theme)
NOTES: This seems to exist in two versions: One very short, from Ord, which matches the description above; the other, much longer, known from Grieg, in which the heckler (flax-dresser) takes the girl as an apprentice and the other girls find the new apprentice attractive. But so does the heckler himself, getting her drunk and having his way with her. In either case, they end up married. The long version is very reminiscent of things like "The Soldier Maid" and even "The Handsome Cabin Boy." - RBW
File: Ord395A
===
NAME: Banks o' the Nile, The: see The Banks of the Nile (Men's Clothing I'll Put On II) [Laws N9] (File: LN09)
===
NAME: Banks of Allan Water, The
DESCRIPTION: "By the banks of Allan Water When the sweet springtime did fall, There I saw the miller's lovely daughter, Fairest of them all." By autumn, the girl has been betrayed by her soldier love and grieves; by winter, she is dead
AUTHOR: Matthew Lewis (1775-1818) ?
EARLIEST_DATE: 1896 (Family Star & Herald)
KEYWORDS: love courting soldier betrayal death
FOUND_IN: 
REFERENCES: (1 citation)
DT, ALANWATR*
Roud #4260
BROADSIDES:
NLScotland, L.C.Fol.70(98b), "On the Banks of Allan Water," Poet's Boz (sic.) (Dundee), c.1890; same broadside as RB.m.143(211)
ALTERNATE_TITLES:
Allan Water
The Miller's Daughter
NOTES: Quoted by Hardy in _Far from the Madding Crowd_ (1874). - RBW
File: DTalanwa
===
NAME: Banks of Banna, The
DESCRIPTION: "Shepherds have you seen my love, Have you seen my Anna? Pride of every shady grove Upon the banks of Banna." The singer left home and herd for Anna; he will not return to them until he finds her. In some versions he finds her and they are happy.
AUTHOR: George Ogle (1739-1814) (source: Croker-PopularSongs)
EARLIEST_DATE: 1795 (Journal from the Joseph Francis)
KEYWORDS: love separation separation shepherd
FOUND_IN: 
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 236-237, "The Banks of Banna" (1 text, 1 tune)
Croker-PopularSongs, p. 134, "Banks of Banna" (1 fragment)
ST SWMS236 (Full)
Roud #2058
BROADSIDES:
Bodleian, Firth c.18(50)[many lines illegible], "Anna" ("Shepherds I have lost my love"), J. Pitts (London), 1802-1819; also Bodleian, Harding B 25(56), "Anna" ("Shepherds, I have lost my love"), Jennings (?), (London),  n.d. (barely legible); Harding B 12(3)=Johnson Ballads 865 (damaged), "Anna," J. Pitts (London), 1819-1844; Firth b.27(484a), Firth b.34(13), Johnson Ballads fol. 9, "[The] Banks of Banna"; Firth b.28(10a/b) View 2 of 8, "Shepherds, I Have Lost My Love"
NOTES: Huntington says that this song is found in Chappell. The closest equivalent I can find in that book is "Shepherd, Saw Thou Not." They do not appear to me to be the same song; "The Banks of Banna" is much simpler and has at least some of the qualities of a folk song, though field collections are rare - RBW
There are three variations among [the Bodleian broadsides]. All begin with the first four verses: she's lost and "perhaps she's gone For ever and for ever." Some stop there: Firth b.34(13), Johnson Ballads fol. 9 and Firth b.28(10a/b) View 2 of 8; some have her return ("Flocks did sport and lambs did play, All around my lovely Anna"): Firth c.18(50) and Harding B 25(56), named "Anna"; and one has him meet her by surprise ("With joy I clasp'd her round the waist"): Firth b.27(484a). - BS
Sir George Ogle the Younger (c. 1740-1814) was a poet and politician born in county Wexford. He served in the Irish parliament in the 1790s, and was briefly a Tory representative to Westminster. His best-known works are considered to be "Banna's Banks" (i.e. this piece) and "Molly Astore" (in this index as "Gramachree"); in this Index he is also contributed "The Hermit of Killarney." - RBW
File: SWMS236
===
NAME: Banks of Boyne, The: see The Lovely Banks of Boyne [Laws P22] (File: LP22)
===
NAME: Banks of Brandywine, The [Laws H28]
DESCRIPTION: The singer (a sailor) meets a girl and asks her to forget her lover -- telling her first that her lover is probably untrue and then that he's already married to another. She faints; he reveals that he is the long-lost lover
AUTHOR: unknown
EARLIEST_DATE: before 1860 (broadside, LOCSinging sb10031a)
KEYWORDS: sailor disguise courting
FOUND_IN: US(Ap,MW) Canada(Mar)
REFERENCES: (6 citations)
Laws H28, "The Banks of Brandywine"
Gardner/Chickering 72, "The Banks of Brandywine" (1 text plus mention of 1 more)
Smith/Hatt, pp. 64-66, "The Banks of Brandywine" (1 text)
Creighton-Maritime, pp. 62-63, "Banks of Brandywine" (1 text, 1 tune)
Mackenzie 71, "The Banks of Brandywine" (1 text)
DT 811, BNKBRNDY
Roud #1970
BROADSIDES:
LOCSinging, sb10031a, "The Banks of Brandywine," J. Andrews (New York), 1853-1859; also as100580, as100590, "The Banks of Brandywine"
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there
NOTES: Broadside LOCSinging sb10031a: 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: LH28
===
NAME: Banks of Champlain, The
DESCRIPTION: Singer hears guns firing on Lake Champlain, but despite her patriotism laments the danger to her lover Sandy,without whom her life would not be worth living. The cannons cease, the British retreat; she waxes patriotic once more as other women celebrate
AUTHOR: unknown; attributed to the wife of Gen. Alexander "Sandy" Macomb
EARLIEST_DATE: 1838 (Journal from the Nautilus)
KEYWORDS: love army battle fight war separation patriotic lover husband soldier
HISTORICAL_REFERENCES: Aug/Sept 1814 - Plattsburg campaign.  As part of a three-pronged attack strategy (the other prongs being at Chesapeake Bay and the lower Mississippi), a British army of 11,000 regulars led by General Sir George Prevost and a naval force under Captain George Downie attack Lake Champlain.
Sept 6, 1814 - The British army reaches Plattsburg and awaits the navy
Sept 11, 1814 - Battle of Plattsburg. An American naval squadron under Captain Thomas Macdonough (1783-1825) defeats the British force in a fierce contest with very high casualties, compelling the British fleet to retreat in disorder. The British army retreats as well.
FOUND_IN: US(MA)
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 161-162, "The Banks of Champlain" (1 text)
cf. Gardner/Chickering, p. 477, "The Banks of Champlain" (source notes only)
Roud #2046
RECORDINGS:
Pete Seeger, "The Banks of Champlain" (on PeteSeeger29), a somewhat abbreviated version
CROSS_REFERENCES:
cf. "The Siege of Plattsburg" (plot)
NOTES: This should not be confused with "The Siege of Plattsburgh." - PJS
For historical background on this part of the War of 1812, see "The Siege of Plattsburg" and references there.
Alexander Macomb (1782-1841) was Brigadier General in field command at Plattsburg (his superior being absent at the time of the fight). He went on to command the U. S. Army (such as it was) from 1828-1841.
Collected tunes for this piece are very few (JAF apparently printed one in 1939), but it appears to be "The Banks of the Dee/Langolee." - RBW
File: RcTBOC
===
NAME: Banks of Claudie, The: see The Banks of Claudy [Laws N40] (File: LN40)
===
NAME: Banks of Claudy (II), The: see Ten Thousand Miles Away (On the Banks of Lonely River) (File: R697)
===
NAME: Banks of Claudy, The [Laws N40]
DESCRIPTION: The singer meets a girl on the banks of Claudy. She is seeking her lover. He tells her Johnny is false, she rejects this. He tells her Johnny is shipwrecked; she is distressed. He tells her he is Johnny. She rejoices
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(1847))
KEYWORDS: separation reunion trick love
FOUND_IN: US(Ap,MW,SE,So) Canada(Mar) Britain(Scotland) Australia Ireland
REFERENCES: (22 citations)
Laws N40, "The Banks of Claudy"
O'Conor, p. 39, "The Banks of Claudy" (1 text)
Ford-Vagabond, pp. 317-319, "The Banks o' Claudy" (1 text, 1 tune)
Belden, pp. 154-155, "The Banks of Claudy" (1 text)
Chappell-FSRA 69, "Molly, I'm the Man" (1 text); 78, "On the Banks of Claudy" (1 fragment, which doesn't look much like this song, but it mentions the banks of Claudy, so it files here)
Randolph 47, "The Banks of Cloddy" (1 text plus 1 excerpt, 1 tune)
Hudson 38, p. 152, "The Banks of Claudie" (1 text)
Scarborough-SongCatcher, pp. 266-267, "The Banks of Claudy" (1 text, with local title "The Soldier's Return"; tune on p. 426)
Eddy 55, "The Banks of Claudie" (1 text, 1 tune)
Gardner/Chickering 71, "The Banks of Claudy" (1 text, 1 tune)
Meredith/Anderson, pp. 166-167, "The Banks of Claudy" (1 text, 1 tune)
SHenry H5+H693, p. 313, "The Banks of Claudy" (1 text, 1 tune)
Morton-Ulster 2, "The Banks of Claudy" (1 text, 1 tune)
Morton-Maguire 44, pp. 134-135,172-173, "The Banks of Clady" (1 text, 1 tune)
OLochlainn 58, "The Banks of Claudy" (1 text, 1 tune)
LPound-ABS, 30, pp., "The Lover's Return" (1 text)
JHCox 321, "The Banks of Claudie" (1 text plus mention of 1 more)
Ord, p. 130, "The Banks of Claudy" (1 text)
Creighton-Maritime, p. 65, "The Banks of Claudy" (1 text, 1 tune)
Creighton-SNewBrunswick 19, "The Banks of Claudie" (1 text, 1 tune); 20, "The Banks of Claudy" (1 text, 1 tune)
Mackenzie 70, "The Banks of Claudie" (1 text)
DT 465, BCLAUDIE CLAUDYBK
ST LN40 (Full)
Roud #266
RECORDINGS:
Robert Cinnamond, "The Banks of Claudy" (on IRRCinnamond02)
Bob & Ron Copper, "Claudy Banks" (on LastDays)
[G. B.] Grayson & [Henry] Whitter, "Where Are You Going, Alice?" (Victor V-40135, 1929; rec. 1928)
George Maynard, "The Banks of Claudy" (on Maynard1)
BROADSIDES:
Bodleian, Harding B 11(1847), "The Banks of Claudy", J. Catnach (London), 1813-1838; also 2806 c.15(164), Harding B 11(2261), 2806 b.9(257), Harding B 19(110), 2806 c.14(91), Firth b.26(281), 2806 c.18(12), 2806 c.17(15), Harding B 18(24), Firth b.25(188), Firth b.25(296), "The Banks of Claudy"; Harding B 16(22c), Harding B 11(266), "The Banks of Cludy" [only the title is spelled "Cludy"; else "Claudy"]
LOCSinging, as100610, "The Banks of Claudy!", Horace Partridge (Philadelphia), 19C; also as100600, as200200, "Banks of Claudy"
NLScotland, RB.m.143(129), "The Banks of Claudy," Lowdon McCartney/Poet's Box (Dundee), after 1905
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there
cf. "Ten Thousand Miles Away (On the Banks of Lonely River)" (references to the Banks of Claudy in some versions)
ALTERNATE_TITLES:
Claudy Banks
NOTES: Date for Grayson and Whitter is from _Country Music Sources_ by Guthrie T Meade Jr with Dick Spottswood and Douglas S. Meade (Chapel Hill, 2002), p. 10.
Meade, Spottswood and Meade, page 10 has the comment that "Although no mention of the banks of Claudie is made on this recording, I feel it is closer to N40 than any other classification." I would make a stronger statement than that. Every line of "Where Are You Going Alice?" is substantially the same as, or clearly derived from a Bodleian broadside or some traditional version of "The Banks of Claudy" (such as Morton-Ulster). For example, "green lands" replaces the banks of Claudy for Grayson and Whitter ("Just stay with me in green lands, no danger need you fear.") where Morton-Ulster has "green woods" ("Oh tarry with me to yon green woods, no danger need you fear").
The matrix number for the Grayson and Whitter's "Where Are You Going Alice?" is V40135B; Meade, Spottswood and Meade has BVE 46636-2. The tune is close to, but not the same as, "Charles Guiteau." - BS
File: LN40
===
NAME: Banks of Cloddy, The: see The Banks of Claudy [Laws N40] (File: LN40)
===
NAME: Banks of Cloughwater, The
DESCRIPTION: The singer loves Ellen, and cannot sleep for the love of her. But her parents oppose their match; now he is forced to "stand on guard this night to shun your company." He promises to make her his own; he has money and fears no one
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: love courting lover father mother
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H777, pp. 427-428, "The Banks of [the] Cloughwater" (1 text, 1 tune)
Roud #7961
NOTES: This song, as it stands in the Henry collection, seems confused; if he is courting the girl, why does he stand guard against her. If her parents kept her hidden, how did he see her, and at last meet her to plan their escape? Presumably either something has been lost or extraneous material has entered this song. - RBW
File: HHH777
===
NAME: Banks of Dundee, The (Undaunted Mary) [Laws M25]
DESCRIPTION: A rich girl, now living with her uncle, falls in love with Willie, a plowboy. Since her uncle wants her to marry a squire, he tries to have Willie pressed. The squire attempts to take Mary; she shoots him, then her uncle. Mary then is free to marry Willie
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Harding B 11(3942))
KEYWORDS: love death marriage poverty rape
FOUND_IN: US(Ap,MA,MW,SE,So) Canada(Mar,Newf) Britain(England,Scotland) Ireland
REFERENCES: (22 citations)
Laws M25, "The Banks of Dundee (Undaunted Mary)"
Ford-Vagabond, pp. 78-81, "The Banks of Sweet Dundee" (1 text, 1 tune)
O'Conor, p. 68, "The Banks of Sweet Dundee" (1 text)
McBride 5, "The Banks of Sweet Dundee" (1 text, 1 tune)
Eddy 54, "The Banks of Sweet Dundee" (1 text)
Gardner/Chickering 69, "The Banks of Sweet Dundee" (1 text plus an excerpt and mention of 1 more, 1 tune)
Belden, pp. 137-139, "The Banks of Dundee" (2 texts, 1 tune)
Chappell-FSRA 58, "The Banks of Sweet Dundee" (1 text)
Randolph 62, "On the Banks of Sweet Dundee" (2 texts, 2 tunes)
Randolph/Cohen, pp. 85-88, "On the Banks of Sweet Dundee" (1 text, 1 tune -- Randolph's 62A)
SharpAp 67, "The Banks of Sweet Dundee" (3 texts, 3 tunes)
Creighton/Senior, pp. 128-130, "The Banks of Sweet Dundee" (2 texts, 1 tune)
Creighton-Maritime, p. 38, "The Banks of Sweet Dundee" (1 text, 1 tune)
Mackenzie 23, "The Banks of Sweet Dundee" (1 text)
Leach, pp. 740-741, "The Banks of Dundee" (1 text)
Leach-Labrador 14, "The Banks of Sweet Dundee" (1 text, 1 tune)
Lehr/Best 6, "The Banks of Sweet Dundee" (1 text, 1 tune)
FSCatskills 50, "The Banks of Sweet Dundee" (1 text, 1 tune)
Ord, pp. 406-407, "The Banks of Sweet Dundee" (1 text)
Copper-SoBreeze, pp. 200-201, "The Banks of Sweet Dandee" (1 text, 1 tune)
JHCox 119, "The Banks of Sweet Dundee" (2 texts)
DT 318, SWTDUNDE* SWYDUND2*
Roud #148
RECORDINGS:
Bob Brader, "The Banks of Sweet Dundee" (on Voice15)
Michael "Straighty" Flanagan, "Banks of Sweet Dundee" (on IRClare01)
Tony Wales, "The Banks of Sweet Dundee" (on TWales1)
BROADSIDES:
Bodleian, Harding B 11(3942), "Undaunted Mary" or "The Banks of Sweet Dundee", J. Pitts (London), 1819-1844; also Harding B 15(339a), Harding B 11(67), Harding B 11(834), Johnson Ballads 612A, Harding B 11(3944), Firth c.12(262), Harding B 11(2540), Harding B 11(3943), "Undaunted Mary" or "The Banks of Sweet Dundee"; Harding B 11(91), Firth c.12(258), Harding B 11(92), 2806 c.16(53), Harding B 11(1429), Firth c.18(252), 2806 c.16(52), "Answer to Undaunted Mary" or "The Banks of Sweet Dundee"; Harding B 11(93), Harding B 17(10b), "Answer to Undaunted Mary"; Firth c.26(255), Harding B 18(25), 2806 c.14(15)[partly illegible], "Banks of Sweet Dundee" [same as LOCSinging as200230]; Firth c.12(260), "Undaunted Mary, On the Banks of Sweet Dundee"; 2806 c.16(263), "Undaunted Mary"
LOCSinging, as200230, "The Banks of Sweet Dundee", H. De Marsan (New York), 1861-1864; also as111340, "The Banks of Sweet Dundee" [same as Bodleian Harding B 18(25)]
Murray, Mu23-y1:094, "Undaunted Mary on The Banks of Sweet Dundee", James Lindsay (Glasgow), 19C
NLScotland, L.C.Fol.70(110a), "Banks of Sweet Dundee," unknown, c. 1890; also RB.m.143(034), "Banks of Sweet Dundee"
NOTES: Broadside LOCSinging as200230: 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: LM25
===
NAME: Banks of Dunmore, The
DESCRIPTION: An Englishman falls in love with a poor farmer's daughter of Dunmore. She will not marry a non-Catholic. She convinces him, by reference to the Testament, of transubstantiation and the authority of Rome. He converts. They marry and settle in Dunmore.
AUTHOR: unknown
EARLIEST_DATE: before 1862 (broadside, Bodleian 2806 c.16(159))
KEYWORDS: courting marriage England Ireland religious Bible
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, pp. 43-44, "The Banks of Dunmore" (1 text, 1 tune)
Roud #3109
BROADSIDES:
Bodleian, 2806 c.16(159), "The Banks of Dunmore" ("Ye lovers of high and low station, and gentlemen of renown")," H. Such (London), 1849-1862; also Firth b.26(413), "The Bloom of Erin"
CROSS_REFERENCES:
cf. "The Protestant Maid" (subject: religious conversion) and references there
NOTES: Broadside Bodleian 2806 c.16(159) is the basis for the description.
Dunmore is in County Galway.
See "Garvagh Town" for a song in which a Roman Catholic suitor fails to convert the Protestant "star of Garvagh Town"; at the end they discuss their differences over a drink, shake hands, and part without either converting. - BS
The Catholic doctrine of Transubstantiation holds that the bread and wine of the communion service are transformed into the body and blood of Christ -- admittedly not in appearance or in demonstrable chemical contest but in some sort of unmeasurable reality called "substance" or "essence" or something like that. (Apologies for sounding scornful; the concept of something that is "real" but *by definition* unverifiable by science is beyond my feeble capacity to take seriously.)
This is based primarily on the gospel language (Matt. 26:26-28; Mark 14:22-24; Luke 22:17-20) saying that the disciples ate Jesus's body and blood, which is very loosely linked to later practice of the Lord's Supper by 1 Cornthians 11:24-26. Some see incidental support in chapter 6 of John, in which Jesus said that the bread of God comes down from heaven, and adds (6:35) that he is the Bread of Life.
It should be noted that this doctrine was not found in the early church; Radbertus propounded it in 831, and it did not become official Catholic doctrine until the Fourth Lateran Council in 1215 (see David Christie-Murray, _A History of Heresy_, Oxford, 1976, p. 99).
It is my experience that *no one* has ever been convinced of Transubstantiation by references to the Bible. It is also my experience that attempts to do so lead to bitter fights, with non-Catholics going as far as to call the Catholics cannibals. (Observe the sarcastic Protestant response in "The Protestant Maid.") If the guy went along in this case, it was out of infatuation, not Biblical logic.
Setting all that aside, though, there are interesting political undercurrents, depending heavily on the date of the song and where it originated. Obviously it must date before 1862. The feeling on the Ballad-L mailing list, in the absence of a more detailed analysis of the data, was that it was probably post-1798. This was an interesting period in both the Church of England and in the Irish church.
Chris Brennan, whose observations are based on Paddy Tunney's version and O'Boyle's notes to Tunney's recording, thinks it an Ulster song, and places it in the context of the evangelical upsurge among Ulster protestants in the first half of the nineteenth century. In that version, it appear to be an Ulster Catholic and Protestant who meet.
On the other hand, the H. Such broadside, which predates Tunney's version by a century, makes the Protestant half of the duo a presumed Englishman. This is interesting because the Church of England at this time was going in the exact opposite direction from the evangelical Dissenters of Ulster. This was the period of the "Oxford Movement," a time when many members of the Church of England were being attracted back to Catholic tradition and ritual. The single strongest example came in 1845, when John Henry Newman converted from Anglicanism to Catholicism. An Oxfordite might well be so pro-Catholic as to be open to arguments about Transubstantiation; a genuine Reformed churchman would see that as the same sort of bunk that it appears to be to me.
This opens up the interesting (though unlikely) possibility that this song could have originated in England as a sort of allegory on the Oxford Movement, with Ireland standing for Catholicism and England standing for Anglicanism (referred to loosely as Protestantism, though technically Anglicans are not Protestants; Protestant is a technical term for a different branch of non-Catholic non-Orthodox Christianity).
Even if we allow that that was its original form, though, it seems clear that that was not how it was understood. The song appears to be extinct in England -- but is preserved in Ireland. There, it seems clear, the song is seen as a demonstration of the superiority of Catholicism, and Catholic doctrine, to Protestantism. This would also explain why the theological argument, so nonsensical to a true member of a Reformed denomination, is allowed to pass essentially without comment. - RBW
File: TSF043
===
NAME: Banks of Glencoe, The: see MacDonald's Return to Glencoe (The Pride of Glencoe) [Laws N39] (File: LN39)
===
NAME: Banks of Green Willow, The: see Bonnie Annie [Child 24] (File: C024)
===
NAME: Banks of Inverurie (Inverary), The
DESCRIPTION: "One day as I was walking... On the banks of Inverurie I spied a bonnie lass." He asks her to wed. She replies that she knows he is a rake. He says he has reformed, and calls his servants to demonstrate his honesty. He again appeals to her to marry.
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: courting servant rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Ford-Vagabond, pp. 258-259, "The Banks of Inverurie" (1 text)
Ord, pp. 199-200, "The Banks of Inverurie" (1 text)
DT, BNKINVER*
Roud #1415
BROADSIDES:
NLScotland, RB.m.168(021), "Banks of Inverary," Batchelar (London?), c. 1820; also APS.4.95.15(1), "The Banks of Inverury," unknown, c. 1840; RB.m.143(122), "The Banks of Inverurie," Poet's Box (Dundee), c. 1890
File: FVS258
===
NAME: Banks of Kilrea (I), The
DESCRIPTION: The singer sees a beautiful girl (dressed in mourning?) by Kilrae. She explains that her parents are dead. He promises to care for her like a parent. She finally agrees to marry. He hopes to live happily, and prepares for an elaborate party
AUTHOR: unknown
EARLIEST_DATE: 1926 (Sam Henry collection)
KEYWORDS: love courting orphan marriage party beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H150(a), pp. 466-467, "The Banks of Kilrae (I)" (1 text, 1 tune)
Roud #2495
File: HHH150a
===
NAME: Banks of Kilrea (II), The
DESCRIPTION: The singer hears a young man begging a girl to come over the sea with him. She says that it's too dangerous to cross the ocean, and her parents are old. He reminds her of promises made, but bids her farewell; they will not see each other again
AUTHOR: unknown
EARLIEST_DATE: 1926 (Sam Henry collection)
KEYWORDS: love courting rejection emigration separation age
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H150b, pp. 361-362, "The Banks of Kilrae (II)" (1 text, 1 tune)
Roud #2495
File: HHH150b
===
NAME: Banks of Low Lee, The: see One Morning in May (To Hear the Nightingale Sing) [Laws P14] (File: LP14)
===
NAME: Banks of Mourne Strand, The: see Paddle the Road with Me (File: Wa032)
===
NAME: Banks of Mullen Stream, The
DESCRIPTION: Sandy Grattan sings about the camp "for the firm of Edward Sinclair On the banks of Mullen Stream." The crew and driving team are named. George Amos breaks a leg under a rolling log, showing that "In the woods you're facing danger As great as in the War"
AUTHOR: Sandy Grattan of Tabusintac (Manny/Wilson)
EARLIEST_DATE: 1958 (Manny/Wilson)
KEYWORDS:  lumbering injury moniker horse
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 4, "The Banks of Mullen Stream" (1 text, 1 tune)
ST MaWi004 (Partial)
Roud #9205
CROSS_REFERENCES:
cf. "The Edward Sinclair Song" (regarding Sinclair's lumber operation)
NOTES: Manny/Wilson: "The lumber operation probably took place between 1914 and 1920." Note the reference to World War I. - BS
This is a very peculiar song, probably indicating closeness to the original version. The scansion is weak, and the rhyme scheme defective. In most of the 8-line stanzas, the only rhymes are between lines 1 and 2 and between lines 5 and 6, and even this is violated on occasion -- including the first verse, though in dialect it might work. - RBW
File: MaWi004
===
NAME: Banks of My Native Australia, The: see Oxeborough Banks (Maids of Australia) (File: FaE044)
===
NAME: Banks of Newfoundland (I), The [Laws K25]
DESCRIPTION: The singer offers a warning to listeners: Don't sail the northern seas without stout clothes! (He and his friends had pawned their jackets in Liverpool). The singer's Irish fiancee tears up her petticoat to make him mittens. At last they reach New York
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: sailor clothes storm
FOUND_IN: Britain(England(South),Scotland(Bord)) US(MA,NE,SE) Canada(Mar,Newf)
REFERENCES: (16 citations)
Laws K25, "The Banks of Newfoundland"
Doerflinger, pp. 123-125, "The Banks of Newfoundland" (1 text, 1 tune)
Colcord, pp. 173-174, "The Banks of Newfoundland" (1 text, 1 tune)
Hugill, pp. 412-416, "The Banks o' Newf'n'land" (2 texts, 2 tunes) [AbrEd, pp. 315-316]
Fowke/Johnston, pp. 36-37, "The Banks of Newfoundland" (1 text, 1 tune)
Greenleaf/Mansfield 116, "The Banks of Newfoundland" (1 text)
Peacock, pp. 854-855, "The Banks of Newfoundland" (1 text, 1 tune)
Smith/Hatt, p. 18, "The Banks of Newfoundland" (1 text)
Creighton-NovaScotia 103, "Banks of Newfoundland (1)" (1 text, 1 tune)
Mackenzie 161, "The Banks of Newfoundland" (1 text)
Ranson, pp. 118-119, "The Banks of Newfoundland" (1 text, 1 tune)
Warner 141, "The Banks of Newfoundland" (1 text, 1 tune)
Vaughan Williams/Lloyd, pp. 15-16, "The Banks of Newfoundland" (1 text, 1 tune)
Scott-BoA, pp. 145-147, "The Banks of Newfoundland" (1 text, 1 tune)
Lomax-FSNA 31, "The Banks of Newfoundland" (1 text, 1 tune)
DT 407, NWFNDLND* NWFNDLN3
Roud #1812
RECORDINGS:
Willie Scott, "The Banks of Newfoundland" (on Voice02)
CROSS_REFERENCES:
cf. "The Star of the County Down" (tune) and references there
cf. "The American Aginora" (plot)
NOTES: Peacock believes this is "a localized version of" Van Dieman's Land (I) [Laws L18]. I think that's grossly overstating the similarity. - BS
File: LK25
===
NAME: Banks of Newfoundland (II), The
DESCRIPTION: The singer bids landsmen to "bless your happy lot," since they are safe from storms. His ship is wrecked off Newfoundland; when food runs short, they cast lots to see who will be eaten. The Captain's son is picked, but another ship rescues them in time
AUTHOR: unknown
EARLIEST_DATE: 1883 (Smith/Hatt)
KEYWORDS: ship disaster cannibalism reprieve rescue starvation sailor
FOUND_IN: Ireland Canada(Mar,Ont)
REFERENCES: (4 citations)
SHenry H569, p. 112, "The Banks of Newfoundland" (1 text, 1 tune)
Fowke/MacMillan 11, "The Banks of Newfoundland" (1 text, 1 tune)
Smith/Hatt, pp. 56-58, "The Banks of Newfoundland" (1 text)
DT, NWFNDLN2
Roud #1972
RECORDINGS:
O. J. Abbott, "The Banks of Newfoundland" (on Abbott1)
CROSS_REFERENCES:
cf. "The Ship in Distress" (plot) and references there
cf. "The Kite Abandoned in White Bay" (probable tune)
cf. "The American Aginora" (plot)
SAME_TUNE:
The Kite Abandoned in White Bay (File: RySm103)
File: DTnwfndl
===
NAME: Banks of Newfoundland (III), The: see The Eastern Light [Laws D11] (File: LD11)
===
NAME: Banks of Newfoundland (IV), The
DESCRIPTION: Spring is time for fishing on the Banks. "Seas do roll tremendously ... midst heavy fog and wind." At night we risk being run down by "some large greyhound of the deep." At summer's end we return "to see our sweethearts and our wives"
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: fishing sea ship lyric nonballad
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 108-109, "The Banks of Newfoundland" (1 text, 1 tune)
Roud #4434
File: Pea108
===
NAME: Banks of Newfoundland (V), The
DESCRIPTION: September 2, Irish seamen sail from Waterford for Newfoundland where "a dreadful storm is raging." Three men are lost and others are "washed from off the deck." At morning there was no help for the dead and dying; "Not a Christian here to bury the dead" 
AUTHOR: unknown
EARLIEST_DATE: 1987 (McBride)
KEYWORDS: grief death sea ship storm
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 4, "The Banks of Newfoundland" (1 text, 1 tune)
Roud #5088
NOTES: With only one text to work from, we have not been able to tie this to an actual disaster, it sounds as if "Christian" here means specifically "Catholic." - RBW
File: McB1004
===
NAME: Banks of Penmanah, The: see On the Banks of the Pamanaw [Laws H11] (File: LH11)
===
NAME: Banks of Red Roses, The: see The Banks of the Roses (File: Doe315)
===
NAME: Banks of Sacramento, The: see Ho for California (Banks of Sacramento) (File: E125)
===
NAME: Banks of Sullane
DESCRIPTION: The singer meets "a damsel of queenly appearance" and proposes; if he were king she'd wear a crown. Her father's angry looks discourages him. He will rove alone until death "for the sake of my charming fair Helen That I met in the town of Macroom"
AUTHOR: unknown
EARLIEST_DATE: 1973 (IRClare01)
KEYWORDS: courting separation father
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 70-71, "The Banks of Sullane" (1 text, 1 tune)
Roud #9718
RECORDINGS:
Ollie Conway, "Banks of Sullane" (on IRClare01)
CROSS_REFERENCES:
cf. "The Pretty Girl Milking Her Cow" (tune)
cf. "Heather Down the Moor (Among the Heather; Down the Moor)" (theme)
NOTES: OCanainn: "One of the most popular English ballads of the Ballyvourney and Coolea area in West Cork."
Macroom is in County Cork. - BS
File: RcBaOSul
===
NAME: Banks of Sweet Dandee, The: see The Banks of Dundee (Undaunted Mary) [Laws M25] (File: LM25)
===
NAME: Banks of Sweet Dundee, The: see The Banks of Dundee (Undaunted Mary) [Laws M25] (File: LM25)
===
NAME: Banks of Sweet Loch Rae, The
DESCRIPTION: The singer meets a handsome soldier. He asks if she will come along with him. She says she cannot bear to leave (Loch Rae). He consents to have her stay if she will wait for him. She waits sadly for his return
AUTHOR: unknown
EARLIEST_DATE: 1926 (Sam Henry collection); 19C (broadside, Bodleian Harding B 26(29))
KEYWORDS: love courting soldier separation
FOUND_IN: Ireland US(NE)
REFERENCES: (1 citation)
SHenry H158, p. 295, "Banks of Sweet Lough Neigh" (1 text, 1 tune)
Roud #3821
BROADSIDES:
Bodleian, Harding B 26(29), "The Banks of Sweet Loughrea" ("I am as poor a distressed maid as ever yet was known"), Haly (Cork), 19C; also 2806 c.8(164), 2806 c.8(195), "The Banks of Sweet Loughrea"
ALTERNATE_TITLES:
The Banks of Sweet Loch Ray
On the Banks of Sweet Loch Raw
NOTES: "The Banks of Sweet Loughrea" tells the story from the soldier's point of view. - BS
File: HHH158
===
NAME: Banks of Sweet Loch Ray, The: see The Banks of Sweet Loch Rae (File: HHH158)
===
NAME: Banks of Sweet Lough Neagh, The: see The Banks of Sweet Loch Rae (File: HHH158)
===
NAME: Banks of Sweet Loughrea, The
DESCRIPTION: A soldier quartered in Boyle meets a charming lass while in Loughrae. He proposes that they marry in Boyle. She says she "never intended a soldier's wife." Devastated, he says he will ask to be discharged as he is no longer fit for service.
AUTHOR: unknown
EARLIEST_DATE: 1955 (IRRCinnamond01)
KEYWORDS: love courting soldier rejection
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #6990
RECORDINGS:
Robert Cinnamond, "The Banks of Sweet Loughrea" (on IRRCinnamond01)
NOTES: "The Banks of Sweet Loch Rae" tells the story from the woman's point of view.
Loughrea is in County Galway, not far from Galway city. Boyle is in County Roscommon and is about 65 miles from Loughrea. - BS
File: RcTBOSLo
===
NAME: Banks of Sweet Primroses, The
DESCRIPTION: Speaker, while walking by banks of primroses, sees and courts a lovely woman. She spurns him and declares her intention to separate from men. (He tells listeners that even a cloudy, dark morning turns into a sunshiny day.)
AUTHOR: unknown
EARLIEST_DATE: 1891
KEYWORDS: courting rejection flowers
FOUND_IN: Britain(England(North,South),Wales) Canada(Mar)
REFERENCES: (5 citations)
Sharp-100E 51, "The Sweet Primeroses" (1 text, 1 tune)
Vaughan Williams/Lloyd, p. 17, "The Banks of Sweet Primroses" (1 text, 1 tune)
MacSeegTrav 68, "The Banks of Sweet Primroses" (2 texts, 1 tune)
Creighton/Senior, pp. 127-128, "As I Rode Out" (1 text, 1 tune)
DT, SWTPRIM*
Roud #586
RECORDINGS:
Bob & Ron Copper, "Sweet Primeroses" (on FSB1, HiddenE)
Louis Killen, "The Banks of Sweet Primroses" (on BirdBush2)
Phil Tanner, "The Sweet Prim-E-Roses" (Columbia FB 1570; on Voice01 as "The Sweet Primrose"; on Lomax41, LomaxCD1741)
BROADSIDES:
NLScotland, L.C.Fol.70(141), "The Banks of sweet Primroses," unknown, c. 1830-1850
CROSS_REFERENCES:
cf. "Lovely Nancy (VI)" (floating lyrics)
ALTERNATE_TITLES:
Three Long Steps
File: ShH51
===
NAME: Banks of the Ayr, The: see Burns and His Highland Mary [Laws O34] (File: LO34)
===
NAME: Banks of the Bann (I), The [Laws O2]
DESCRIPTION: Delany recalls how, when he first came to (Ireland), he fell in love with a girl (on the banks of the Bann). Her parents disapproved of his poverty and sent him away, but she promised to prove true. (Now he is returned and promises to do well by her)
AUTHOR: unknown
EARLIEST_DATE: before 1862 (broadside, Bodleian Harding B 11(2400))
KEYWORDS: courting poverty mother father exile
FOUND_IN: US(MW) Canada(Mar,Newf) Ireland
REFERENCES: (9 citations)
Laws O2, "The Brown Girl"
SHenry H86, p. 443, "The Banks of the Bann" (1 text, 1 tune)
Creighton/Senior, pp. 139-140, "The Brown Girl" (2 texts, 2 tunes)
Creighton-Maritime, p. 37, "The Brown Girl" (1 text, 1 tune)
Creighton-SNewBrunswick 9, "The Brown Girl" (1 text, 1 tune)
Peacock, pp. 355-356, "The Brown Girl" (1 text, 1 tune)
Dean, pp. 75-76, "Brown Girl" (1 text)
DT, BNKSBAN2
ADDITIONAL: Richard Hayward, Ireland Calling (Glasgow,n.d.), p. 11, "The Banks of the Bann" (text, music and reference to Decca F-2603 recorded Oct 4, 1931)
Roud #889
RECORDINGS:
A. L. Lloyd, "Banks of the Bann" (on Lloyd1)
BROADSIDES:
Bodleian, Harding B 11(2400), "Brown Girl" ("When first to this country I came as a stranger"), E.M.A. Hodges (London) , 1855-1861; also 2806 b.11(255), 2806 c.8(168), "Brown Girl"
CROSS_REFERENCES:
cf. "The Frowns That She Gave Me" (floating lyrics)
cf. "The Maid of Aghadowey" (plot)
cf. "The Greenwood Laddie" (lyrics)
cf. "When First To This Country (I)" ("When First Unto This Country" lyric) and references there
NOTES: In some versions of this song, the girl is compared to "Juno, the fair Grecian queen." Leaving apart the fact that Venus/Aphrodite, not Juno, was the goddess of beauty, it should be noted that Juno was a Roman goddess; the correct Greek name is Hera.
Paul Stamler notes that "[this] tune is also used for a classic Anglican hymn," which Paul Tracy reports to be "Lord of all hopefulness, lord of all joy."
Laws apparently decided to name this "The Brown Girl" on the basis of Creighton and some broadsides. I decided to use "The Banks of the Bann" instead; both titles refer to several songs, but the versions of this song I know don't call her a "Brown Girl," and the references to the Bann are certainly more prominent. And it seems to be the standard Folk Revival name. - RBW
The date and master id (GB-3357-1) for Hayward's record is provided by Bill Dean-Myatt, MPhil. compiler of the Scottish National Discography. - BS
File: LO02
===
NAME: Banks of the Bann (II), The: see Willie Archer (The Banks of the Bann) (File: HHH614)
===
NAME: Banks of the Boyne, The: see The Lovely Banks of Boyne [Laws P22] (File: LP22)
===
NAME: Banks of the Clyde (I), The
DESCRIPTION: A young man comes up to a pretty girl, who reports that her Willie has gone over the sea. He asks her to marry; she replies, "Though he prove unconstant, I'll always prove true." He reveals himself as Willie; they will marry shortly
AUTHOR: unknown
EARLIEST_DATE: 1939 (Sam Henry collection)
KEYWORDS: love separation reunion disguise marriage
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H812, p. 310, "The Banks of the Clyde/One Fine Summer's Morning" (1 text, 1 tune)
Roud #3815
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there
cf. "The Plains of Waterloo (I)" [Laws N32] (plot, lyrics)
cf. "The Maid of Dunmore" (partial plot, lyrics)
NOTES: Certain lyrics to the Sam Henry version of this song are effectively identical to the Greenleaf text of "The Plains of Waterloo," and of course there are also plot similarities. But "The Banks of the Clyde" is a much more generic song, with no references to a dead soldier. And the similarities in other texts of the song is less pronounced. It appears to be a case of cross-fertilization rather than actual common descent. - RBW
File: HHH812
===
NAME: Banks of the Clyde (III), The: see The Lad in the Scotch Brigade (The Banks of the Clyde) (File: LLab133)
===
NAME: Banks of the Condamine, The: see The Banks of the Nile (Men's Clothing I'll Put On II) [Laws N9] (File: LN09)
===
NAME: Banks of the Dee (I), The
DESCRIPTION: "'Twas summer, and softly the breezes were blowing, And sweetly the nightingales sang in the trees." The girl remembers her Jamie, now gone "to quell the proud rebels." She earnestly hopes for his speedy return to her and the banks of the Dee
AUTHOR: Words: John Tate / Music: "Langolee" (traditional)
EARLIEST_DATE: 1803 (The Scots Musical Museum)
KEYWORDS: love separation soldier
FOUND_IN: Britain
REFERENCES: (2 citations)
cf. Gardner/Chickering, p. 477, "The Banks of the Dee" (source notes only)
DT, BNKSDEE*
Roud #3847
SAME_TUNE:
Langolee (DT, LANGLEE)
The Banks of Champlain (Huntington-Whalemen, pp. 161-162, probably originally sung to this tune)
Oliver Arnold's parody of Banks of the Dee (DT, BNKSDEE2, said by Spaeth to date from 1775)
NOTES: It's not absolutely clear that this song is traditional, but the tune assuredly is. The texts of "Langolee" (properly "new Langolee"; see Bruce Olson's notes in the Digital Tradition), however, are absolutely hopeless and untraditional. As a result, I decided to list "The Banks of the Dee" as the main entry.
It appears that "Banks of the Dee" was the main mechanism by which the tune became known. Huntington's song "The Banks of Champlain," for instance, although no tune is given, has "Langolee" written all over it -- and no doubt the title of Tait's piece inspired the American song.
It's interesting to note that, although there are several American songs about the American Revolution, this seems to be the only one from the British standpoint. Still more interesting, it shows little interest in the political aspect of that conflict; the girl just wants her Jamie to return. - RBW
File: DTbnksde
===
NAME: Banks of the Dee (II), The
DESCRIPTION: The singer "heard a maid a-sighing... And, 'Johnny,' she was crying, 'oh how could you leave me?" He recalls leaving her on the spot, and how they promised to be true. He tells her her love was slain in battle, then reveals that he is her love
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: love courting separation soldier disguise reunion
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H583, p. 314, "The Banks of [the] Dee" (1 text, 1 tune)
Roud #3814
CROSS_REFERENCES:
cf. esp. "John (George) Riley (I)" [Laws N36] and references there
NOTES: Huntington was of the opinion that this was the source for the song "The Banks of Champlain" which he found in the 1838 journal of the _Nautilus_. I disagree. There are several "Banks of the Dee" songs, and the other (to the tune "Langolee") fits "The Banks of Champlain" much better. - RBW
File: HHH583
===
NAME: Banks of the Dee (III), The
DESCRIPTION: On the banks of the Dee the singer meets a 56 year old coal miner who "can't get employment, 'cause my hair it's turned grey." When young he worked hard in the pit but now he's had his notice. Young miners should save their wages, not "hew them away"
AUTHOR: unknown
EARLIEST_DATE: 1951 (Lloyd in _Come All Ye Bold Miners_, according to Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 20" - 15.1.04)
KEYWORDS: age poverty mining unemployment nonballad
FOUND_IN: Britain(England(North))
REFERENCES: (0 citations)
Roud #3484
RECORDINGS:
Jack Elliott, "The Banks of the Dee" (on Voice20)
File: RcBaDee3
===
NAME: Banks of the Dizzy, The: see The Banks of the Roses (File: Doe315)
===
NAME: Banks of the Don, The
DESCRIPTION: Singer pays sarcastic tribute to the "boarding-house" by the Don: rent and taxes are paid, food is free. Inmates must turn out and work in the stoneyard; knives and forks are counted after meals. To obtain residence, listeners can get publicly drunk
AUTHOR: unknown
EARLIEST_DATE: 1958 (recording, O. J. Abbott)
KEYWORDS: prison punishment drink humorous nonballad prisoner
HISTORICAL_REFERENCES: 1860s - Don Jail built
FOUND_IN: Canada(Ont)
REFERENCES: (0 citations)
Roud #3846
RECORDINGS:
Recordings: O. J. Abbott, "The Banks of the Don" (on Ontario1)
CROSS_REFERENCES:
cf. "The Mountjoy Hotel" (subject)
cf. "Johnson's Hotel" (subject, lyrics)
cf. "Erin Go Bragh" (tune)
NOTES: Abbott reported learning the song as a teenager in 1890 from an Irish farmer in the Ottawa valley. - PJS
File: RcTBOTDo
===
NAME: Banks of the Gaspereaux, The [Laws C26]
DESCRIPTION: A logging crew comes to work the Gaspereaux. The singer (who is one of the loggers) meets a girl (nicknamed "Robin Redbreast" after her dress); they fall in love, but neither will leave home for the other, and they part
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: logger courting separation
FOUND_IN: US(NE) Canada(Mar,Newf)
REFERENCES: (6 citations)
Laws C26, "The Banks of the Gaspereaux"
Doerflinger, pp. 246-247, "The Banks of the Gaspereaux" (1 text)
Peacock, pp. 744-745, "The Banks of the Gaspereau" (1 text, 1 tune)
Leach, pp. 770-771, "The Banks of Gaspereaux" (1 text)
Manny/Wilson 2, "The Banks of the Gaspereaux (Robin Redbreast)" (1 text, 1 tune)
DT 576, BNKSGASP GASPERAU
Roud #1925
NOTES: Manny/Wilson: "The Gaspereaux, or Gaspereau, is a river in Queen's County [New Brunswick], a branch of the St. John." - BS
File: LC26
===
NAME: Banks of the Inverness, The
DESCRIPTION: The sailor sees a girl sighing on the banks of the (Inver)ness. He asks her if she is available. She says she is engaged to Willie. He declares that Willie is "in cold irons bound" and will not return. She says she will remain faithful. He reveals himself
AUTHOR: unknown
EARLIEST_DATE: 1911 (Grieg)
KEYWORDS: love courting separation reunion disguise
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (1 citation)
SHenry H205, pp. 319-320, "The Banks of the River Ness" (1 text, 1 tune)
Roud #3813
CROSS_REFERENCES:
cf. esp. "John (George) Riley (I)" [Laws N36] and references there
ALTERNATE_TITLES:
Young William's Return
Young William's Denial
File: HHH205
===
NAME: Banks of the Lee, The: see Mary on the Banks of the Lee (File: DTbnksle)
===
NAME: Banks of the Little Auplaine, The: see The Banks of the Little Eau Pleine [Laws C2] (File: LC02)
===
NAME: Banks of the Little Eau Pleine, The [Laws C2]
DESCRIPTION: The singer meets a schoolmarm who is seeking her lost lover Johnny. He tells her Johnny is drowned and buried far from home. The woman curses Wisconsin and Johnny's boss, and promises to give up teaching and any home near water
AUTHOR: W. N. "Billy" Allen (writing as "Shan T. Boy")
EARLIEST_DATE: 1922 (Dean); the author said he wrote it c. 1875
KEYWORDS: river death drowning curse humorous
FOUND_IN: US(MW) Canada(Mar,Ont)
REFERENCES: (11 citations)
Laws C2, "The Banks of the Little Eau Pleine"
Rickaby 5, "The Banks of the Little Eau Pleine" (2 texts plus a fragment, 3 tunes)
Dean, pp. 10-11, "The Banks of the Little Auplaine" (1 text)
Arnett, pp. 118-119, "The Little Eau Pleine" (1 text, 1 tune)
Botkin-MRFolklr, p. 578, "The Banks of the Little Eau Pleine" (1 text, 1 tune)
Beck 49, "The Little Eau Pleine" (1 text, 1 tune)
Fowke-Lumbering #28, "Johnny Murphy" (1 text, 1 tune)
Creighton-SNewBrunswick 61, "The Little Low Plain" (1 text, 1 tune)
Ives-NewBrunswick, pp. 23-26, "The Banks of the Little Eau Pleine" (1 text, 1 tune)
Manny/Wilson 58, "The Banks of the Little Low Plain" (1 text, 1 tune)
DT 699, EAUPLEIN
Roud #706
RECORDINGS:
John Leahy, "Johnny Murphy" (on Lumber01)
CROSS_REFERENCES:
cf. "Erin's Green Shore" [Laws Q27] (tune)
ALTERNATE_TITLES:
The Little Auplaine
Johnny Murphy
NOTES: The Little Eau Pleine River (yes, there is also a Big Eau Pleine) flows into the Wisconsin River between Wausau and Stevens Point in central Wisconsin. About thirty miles long, it is hardly more than a creek.
Cazden et al regard this song as a parody of "Erin's Green Shore" [Laws Q27]. This is somewhat deceptive. It was set, by the author, to the tune of "Erin's Green Shore," but the lyrics are not derived from that piece, though they have links to assorted traditional pieces.
The plot description above sounds serious, and it is, but the song itself veers between humor and pathos -- e.g. the first verse notes that "the mosquito's notes were melodious," and the singer's clothes are described as "His pants were made out of two meal-sacks, with a patch a foot square on each knee."
Rickaby has extensive notes about William N. Allen, whom he met near the end of the latter's career.- RBW
File: LC02
===
NAME: Banks of the Miramichi, The
DESCRIPTION: There is no river "like the rolling tide that flows 'longside The banks of the Murrymashee." The sportsmen gather to see it and the trout, salmon, and birds. The singer wouldn't trade it for gold, silver or royal robes.
AUTHOR: Patrick Hurley of Cassilis, Nor'West Miramichi (Manny/Wilson)
EARLIEST_DATE: 1947 (Manny/Wilson)
KEYWORDS: lyric nonballad animal bird
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 3, "The Banks of the Miramichi" (1 text, 1 tune)
ST MaWi003 (Partial)
Roud #4622
RECORDINGS:
Marie Hare, "The Banks of the Miramichi" (on MRMHare01)
Art Matchett, "The Banks of the Miramichi" (on Miramichi1)
File: MaWi003
===
NAME: Banks of the Mossen, The
DESCRIPTION: "As I was a walking down by some shady grove... Young lambs were a-playing on the banks of sweet Mossen... The lark in the morning... brings me joyful tidings of Nancy my dear." The singer asks for pen and ink to write to Nancy
AUTHOR: unknown
EARLIEST_DATE: 1954 (recording, Jim Swain)
KEYWORDS: love separation animal river
FOUND_IN: Britain(England(Lond,South))
REFERENCES: (1 citation)
Copper-SoBreeze, pp. 242-243, "The Banks of the Mossen" (1 text, 1 tune)
Roud #1201
RECORDINGS:
Jim Swain, "The Banks of Sweet Mossing" (on Voice10)
ALTERNATE_TITLES:
The Banks of the Mossom
The Banks of Sweet Mossom
NOTES: I'd bet a lot that this is one of those Johnny-the-sailor-separated-from-his-love type songs that's been collected about three hundred times -- but from the short text given (three short verses and a fairly generic chorus), I can't tell which one. - RBW
File: CoSB242
===
NAME: Banks of the Murray, The: see On the Banks of the Murray (File: MA258)
===
NAME: Banks of the Nile, The (Men's Clothing I'll Put On II) [Laws N9]
DESCRIPTION: (William) has been ordered to the banks of the Nile. Molly offers to cut her hair, dress like a man, and go with him. He will not permit her to; (the climate is too harsh or women are simply not permitted). (He promises to return and they are parted)
AUTHOR: unknown
EARLIEST_DATE: before 1859 (broadside, Bodleian Harding B 11(158))
KEYWORDS: soldier cross-dressing separation
FOUND_IN: US(MW,So) Britain(Scotland) Australia Ireland Canada(Mar,Newf)
REFERENCES: (24 citations)
Laws N9, "The Banks of the Nile (Men's Clothing I'll Put On II)"
Belden, p. 340, "Plains of Mexico" (1 text)
Randolph 42, "Men's Clothing I'll Put On" (Of Randolph's 6 texts, Laws assigns only the "A" version, with tune, to this group (and even this is hidden by a typographical error), but "B" and "E" might belong with this or "William and Nancy I")
Randolph/Cohen, pp. 92-93, "Men's Clothes I Will Put On" (1 text, 1 tune -- Randolph's 42A)
Chappell-FSRA 66, "The Dolphin" (1 text, probably a confused version of "The Dolphin," a song of a sea battle, and "The Banks of the Nile" [Laws N9] or similar)
Dean, pp. 105-106, "Banks of the Nile" (1 text)
Harlow, pp. 206-207, "Dixie's Isle" (1 text, 1 tune -- a version with American Civil War references)
Meredith/Anderson, pp. 122-123, "The Banks of the Condamine" (1 text, 1 tune); probably also pp. 215-216, "The Banks of the Riverine" (the latter might go with "William and Nancy I")
Fahey-Eureka, pp. 154-155, "The Banks of the Condamine" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 273-275, "The Banks of the Condamine" (1 text)
Ord, p. 298, "The Banks o' the Nile" (1 text)
Hodgart, p. 231, "The Banks of the Condamine" (1 text)
SHenry H238a, pp. 296-297, "The Banks of the Nile" (1 text, 1 tune)
Munnelly/Deasy-Lenihan 50, "The Banks of the Nile" (1 text, 1 tune)
Moylan 170, "The Banks of the Nile" (1 text, 1 tune)
Morton-Maguire 47, pp. 139-140,174, "Texas Isle" (1 text, 1 tune)
Manifold-PASB, pp. 130-132, "The Banks of the Condamine" (2 texts, 2 tunes)
Fowke/MacMillan 72, "Banks of the Nile" (1 text, 1 tune, considered by Fowke states to be an abbreviated, localized version of "William and Nancy (I)" [Laws N8], but it could just as easily be a version of "The Banks of the Nile" [Laws N9])
Peacock, pp. 996-997, "Dixie's Isle" (1 text, 1 tune)
Creighton-Maritime, p. 147, "The Banks of the Nile" (1 text, 1 tune)
Mackenzie 35B, "The Banks of the Nile" (1 text); Mackenzie 36, "Dixie's Isle" (1 text)
Huntington-Whalemen, pp. 266-268, "Farewell My Dear Nancy" (1 text, 1 tune, a fragment lacking the beginning. The final three stanzas appear to belong here but might be something else)
PBB 98, "The Banks of the Condamine" (1 text)
DT, BANKNILE* (BANKNIL2*?)
Roud #950
RECORDINGS:
Ewan MacColl and Peggy Seeger, "The Banks of the Nile" (on SCMacCollSeeger01)
Pat MacNamara, "Banks of the Nile" (on IRClare01)
BROADSIDES:
Bodleian, Harding B 11(158), "Banks of the Nile", J.O. Bebbington (Manchester), 1855-1858; also 2806 b.9(227), 2806 b.9(53), 2806 c.14(179), Firth b.25(245), Harding B 11(276), Firth b.26(269), Firth c.14(148), Firth c.14(149), Harding B 11(158), Harding B 11(2900), Harding B 11(2900A), Harding B 26(47)[some blurring], [The] Banks of the Nile"
LOCSinging, as100630, "The Banks of the Nile," P. Brereton (Dublin), 19C 
Murray, Mu23-y1:078, "The Banks of the Nile", James Lindsay (Glasgow), 19C; also Mu23-y3:024, "The Banks of the Nile," unknown, 19C
CROSS_REFERENCES:
cf. "Jack Monroe" [Laws N7]
cf. "William and Nancy I" [Laws N8]
cf. "High Germany"
cf. "The Girl Volunteer (The Cruel War Is Raging)" [Laws O33]
cf. "When First To This Country (II)" (theme)
NOTES: What is the historical reference here? The earliest Bodleian broadside, Harding B 11(158), is printed between 1855 and 1858. One possibility (see Laws N9 notes relating that "Randolph observes that Ord" makes the connection) is the second Battle of Abukir in which "in March 1801, a British army of 5,000 under General Ralph Abercromby landed to dislodge a French army of 2,000 under General Louis Friant. They did so, but not before 1,100 British troops were lost." (Source: Wikipedia article _Battle of Abukir_ ) - BS
Possibly supporting this is the fact that there was also a battle at Abukir (Aboukir) Bay on August 1-2, 1798, in which Nelson annihilated a French force, allowing Britain to control entrance to Egypt. This was, of course, a sea battle -- but it's often called "The Battle of the Nile."
Britain again interfered in Egypt in 1807, and the nation (along with the Sudan) was formally freed from Ottoman rule in 1841, largely as a result of European meddling. There were enough British soldiers floating around that the song would be relevant at almost any time from 1798 until the first broadsides appeared. The song takes place *before* the battle; as a result, I never really thought to associate it with a particular event. Though I concede that Aboukir makes sense; it put Egypt "in the news." - RBW
Laws quotes Dixie's Isle as "a Civil War adaptation" of N9. The "adaptation" is illustrated by the change from
We are called up to Portsmouth, many a long mile,
All for to be embarked for the Banks of the Nile
to
They call me down to New Orleans for many a long mile
To fight the southern soldiers way down in Dixie's Isle. - BS
In some of the Australian versions, rather than Willie being a soldier, he becomes a shearer. But the plot and pathos of the song remain clear.
Belden's text appears to be an adaption of this song to the context of the Mexican War (1846-1848). In this version, the modification is so complete that the girl does not even ask to come along; Laws, in fact, does not list Belden's piece as an adaption of this song.
Nonetheless, the kinship with "The Banks of the Nile" is still patently obvious. And neither Belden nor I knows of another version of the Mexican version of the song. So it seemed sufficient to list it here. - RBW
File: LN09
===
NAME: Banks of the Ohio [Laws F5]
DESCRIPTION: The singer takes his sweetheart walking, hoping to discuss marriage. She seemingly refuses him (because she is too young?). Rather than wait, he throws her into the river to drown. In most versions he is not caught, though in some texts she haunts him
AUTHOR: unknown
EARLIEST_DATE: 1915
KEYWORDS: homicide river drowning
FOUND_IN: US(MW,Ro,SE,So)
REFERENCES: (13 citations)
Laws F5, "On the Banks of the Ohio"
Randolph 160, "Down on the Banks of the Ohio" (2 texts plus an excerpt, 2 tunes)
Eddy 104, "The Murdered Girl" (7 texts, 2 tunes, but Laws considers only the B text -- "On the Banks of the Old Pedee" -- to belong with this ballad)
Gardner/Chickering 20, "The Banks of the River Dee" (1 text plus 2 excerpts and mention of 2 more, 2 tunes)
BrownII 66, "On the Banks of the Ohio" (1 text plus 2 excerpts and mention of 5 more)
MHenry-Appalachians, p. 76, "On the Banks of the Ohio" (1 text)
Asch/Dunson/Raim, p. 110, "Down on the Banks of the Ohio" (1 text, 1 tune)
Cohen/Seeger/Wood, pp. 138-139, "Banks of the Ohio" (1 text, 1 tune)
Botkin-MRFolklr, p. 577, "On the Banks of the Ohio" (1 text, 1 tune)
LPound-ABS, 45, p. 108, "The Old Shawnee"; p. 109, "On the Banks of the Old Pedee" (2 texts)
Darling-NAS, pp. 201-202, "On the Banks of the Ohio" (1 text)
Silber-FSWB, p. 180, "Banks Of The Ohio" (1 text)
DT 628, BNKSOHIO* BANOHIO2(*) (BANOHIO3)
Roud #157
RECORDINGS:
Clarence Ashley, Doc Watson, Clint Howard & Jean Ritchie, "Banks of the Ohio" (on WatsonAshley01)
The Blue Sky Boys, "Down On The Banks of The Ohio" (Bluebird 6480, 1933)
Callahan Brothers, "Down on the Banks of the Ohio"  (Banner 5-12-60/Conqueror 8588 [as "On the Banks of the Ohio"], 1935)
[G. B.] Grayson & [Henry] Whitter, "I'll Never Be Yours" (Gennett 6373/Champion 15447 [as by Norman Gayle]/Silvertone 8160 [as by Dillard Sanders]/Supertone 9247 [as by Sanders]/Challenge 393 [as by David Foley], 1927; on GraysonWhitter01)
Clarence Green, "On the Banks of the Ohio" (Columbia 15311-D, 1928)
Bascom Lamar Lunsford, "On the Banks of the Ohio" (on BLLunsford02)
Monroe Brothers, "Banks of the Ohio" (Bluebird B-7385, 1938)
Glen & Jessie Neaves & band, "Banks of the Ohio" (on HalfCen1)
New Lost City Ramblers, "Banks of the Ohio" (on NLCR02)
Red Patterson's Piedmont Log Rollers, "Down on the Banks of the Ohio" (Victor 35874, 1928)
Pete Seeger, "Banks of the Ohio" (on PeteSeeger31)
Bill Shafer, "Broken Engagements" (Vocalion 5413, 1930, rec. 1929)
Frank Stanton [pseud. for Walter Coon], "On the Banks of the Ohio" (Superior 2544, 1930)
Ernest V. Stoneman, "Down on the Banks of the Ohio" (Edison 52312, 1928)
Ruby Vass, "Banks of the Ohio" (on LomaxCD1702)
CROSS_REFERENCES:
cf. The Wexford Girl (The Oxford, Lexington, or Knoxville Girl; The Cruel Miller; etc.) [Laws P35]
File: LF05
===
NAME: Banks of the Pamanaw, The: see On the Banks of the Pamanaw [Laws H11] (File: LH11)
===
NAME: Banks of the Pleasant Ohio, The: see Lovely Ohio, The (File: LoF039)
===
NAME: Banks of the River Dee, The: see Banks of the Ohio [Laws F5]
 (File: LF05)
===
NAME: Banks of the River Ness, The: see The Banks of the Inverness (File: HHH205)
===
NAME: Banks of the Riverine, The: see The Banks of the Nile (Men's Clothing I'll Put On II) [Laws N9] (File: LN09)
===
NAME: Banks of the Roe, The
DESCRIPTION: "Too long have I travelled the land of the stranger...." The singer wishes to return to "the land of O'Cahan," whom he recalls with pride. But those free men are long dead; he is left, and in exile, but "How I long to return to the banks of the Roe"
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: emigration exile homesickness
HISTORICAL_REFERENCES: 1385 - Death of "Cooey-na-Gal" O'Cahan
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H24b, pp. 217-218, "The Banks of the Roe" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Scarborough Settler's Lament" (theme) and references there
cf. "The Benady Glen" (for Cooey-na-Gal)
cf. "Gelvin Burn" (for Cooey-na-Gal)
cf. "The River Roe (II)" (for Cooey-na-Gal)
cf. "Slieve Gallen Brae" (for Cooey-na-Gal)
NOTES: The monastery of Dungiven (in Ulster) is believed to have been established in the eleventh century, well before the English invaded Ireland. Many leaders of the O'Cahans were buried in what became Dungiven Priory.
The most famous of these O'Cahans was "Cooey-na-Gal" ("Terror of the Stranger"). Legend has it that "Cooey-na-Gal" was buried in a fine tomb in Dungiven, covered by an excellent carving of a warrior with a sword, surrounded by small figures of kilted soldiers. The work is regarded as one of the finest tomb sculptures in Ireland.
Unfortunately, the tomb is almost certainly not that of Cooey-na-Gal O'Cahan, because it is firmly dated to the fifteenth century. The best bet is that the man buried there is Aibhne O'Cahan, murdered in 1492.
Cooey-na-Gal has managed to get his name into a number of songs, mostly in the Henry collection and mostly obscure; see the cross-references. But there is also "The Benady Glen," recorded by Deanta. That song is listed as by Manus O'Kane, and another Cooey song ("Slieve Gallen Brae") is listed as by James O'Kane. Coincidence? - RBW
File: HHH024b
===
NAME: Banks of the Roses, The
DESCRIPTION: In full form, (Jeannie) meets (Johnny) on the banks of the Roses and bids him never leave her. (Her father opposes the relationship.) Johnny takes her to a (cave) containing her grave; he kills and buries her. Many versions leave out portions of this plot
AUTHOR: unknown
EARLIEST_DATE: c. 1790 (Madden Collection); also a fragment as #7 in the _Scots Musical Museum_
KEYWORDS: courting love fiddle homicide burial family father
FOUND_IN: Britain(Scotland(Aber)) US(MA) Ireland Canada(Newf)
REFERENCES: (7 citations)
Doerflinger, pp. 315-316, "The Banks of the Roses" (1 text, 1 tune -- a lyric version)
MacSeegTrav 72, "The Banks of Red Roses" (1 text, 1 tune)
Greenleaf/Mansfield 105, "The Banks of the Dizzy" (1 text, 1 tune)
Peacock, pp. 497-498, "The Banks of the Roses" (1 text, 1 tune)
OLochlainn 80, "The Banks of the Roses" (1 text, 1 tune)
Silber-FSWB, p. 144, "Banks Of The Roses" (1 text -- a lyric version)
DT, BANKROSE BANKROS2* BANKROS3 BANKROS4* BANKROS5*
Roud #603
RECORDINGS:
Seamus Ennis, "The Banks of the Roses" (on Lomax42, LomaxCD1742)
Lizzie Higgins, "The Banks of Red Roses" (on Voice10)
NOTES: Evidently singers loved the tune of this song, and the first few verses, but didn't like the murder ballad aspect. As a result, the first half of the song circulates independently, with Jeannie and Johnny courting and either getting married or peacefully going their separate ways. The result is lyric, and I suspect survives only because of its strong melody. - RBW
Folktrax site includes the following note for "The Banks of the Roses" which might explain the Greenleaf/Mansfield title: "PETRIE 1902 #253 has Irish song to same air. 'Ta mo chleamhnas deanta' is alternative title to tune 'The Banks of the Daisies.'"  - BS
File: Doe315
===
NAME: Banks of the Schuylkill, The
DESCRIPTION: "On the banks of the Schuylkill so pleasant and gay, There blessed with my true love I spent a short day." The girl describes her happy time with the man. But now he has been taken for a soldier. She hopes they will be happily reunited
AUTHOR: unknown
EARLIEST_DATE: 1840 (Journal from the Fortune)
KEYWORDS: soldier love separation reunion
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 769, "The Banks of the Schuylkill" (1 text, 1 tune)
Huntington-Whalemen, pp. 160-161, "The Banks of the Schuylkill" (1 text)
Roud #2045
CROSS_REFERENCES:
cf. "The Banks of the Dee" (theme)
File: R769
===
NAME: Banks of the Tweed, The
DESCRIPTION: Mary says that her Willie "plays on his flute" but he'd stop if he knew she were here. Willie meets her. She complains that she hasn't seen him recently. He proposes that they "straightway repair" "to the alter of Hymen" to "join hearts and hands"
AUTHOR: unknown
EARLIEST_DATE: 1952 (IRPTunney01)
KEYWORDS: sex nonballad sheep marriage music
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-SongsThunder, pp. 111-112, "The Banks of the Tweed" (1 text)
RECORDINGS:
Paddy Tunney, "The Banks of the Tweed" (on IRPTunney01)
NOTES: Omitted from the description: Mary and Willie are both out tending their sheep. - BS
File: RcTBotT
===
NAME: Banks of the Wabash: see On the Banks of the Wabash, Far Away (File: FSWB045)
===
NAME: Bann Water Side, The
DESCRIPTION: The singer sees a pretty girl by the Bann. He offers her a comfortable life if she will marry him. She says she would rather be poor than beguiled. He promises that, if he becomes poor, he will split his last shilling with her. They are happily married
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian 2806 b.11(265))
KEYWORDS: love courting marriage money promise beauty
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H685, p. 460, "The Bann Water Side" (1 text, 1 tune)
McBride 9, "The Blackwater Side" (1 text, 1 tune)
Roud #3037
RECORDINGS:
Robert Cinnamond, "Bannwaterside" (on IRRCinnamond01)
BROADSIDES:
Bodleian, 2806 b.11(265), "The Blackwater Side" ("As I roved out one evening fair down by a shady grove"), H. Such (London), 1863-1885
File: HHH685
===
NAME: Banna's Banks: see Gramachree (File: HHH204)
===
NAME: Bannocks o' Barley Meal
DESCRIPTION: (Donald) tells of "when he was a soldier wi' Geordie the Third,"  and boasts of the skill of Scottish soldiers; "when put to their mettle they're ne'er kent to fail" when given "well-buttered bannocks o' barley meal." He illustrates his point from history
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: soldier war food bragging
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 142-144, "Bannocks o' Barley Meal" (1 text)
Roud #5653
File: FVS142
===
NAME: Bannow's Bright Blue Bay
DESCRIPTION: The singer recalls "where Bannow's Buried City lies beneath that bright blue sky." He remembers "one midnight as the moon went down beneath Rathdonnel's hill" when "the stormy sea" broke over it and it never woke again.
AUTHOR: Rev Philip Doyle, O.S.A. of Maudlintown, Wellingtonbridge
EARLIEST_DATE: 1943 (Ranson)
KEYWORDS: sea storm disaster
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 41, "Bannow's Bright Blue Bay" (1 text)
CROSS_REFERENCES:
cf. "The Rising of the Moon" (tune; I assume not "The Wearing of the Green" - BS)
NOTES: Bannow is a Wexford townland and parish. There is a "buried city" but I have no details on how it is supposed to have been lost. The Wexford tourism site does list "the Buried city of Bannow" among Bannow's attractions. - BS
File: Ran041
===
NAME: Bannow's Lonely Shore
DESCRIPTION: "As on my pillow I recline in a foreign land to rest, The love of Bannow's flowery banks still throbs within my breast." The singer remembers his youth, plus ships, birds, and "youthful joys."
AUTHOR: unknown
EARLIEST_DATE: 1948 (Ranson)
KEYWORDS: homesickness emigration lyric nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 26-27, "Bannow's Lonely Shore" (1 text, 1 tune)
NOTES: Ranson: "It is believed that the song was composed by John Kane, a native of Grange, Bannow, when in exile in America." - BS
File: Ran026
===
NAME: Bantry Girl's Lament for Johnny, The
DESCRIPTION: "Oh who will plough the field now ... Since Johnny went a-thrashing the dirty King of Spain." Everyone, even the police, miss him. "His heavy loss we Bantry girls will never cease to mourn" if he dies "for Ireland's pride in the foreign land of Spain"
AUTHOR: unknown
EARLIEST_DATE: 1884 (Graves)
KEYWORDS: grief war lament Ireland Spain separation soldier police
FOUND_IN: Ireland
REFERENCES: (5 citations)
O'Conor, p. 132, "The Bantry Girls' Lament for Johnny" (1 text)
OLochlainn 77, "The Bantry Girls' Lament" (1 text, 1 tune)
Moylan 176, "The Bantry Girl's Lament" (1 text, 1 tune)
DT, BANTRYGL BANTRYG2
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 296, 509, "The Bantry Girls' Lament for Johnny"
Roud #2999
NOTES: Sparling: "Taken from Graves' collection; on ballad-slips I have only seen very confused versions." The Graves reference is to Alfred Percival Graves _Songs of Irish Wit and Humour_ (London, 1884). I must be misreading this badly if it is an example of "Irish Wit and Humour." There are clever lines though, like the reference to the police: "The peelers must stand idle against their will and grain, For the valiant boy who gave them work now peels the King of Spain."
If the reference to "peelers" has always been part of "Bantry Girls" then it puts an earliest possible date on the ballad: 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.)
Here is a note from the MySongBook site Suzanne's Folksong--Notizen English Notes: "Learned from Tim Lyons of Clare. I mistook the locale for years and didn't realise that there was another Bantry, in North Co. Wexford, where this love song from the Peninsular War comes from. (Jimmy Crowley, notes 'Uncorked!')" Jimmy Crowley is the source for the site's text. The Peninsular War, 1808-1814, is against Napoleon's brother Joseph, installed as king of Spain. The Peninsular War reference fails my peelers reference suggestion.
This seems not to refer to Irish participation on the Cristino [supporting Queen Christina] side in the First Carlist War (1835-1837), which has the right date but wrong facts. - BS
The other possibility, I suppose, would be the War of the Spanish Succession (1701-1714); the British troops fought almost entirely in the Low Countries, but they were fighting against France, which was supporting the Spanish monarchy. This again fails the "Peeler" test, though.
Even more improbable are the various suggestions (repeated also in the Digital Tradition, e.g.) that this dates from the Peninsular Wars against Napoleon. The Peninsular War is not only is too early for the Peelers, but it also has its kings backwards: The British in the Peninsula were fighting against Napoleon, who had pushed aside the Spanish king (replacing him with Napoleon's brother Joseph, but no one except Napoleon would have called Joseph the King of Spain). - RBW
File: OLoc077
===
NAME: Baptist, Baptist Is My Name: see Gabriel's Trumpet (Baptist Numbered in God) (File: MWhee071)
===
NAME: Bar the Door O: see Get Up and Bar the Door [Child 275] (File: C275)
===
NAME: Barbara Allan: see Bonny Barbara Allan [Child 84] (File: C084)
===
NAME: Barbara Allen: see Bonny Barbara Allan [Child 84] (File: C084)
===
NAME: Barbara Buck: see The Southern Soldier Boy (Barbro Buck) (File: R238)
===
NAME: Barber Song, The
DESCRIPTION: A young barber is admired in general and in particular by a maid named Matilda. A butcher is jealous and goes to the barber shop where they fight and the butcher is killed. Matilda commits suicide; the barber goes crazy and eventually poisons himself.
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: jealousy humorous homicide suicide poison love
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 196-197, "The Barber Song" (1 text)
Roud #9158
NOTES: Harlow gives the source of this as the Vineyard Gazette (first published in 1846), but gives no date or issue. - SL
File: Harl196
===
NAME: Barbery Allen: see Bonny Barbara Allan [Child 84] (File: C084)
===
NAME: Barbro Allen: see Bonny Barbara Allan [Child 84] (File: C084)
===
NAME: Barbro Buck: see The Southern Soldier Boy (Barbro Buck) (File: R238)
===
NAME: Barbry Ellen: see Bonny Barbara Allan [Child 84] (File: C084)
===
NAME: Bard of Armagh, The
DESCRIPTION: "O, list to the tale of a poor Irish harper... Remember those fingers could once move much sharper To waken the echoes of his dear native land." The bard recalls the days of his youth and vigor, then makes requests for his death and burial
AUTHOR: unknown
EARLIEST_DATE: 1873 (broadside, LOCSheet sm1873 14657); c.1867 (broadside, Bodleian Firth b.25(11))
KEYWORDS: harp music age death burial
FOUND_IN: Ireland
REFERENCES: (5 citations)
Silber-FSWB, p. 320, "The Bard of Armagh" (1 text)
O'Conor, p. 50, "The Bard of Armagh" (1 text
Hayward-Ulster, pp. 65-66, "The Bard of Armagh" (1 text)DT, BARDARMA*
ADDITIONAL: Richard Hayward, Ireland Calling (Glasgow,n.d.), p. 10, "The Bard of Armagh" (text and music)
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 248, "Bold Phelim Brady, the Bard of Armagh" (1 text)
Roud #2654
RECORDINGS:
Margaret Barry, "The Bard of Armagh" (on IRMBarry-Fairs)
The Clancy Brothers and Tommy Makem, "The Bard of Armagh" (on IRClancyMakem02)
BROADSIDES:
Bodleian, Firth b.25(11), "The Bard of Armagh", P. Brereton (Dublin), c.1867; also Harding B 26(35), "The Bard of Armagh"
LOCSheet, sm1873 14657, "The Bard of Armagh", E. H. Harding (New York), 1873 (tune)
CROSS_REFERENCES:
cf. "The Unfortunate Rake" (tune, subject) and references there
cf. "The Streets of Laredo" [Laws B1] (tune, subject) and references there
File: FSWB320B
===
NAME: Bard of Culnady, The/Charles O'Neill
DESCRIPTION: Listeners are asked to weep for the "Sweet Bard of Culnady," Charles O'Neill. We are told that although he received little support or patronage, O'Neill was a much better musician than those in high favor.
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: music death
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H50, p. 139, "The Bard of Culnady/Charles O'Neill" (1 text, 1 tune)
Roud #9449
File: HHH050
===
NAME: Bardy Train, The: see The Duke of Buckingham's Hounds (File: Br3218)
===
NAME: Barefoot Boy with Boots On, The
DESCRIPTION: Tales of the odd life of the barefoot boy with boots on. Most of the song's lyrics are either paradoxical ("The night was dark and stormy and the moon kept shining bright") or tautological ("his pants were full of pockets and his boots were full of feet")
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Harry "Mac" McClintock)
KEYWORDS: paradox nonsense humorous family
FOUND_IN: US(MA,So)
REFERENCES: (2 citations)
Randolph 447, "Popular Gag Song" (2 texts, but only the "B" text goes with this song)
FSCatskills 154, "The Barefoot Boy" (1 text, 1 tune)
ST FSC154 (Partial)
Roud #6676
RECORDINGS:
Bill Cox, "Barefoot Boy With Boots On" (Conqueror 8231, 1933; Melotone M-13058/Perfect 13014/Oriole 8349, 1934)
Otto Gray & his Cowboy Band, "Barefoot Boy with Boots On" (Vocalion 5256, 1928)
Bradley Kincaid, "Ain't We Crazy" (Decca 5025, 1934)
"Radio Mac" [pseud. for Harry "Mac" McClintock], "Ain't We Crazy?" (Victor V-40101, 1929; rec. 1928)
CROSS_REFERENCES:
cf. "Ain't No Bugs on Me" (floating lyrics)
cf. "At the Boarding House (Silver Threads; While the Organ Pealed Potatoes)" (floating lyrics)
File: FSC154
===
NAME: Bargain With Me
DESCRIPTION: The worker is accosted by a widow, who asks him to "bargain with me." They agree on a wage, then negotiate where he will sleep. He turns down a place with the chap and the maid; she offers herself. Learning that her husband is dead, he agrees to marry
AUTHOR: unknown
EARLIEST_DATE: 1950
KEYWORDS: worker courting marriage home bargaining
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Kennedy 194, "Bargain With Me" (1 text, 1 tune)
Roud #366
CROSS_REFERENCES:
cf. "Tam Buie (Tam Bo, Magherafelt Hiring Fair)" (plot)
NOTES: In plot, this is identical with "Tam Buie (Tam Bo, Magherafelt Hiring Fair)," but the form of the latter resembles nothing so much as "My Good Old Man," while "Bargain With Me" -- though it has a similar sung-and-spoken mechanism, seems to have some inspiration from "Billy Boy."
It seems to me best to keep "Tom Buie" and "Bargain With Me" separate, while noting their extreme similarity. Roud of course lumps them. - RBW
File: K194
===
NAME: Bark Gay Head, The
DESCRIPTION: "Come all you young Americans and listen to my ditty..." The singer tells of the New Bedford whaler Gay Head, whose "rules and regulations They are most awful queer." The singer describes the builders and officers
AUTHOR: unknown
EARLIEST_DATE: 1860 (Journal from the Stella)
KEYWORDS: whaler moniker
FOUND_IN: 
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 34-36, "The Bark Gay Head" (1 text, 1 tune)
DT, BRKGAYHD*
Roud #2008
File: SWMS034
===
NAME: Barking Barber, The: see references under Bow Wow Wow (File: ChWII183)
===
NAME: Barley Corn, The: see John Barleycorn (File: ShH84)
===
NAME: Barley Grain for Me, The: see John Barleycorn (File: ShH84)
===
NAME: Barley Mow, The
DESCRIPTION: Cumulative song toasting successive sizes of drinking vessels, and those who serve them: "The quart pot, pint pot, half-a-pint, gill pot, half-a-gill, quarter-gill, nipperkin, and the brown bowl/Here's good luck, good luck, good luck to the barley mow."
AUTHOR: unknown
EARLIEST_DATE: 1838
KEYWORDS: ritual drink nonballad
FOUND_IN: Britain(England(Lond,South,West)) Australia
REFERENCES: (4 citations)
Sharp-100E 99, "The Barley Mow" (1 text, 1 tune)
Meredith/Anderson, pp. 70-71, "The Barley-Mow" (1 text, 1 tune)
Kennedy 265, "The Barley Mow" (1 text, 1 tune)
DT, BARLEYMO
Roud #944
RECORDINGS:
George Spicer, "The Barley Mow" (on Voice13)
ALTERNATE_TITLES:
Good Luck to the Barley Mow
NOTES: The brown bowl is to get sick into.
Sharp cites a reference noting that this was sung after a pre-Christian ritual called "crying the neck". -PJS
It was my understanding (don't know where I heard it) that the "Barley Mow" was a challenge -- if you fail to sing it through accurately and/or in one breath, you have to take another drink and, perhaps, buy a round for the house. Naturally, things tend to go downhill rapidly after the first error. - RBW
File: ShH99
===
NAME: Barley Raking (Barley Rigs A-Raking)
DESCRIPTION: The singer spies a couple "have a jovial treat" at hay-making time. After 20 weeks, "this fair maid fell a-sighing"; after 40 weeks, she is crying. She writes to her love. He rejects her, saying, "I dearly like my freedom."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting sex pregnancy rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 218-219, "Barley Rigs A-Raking" (1 text, 1 tune)
Roud #1024
CROSS_REFERENCES:
cf. "Oh, No, Not I" (plot) and references there
cf. "Corn Rigs (Rigs o' Barley)" (theme)
NOTES: Roud lumps this with Burns's "Corn Rigs" ("It was upon a Lammas night"). A source it may be, but Burns has done enough rewriting that I think they must be split. - RBW
File: Ord218
===
NAME: Barley Straw, The: see Davy Faa (Remember the Barley Straw) (File: K188)
===
NAME: Barnacle Bill the Sailor: see Bollochy Bill the Sailor (File: EM081)
===
NAME: Barney and Katie [Laws O21]
DESCRIPTION: Barney comes to his love Katie's door on a bitter winter night. Katie says that she is alone at home, and if she let him in she would tarnish her virtue. Despite the cold, he goes home proud of her pure name
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: courting virtue nightvisit
FOUND_IN: US(MW,NE) Canada(Mar,Newf) Ireland
REFERENCES: (7 citations)
Laws O21, "Barney and Katie"
Eddy 143, "Barney and Katie" (1 text, 1 tune)
Flanders/Olney, pp. 222-223, "Barney and Katie" (1 text, 1 tune)
Leach-Labrador 26, "Barney Flew Over the Hills to his Darling" (1 text, 1 tune)
Creighton-Maritime, p. 77, "When Barney Flew Over the Hills" (1 text, 1 tune)
O'Conor, pp. 97-98, "Katty Avourneen" (1 text)
DT 480, BARNKATE
Roud #992
RECORDINGS:
Bodleian, Harding B 26(303), "Katty Avourneen"/"Barney Avourneen," unknown (Belfast), 1846-1852
File: LO21
===
NAME: Barney Bodkin Broke His Nose: see A Bundle ot Truths (File: OO2034)
===
NAME: Barney Brallaghan
DESCRIPTION: "'Twas on a frosty night at two o'clock in the morning." Barney Brallaghan courts sleeping Judy Callaghan from under her window. He recounts her charms and his possessions. He leaves when the rain starts but promises to return until she marries him.
AUTHOR: unknown (see notes)
EARLIEST_DATE: before 1830 (broadside, Bodleian Harding B 25(124))
KEYWORDS: courting humorous storm
FOUND_IN: US(MW)
REFERENCES: (2 citations)
O'Conor, p. 45, "Barney Brallaghan" (1 text); pp. 80-81, "Charming Judy Callaghan" (1 text)
Dean, p 100, "Barney Bralligan" (1 text)
Roud #9592
BROADSIDES:
Bodleian, Harding B 25(124), "Barney Brallaghan", T. Birt (London), 1828-1829; also Firth b.25(69), "Barney Bralaghan's Courtship"; Harding B 17(17b), Johnson Ballads 2333, "Barney Brallaghan"; Firth b.26(451), 2806 c.15(273), Harding B 11(168), Harding B 11(2267), Harding B 11(167), Harding B 11(3020), "Barney Brallaghan's Courtship"; 2806 c.17(20), "Judy Callagan"; Harding B 15(41a), "Charming Judy Callaghan"
LOCSinging, sb10019b, "Barney Brallaghan", H. De Marsan (New York), 1859-1860; also as112630, "Barney Brallaghan"
NOTES: O'Conor has almost identical texts as "Barney Brallaghan" and "Charming Judy Callaghan." He shows Samuel Lover as author of the second and has no attribution for the first. At South Riding Folk Network site _The South Riding Tune Book Volume 1_, "Notes on Judy Callaghan" says that "Barney Brallaghan and Judy Callaghan were the subjects of a whole series of 'Stage Irish' comic songs." The site then quotes the text printed in O'Conor and makes the author Thomas Hudson [(1791-1844)], about 1825-1830, to a tune by Jonathan Blewitt, written between 1811-1814. None of the broadsides show an attribution.
How reliable are O'Conor attributions? See also "The Angel's Whisper."
Broadside LOCSinging sb10019b: 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
Dean's text isn't much like O'Conor's, but I'massuming they're the same based on the unlikelihood of two songs with such a title. There is also a fairly well-known fiddle tune (a slip jig) with this title, though it's hard to prove that it's the same since our texts don't have tunes. - RBW
File: OCon045
===
NAME: Barney Bralligan: see Barney Brallaghan (File: OCon045)
===
NAME: Barney Buntline: see Sailor's Consolation (File: Hugi460)
===
NAME: Barney Flew Over the Hills to his Darling: see Barney and Katie (File: LO21)
===
NAME: Barney McCoy
DESCRIPTION: "I am going far away, Nora darling... It will break my heart in two Which I fondly give to you, And no other is so loving, kind, and true." He is going away on a ship to seek his fortune; she stays to care for her mother. They do not expect to meet again
AUTHOR: unknown
EARLIEST_DATE: 1879 (Journal from the A Hicks)
KEYWORDS: love separation emigration family parting
FOUND_IN: US(MW,SE,So) Australia Ireland
REFERENCES: (6 citations)
Randolph 776, "Barney McCoy" (1 text, 1 tune)
BrownII 113, "Barney McCoy" (1 text plus mention of 2 more)
Meredith/Covell/Brown, pp. 103-105, "Barney McCoy" (1 text, 1 tune)
Huntington-Whalemen, pp. 302-303, "Norah Darling" (1 text, 1 tune)
O'Conor, p. 134, "Barney McCoy" (1 text)
cf. Gardner/Chickering, p. 477, "Barney McCoi" (source notes only)
ST R776 (Full)
Roud #2094
RECORDINGS:
Arkansas Woodchopper [pseud. for Luther Ossenbrink], "Barney McCoy" (Champion 15897 [may also have been issued as by West Virginia Rail Splitter]/Supertone 9569, 1929)
Ernest V. Stoneman, "Barney McCoy" (Challenge 152/Challenge 309/Gennett 3381/Herwin 75528, 1926-1927; rec. 1926)
[Ernest Stoneman &] Uncle Eck Dunford, "Barney McCoy" (Victor 20938, 1927)
BROADSIDES:
LOCSheet, sm1881 15663, "Barney McCoy", T. Harms & Co. (New York), sm1881 15663; also sm1882 14475, sm1882 12650, "Barney McCoy" or "I'm Going Far Away Norah Darling" (tune)
ALTERNATE_TITLES:
Nora Darling
NOTES: Everything about this song says Ireland -- except the references; I have been unable to locate a single guaranteed-traditional Irish text. There is a copyright claim from 1881, but the song is evidently older. - RBW
Might it have been "stage-Irish," American-composed? - PJS
Possible, though it's an above-average job in that case. And note the lack of a happy ending. - RBW
O'Conor not only provides an Irish claim but an indeterminate and possibly happy ending
"I am going far away, Norah, darling, And the ship is now anchored at the bay, And before to-morrow you will hear the signal gun, So be ready--it will carry us away." - BS
File: R776
===
NAME: Barney McShane
DESCRIPTION: As Barney McShane is passing the widow's door it begins to pour down rain. She tells him to come in; she'll fix him some tea and they can cuddle. The song praises her beauty
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording, Warde Ford)
KEYWORDS: beauty courting storm
FOUND_IN: US(MW,SW)
REFERENCES: (0 citations)
Roud #15469
RECORDINGS:
Bogue Ford, "Barney McShane" (AFS 4209 B2, 1939; in AMMEM/Cowell)
Warde Ford, "Barney McShane" (AFS 4204 A3, 1938; tr.; in AMMEM/Cowell)
NOTES: This has a powerful flavor of the music hall about it, and I wouldn't be at all surprised to learn of a Harry Lauder recording. But in his introduction, Warde Ford reports learning it from a Nevada man, and his brother Bogue from someone from Los Angeles.So it's in the oral tradition, and it's narrative, so in it goes. - PJS
File: RcBaMcS
===
NAME: Barney O'Hea
DESCRIPTION: "Now let me alone" says the singer to Barney O'Hea. He had "better look out for the stout Corney Creagh" and don't be impudent. Don't follow me to Brandon Fair where I'll be alone. They meet at the fair. She promises to marry "impudent Barney O'Hea"
AUTHOR: Samuel Lover (1797-1868) (Source: Hoagland)
EARLIEST_DATE: before 1886 (broadside, Bodleian Harding B 15(18b))
KEYWORDS: courting humorous rejection
FOUND_IN: 
REFERENCES: (2 citations)
O'Conor, pp. 65-66, "Barney O'Hea" (1 text)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 413-414, "Barney O'Hea" (1 text)
BROADSIDES:
Bodleian, Harding B 15(18b), "Barney O'Hea", W.S. Fortey (London), 1858-1885; also Harding B 11(2155), Firth c.26(126), Firth c.19(205), "Barney O'Hea" 
CROSS_REFERENCES:
cf. "Common Bill" (theme)
File: OCon065
===
NAME: Barney O'Lean
DESCRIPTION: The singer was to meet Barney at the gate by eight o'clock. She expects him to come to propose. But he has not appeared. She hopes he is not with another girl
AUTHOR: Words: Arthur W. French / Music: George A. Persley
EARLIEST_DATE: 1874 (sheet music, LOCSheet, sm1874 05564)
KEYWORDS: courting loneliness
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 152, "Barney O'Lean" (1 text, 1 tune)
ST E152 (Full)
Roud #5347
BROADSIDES:
LOCSheet, sm1874 05564, "Barney A'Leen," J. L. Peters (New York), 1874; also sm1885 23890, "Barney A'Leen," Oliver Ditson (Boston), 1885 (tune)
File: E152
===
NAME: Barns o' Beneuchies, The
DESCRIPTION: "My freens, ane an' a', I'll sing ye a sang... It's about a mannie Kempie... For he rages like the deevil in the mornin'." The crew that works the barns complains about Kempie and rejoices to leave; he too will be out of work soon
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: farming hardtimes food boss
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, pp. 231-232, "The Barns o' Beneuchies" (1 text)
DT, BENEUCHS*
Roud #2176
CROSS_REFERENCES:
cf. "Johnnie Cope" (tune)
File: Ord231
===
NAME: Barnyard Serenade: see Hen Cackle (File: RcOHCRGC)
===
NAME: Barnyard Song, The: see I Had a Little Rooster (Farmyard Song) (File: R352)
===
NAME: Barnyard Tumble
DESCRIPTION: Singer recounts his troubles in trying to take care of his animals. His dog is missing, his bull is 'doing the barnyard tumble' with the cows, his hens and roosters have gone on strike, his horse is in the neighbor's barn and his milk cow kicks him.
AUTHOR: unknown
EARLIEST_DATE: c. 1932 (recording, Bill Carlisle)
KEYWORDS: farming humorous animal chickens dog horse
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Bill Carlisle "Barnyard Tumble" (c. 1932; on CrowTold01)
NOTES: Just barely a ballad. - PJS
File: RcBarTum
===
NAME: Barnyards o' Delgaty, The
DESCRIPTION: The young man comes to Turra Market to seek work. A wealthy farmer promises him good conditions at Delgaty. The promises prove false; the horses are poor and lazy, and the working conditions bad. The man boasts of his abilities and cheerfully departs
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: work hardtimes abuse farming
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (5 citations)
Kennedy 242, "The Barnyards o' Delgaty" (1 text, 1 tune)
DBuchan 65, "The Barnyards o Delgaty" (1 text, 1 tune in appendix)
Ord, pp. 214-215, "The Barnyards o' Delgaty" (1 text, 1 tune)
Silber-FSWB, p. 199, "Barnyards of Delgaty" (1 text)
DT, BARNDELG
Roud #2136
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Barnyards of Delgaty" (on IRClancyMakem02)
Jimmy McBeath, "The Barnyards O' Delgaty" (on Voice05)
CROSS_REFERENCES:
cf. "The Parting Glass" (floating lyrics)
cf. "The State of Arkansas (The Arkansas Traveler II)" [Laws H1] (theme)
cf. "The Feeing Time (II)" (theme)
cf. "Linton Lowrie" (tune)
cf. "Darahill" (tune)
cf. "Rhynie" (tune, chorus, theme)
SAME_TUNE:
Darahill (File: Ord276)
Linton Lowrie (File: HHH640)
File: K242
===
NAME: Baron o Leys, The [Child 241]
DESCRIPTION: The Baron of Leys leaves his home for another country, where he gets a girl pregnant. She confronts him, demanding that he marry her, pay her a fee, or lose his head. Since he is married, he perforce pays her what she asks (ten thousand pounds?)
AUTHOR: unknown
EARLIEST_DATE: 1803 (Skene ms.)
KEYWORDS: sex pregnancy punishment
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Child 241, "The Baron o Leys" (3 texts)
Bronson 241, "The Baron o Leys" (2 versions)
Kinloch-BBook XXIII, pp. 74-76, "Laird o' Leys" (1 text)
Roud #343
File: C241
===
NAME: Baron of Brackley, The [Child 203]
DESCRIPTION: Inverey comes to Brackley's gate, calling for Brackley to come forth. The baron, with few men on hand, would stay within, but his wife shames him into going out (with 4 men against 400). Brackley is killed; Lady Brackley rejoices. (His son vows revenge)
AUTHOR: unknown
EARLIEST_DATE: 1806 (Jamieson)
KEYWORDS: revenge death feud betrayal
HISTORICAL_REFERENCES: 1666 - Reported date of the fatal feud between Brackley and Inverey.
FOUND_IN: Britain(Scotland(Aber,Bord)
REFERENCES: (8 citations)
Child 203, "The Baron of Brackley" (4 texts)
Bronson 203, "The Baron of Brackley" (3 versions+6 in addenda)
Leach, pp. 544-546, "The Baron of Brackley" (1 text)
OBB 149, "The Baron of Brackley" (1 text)
Gummere, pp. 151-154+333, "The Baron of Brackley" (1 text)
DBuchan 23, "The Baron of Brackley" (1 text)
HarvClass-EP1, pp. 119-121, "The Baron of Brackley" (1 text)
DT 203, BRNBRKLY* BRNBRKL2
Roud #4017
RECORDINGS:
Ewan MacColl, "The Baron of Brackley" (ESFB1, ESFB2)
NOTES: The feud between Brackley and Inverey seems to have arisen when the former raided Inverey's cattle and refused to give compensation. Inverey rode to Brackley's, and recovered both his own cattle and Brackley's own. Brackley, his brother, and two or three others rode forth and were killed.
It is worth noting that Margaret Burnet, Lady Brackley, married Brackley without her family's consent, implying that it was a love match. The rumour that she was untrue may have arisen because she later remarried. - RBW
File: C203
===
NAME: Barrack Street: see The Shirt and the Apron [Laws K42] (File: LK42)
===
NAME: Barrack's Song, The
DESCRIPTION: "On Wednesday morning, may the third, nineteen and forty-four, We left our homes seal hunting went." Their ship is jammed in the ice. The sealers try to set out for the barracks. The T-14 finds them the next day and takes them home 
AUTHOR: Nicolas Lane
EARLIEST_DATE: 1973 (collected from Nicolas Lane)
KEYWORDS: ship wreck rescue hunting
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 132, "The Barrack's Song" (1 text)
NOTES: No tune is listed, but this appears to be based on "The Greenland Whale Fishery" [Laws K21].
Lane's song does not specify what sort of ship the T-14 is, but I believe it was a submarine. - RBW
File: RySm132
===
NAME: Barrin' o' the Door, The: see Get Up and Bar the Door [Child 275] (File: C275)
===
NAME: Barrosa Plains
DESCRIPTION: The Prince's Own sail from Cadiz to Gibraltar Bay and land at Algesir. Their Spanish allies at Tarifa Bay refuse to fight. General Graham leads the Britons and Irish to escape an ambush, defeat the French and capture an eagle standard.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Winstock's _Songs and Music of the Redcoats_, according to Moylan)
KEYWORDS: army battle Spain patriotic
HISTORICAL_REFERENCES: March [5], 1811 - "The battle of Barrosa took place in relief of Cadiz ... when General Sir Thomas Graham defeated a French force under Marshall Victor." (source: Moylan)
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 177, "Barrosa Plains" (1 text, 1 tune)
ST Moyl177 (Partial)
Roud #2182
BROADSIDES:
cf. "The Battle of Barossa" (subject)
cf. "Oliver's Advice (Barossa)" (subject)
ALTERNATE_TITLES:
Barrosa
NOTES: The "Prince's Own" is the 87th Prince of Wales Irish Regiment of Foot which captured the first French eagle standard to be taken in battle (source: "French Revolutionary and Napoleonic Wars 1789-1815" in _The Royal Irish Regiment_ at The British Army site). - BS
This regiment is now the Royal Irish Fusiliers (Princess Victoria's); it has been combined with the 89th Foot. The 87th, according to the histories I've seen, was the regiment most praised for its work at Barrosa. The unit, in fact, earned *nine* battle honours for the Peninsular Campaign, and eventually adopted a tune called "Barrosa" (possibly this one, though I don't entirely trust that) as its quick march.
Lewis Winstock, _The Music of the Redcoats 1642-1902_, p. 125, writes, "[To] a French officer it was 'the most terrible bayonet fight I had ever seen' ... the 87th stabbing like demons and howling their war-cry -- 'Faught a ballagh,' ('clear the way') swung the balance of fortune to the British. Thomas Dibdin was one of several ballad writerswho celebrated the victory which cost the French 2,000 casualties out of a force of 7.000, but the song that has survived is the one the Irish themselves wrote. Its precise origin is unknown, but the Royal Irish Fusiliers have a set of handwritten verses which appear to date from early Victorian times."
For further background, see the notes to "The Battle of Barossa" (yes, that's the way it's spelled in that song, even though it's wrong). There are many parallels between that song and this; Roud lumps them, and I've thought about the same. But the differences are also substantial, since they involve different regiments. I very tentatively keep them separate. - RBW
File: Moyl177
===
NAME: Barrs' Anthem, The
DESCRIPTION: "Sunday the seventh of November Blackrock and Saint Finbarrs did play" St Finbarr's scored first but Blackrock led at half-time. "We pulled it right out of the fire ... The famous Blackrocks were defeated ... long life to the gallant old Blues"
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: pride sports
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 114-115, "The Barrs' Anthem" (1 text, 1 tune)
NOTES: OCanainn: "The Cork County Hurling Championship in 1926 was played between Blackrock and Saint Finbarr's. The match was generally regarded as a mere formality for Blackrock, who supplied ten players to the All-Ireland winning Cork team of the year. The result, a win for the Barrs, was a major upset." - BS
File: OCan114
===
NAME: Barry Grenadiers, The
DESCRIPTION: "You can tell we're bright young fellows, We're the elegants from the south, You can tell we're educated By the expressions from our mouths." The team boasts of its success in contests and with the ladies, and claim they can free Ireland
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: sports Ireland bragging
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 253-255, "The Barry Grenadiers" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Bowery Grenadiers" (tune)
File: MCB253
===
NAME: Barry of Macroom
DESCRIPTION: After a dinner party the whisky-punch is brought out "and soon all 'neath the table lay" except Barry. He challenges all at each whisky shop with the same result. He comes sick, ignores doctor's warning to avoid drink, and lives many years.
AUTHOR: Richard Ryan (source: Croker-PopularSongs)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: drink wife doctor disease
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 98-101, "Barry of Macroom" (1 text)
NOTES: In the first verse the singer claims no one compares to "bold Barry of Macroom" when it comes to punch-drinking. The song names two presumed champions of the past: Dan MacCarty and Jem Nash. Croker cites Smith's _History of Kerry_ where MacCarty, dead in 1751 at 112, is said to have drunk "for many of the last years of his life, great quantities ...."
Croker-PopularSongs: "The town of Macroom ... is about eighteen miles west of the city of Cork. Upwards of eighty years ago [before 1759], Smith, in his 'History of Cork,' observes that, 'in this town are some whisky distillers; a liquor and manufacture so pernicious to the poor, that it renders every other employment useless to them.'" - BS
File: CrPS098
===
NAME: Barrymore Tithe Victory, The
DESCRIPTION:  "There was a poor man, and he had but one cow, The Parson had seized her." depriving the family of milk. At auction, guarded by "the Watergrass Hill boys," "no human being would Drimon dare buy." The cow is returned.
AUTHOR: unknown
EARLIEST_DATE: c.1831 (Zimmermann)
KEYWORDS: poverty farming Ireland political animal family
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 41, "The Barrymore Tithe Victory" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Battle of Carrickshock" (subject: The Tithe War) and references there
cf. "The Moneygran Pig Hunt" (theme)
NOTES: The context is "The Tithe War": O'Connell's Catholic Association was formed in 1823 to resist the requirement that Irish Catholics pay tithes to the Anglican Church of Ireland. The "war" was passive for most of the period 1823-1836, though there were violent incidents in 1831 (source: _The Irish Tithe War 1831_ at the OnWar.com site)
Zimmermann: "The crops and goods seized when people refused to pay the tithes were auctioned; large crowds would often attend the forced sale, but refused to bid, and prevented anyone from purchasing."
Watergrass Hill and the barony of Barrymore are in County Cork.
See "Drimindown" for a discussion of Drimin, refering to a cow, as a metaphor for Ireland. In this case there is a chorus in Irish Gaelic that Zimmermann translates as "Dear brown fair-backed cow, O silk of the kine, Your people did not die but will survive, Daniel (O'Connell) and his friends are strong in the fight, And they will beat every strong man in the world that opposes them." - BS
For the Tithe War, see the notes and references under "The Battle of Carrickshock." For a later instance of Irish tenants outwitting those who would confiscate their livestock, see "The Moneygran Pig Hunt." - RBW.
File: Zimm041
===
NAME: Bas an Chroppi (The Dead Croppy)
DESCRIPTION: Gaelic. Singer finds a dying croppy. He seems transported to his mother's home. She tells him that his father has been killed. "Shall Eire never a tear bestow On the soldier who fought her fight?"
AUTHOR: Gaelic text by An Craoibhin Aoibhinn (Douglas Hyde, 1860-1949), translated by William Rooney (source: Moylan)
EARLIEST_DATE: 1898 (according to Moylan)
KEYWORDS: foreignlanguage rebellion dying Ireland
HISTORICAL_REFERENCES: 1798 - Irish rebellion against British rule 
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 139, "Bas an Chroppi" (1 Gaelic text); 140, "The Dead Croppy" (1 English text)
NOTES: The description is from the translation by William Rooney as Moylan 140, "The Dead Croppy." - BS
Douglas Hyde was the first president of the Gaelic League (though not its founder); he held the post from 1893 to 1915, when he resigned because he thought its political direction too dangerous. He joined the Senate of the Irish Free State in 1925, and was President of Ireland (the first to hold that post under the revised constitution) from 1938 to 1944/5. - RBW
File: Moyl139
===
NAME: Bashful Courtship, The: see Aunt Sal's Song (The Man Who Didn't Know How to Court) (File: LoF101)
===
NAME: Baskatong, The
DESCRIPTION: "Oh, it was in the year eighteen hundred and one When I left my poor Kate all sad and alone" to work three months on the Baskatong. The singer praises the foreman Kennedy as fair, describes the men and the food, and prepares to write home
AUTHOR: unknown
EARLIEST_DATE: 1957 (Fowke)
LONG_DESCRIPTION: Describes life in Baskatong lumber camp. The foreman, Kennedy, is a fair man; when Kennedy's Dan is driving his old horses, the harness breaks, and Dan tells the old man to stick it in his eye. Morissette is a good loader; the herrings are over-salty, and keep the men running to the river all night. Singer writes his wife, tells her it won't be long until he's home
KEYWORDS: work separation logger lumbering curse return work food humorous moniker animal horse boss worker
FOUND_IN: Canada(Ont,Que)
REFERENCES: (1 citation)
Fowke-Lumbering #16, "The Baskatong" (1 text, 1 tune)
Roud #3681
RECORDINGS:
O. J. Abbott, "The Basketong" (on Lumber01)
NOTES: Like most moniker songs, this is a disjointed collection of anecdotes, but there's just enough narrative to avoid the "nonballad" keyword. Abbott confessed to having bowdlerized several lines. - PJS
Baskatong (correct spelling) is a wetland area (now a reservoir) in Quebec. - RBW
File: FowL16
===
NAME: Basket of Eggs, The
DESCRIPTION: Two sailors offer to carry a girl's basket. She says it contains eggs. The sailors go to an ale-house. The landlord opens the basket and finds a baby. The sailors offer to pay any woman who will take the child. The girl takes the money and the child
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(166))
LONG_DESCRIPTION: Two sailors, out walking, spy a young girl and offer to carry her basket for her. She accepts, telling them it contains eggs, and asking them to leave it for her at the Half-way House. The sailors, laughing at the maid's foolishness, go to an ale-house and order up bacon to go with the eggs they have stolen. The landlord opens the basket and finds, not eggs, but a baby. Appalled, the sailors offer 50 guineas to any woman who will take the child. The girl (sitting in the corner) takes the money and the child, then informs the sailor that he is the child's father. The sailor accepts his responsibility, but angrily kicks the basket, swearing he'll never like eggs anymore. 
KEYWORDS: seduction money humorous baby sailor trick landlord
FOUND_IN: Britain(England (Lond,South,West),Scotland (Aber,Shetland))
REFERENCES: (4 citations)
Vaughan Williams/Lloyd, pp. 18-19, "The Basket of Eggs" (1 text, 1 tune)
MacSeegTrav 49, "Eggs In Her Basket" (1 text, 1 tune)
Ord, pp. 144-145, "The Foundling Child" (1 text)
DT, BASKETEG*
Roud #377
RECORDINGS:
Minty Smith, "The Basket of Eggs" (on Voice11)
BROADSIDES:
Bodleian, Harding B 28(166), "Basket of Eggs" ("Through Sandbach fields two sailors walking"), W. Armstrong (Liverpool), 1820-1824
CROSS_REFERENCES:
cf. "Quare Bungo Rye" (baby in basket motif)
cf. "The Child in the Budget" (baby in basket motif)
cf. "The Parcel from a Lady (Under Her Apron)" (plot)
cf. "I Wish My Granny Saw Ye" (plot)
cf. "The Brisk Young Butcher" (plot)
cf. "The Oyster Girl" [Laws Q13] (mysterious--read female--"box" motif)
ALTERNATE_TITLES:
The Sailor's Child
File: VWL018
===
NAME: Basket of Onions, The
DESCRIPTION: The singer engages in various activities (e.g. playing the ghost in "Hamlet"), but always thinks of the girl: "Oh, she loves another and it's no use to try, When oh, she sings out 'Sound onions, who'll buy?'"
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: love food
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 106-107, "The Basket of Onions" (1 text, 1 tune)
NOTES: Described as a music hall song, and I have no reason to doubt it. - RBW
File: MCB106
===
NAME: Basket of Oysters, The: see The Oyster Girl [Laws Q13] (File: LQ13)
===
NAME: Basket-Maker's Child, The
DESCRIPTION: "Where the green willow swayed by the brook... In a little cottage nestled in a quiet nook Dwelt the basket-maker's child." One Saturday night they told the singer that she must die. She asks to be buried by the brook, and happily goes to the Savior
AUTHOR: unknown
EARLIEST_DATE: 1862 (Beadle's Dime Song Book #9)
KEYWORDS: death love separation burial
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 714, "The Basket-Maker's Child" (1 text, 1 tune)
Randolph/Cohen, pp. 461-463, "The Basket-Maker's Child" (1 text, 1 tune -- Randolph's 714)
Roud #7379
NOTES: Is it just me, or have I heard this plot a few hundred times before? - RBW
File: R714
===
NAME: Basketong, The: see The Baskatong (File: FowL16)
===
NAME: Bastard King of England, The
DESCRIPTION: Philip of France is captured by a "thong on his prong"; when he is dragged to London, all the maids cheer him, for the Frenchman's pride has stretched a yard or more. The bastard king of En-ga-land is usurped.
AUTHOR: Attributed, probably falsely, to Rudyard Kipling
EARLIEST_DATE: 1927
KEYWORDS: bawdy disease humorous royalty disease jealousy courting homosexuality marriage sex wedding
FOUND_IN: Australia Britain(England) US(So,SW)
REFERENCES: (4 citations)
Cray, pp. 122-124, "The Bastard King of England" (1 text, 1 tune)
Randolph-Legman I, pp. 506-509, "The Bastard King of England" (2 texts, 1 tune); II, pp.655-658 (2 texts)
Silber-FSWB, p. 197, "The Bastard King Of England" (1 text)
DT, BSTDKING BSTDKNG2
Roud #8388
RECORDINGS:
Anonymous singer, "The Bastard King of England" (on Unexp1)
NOTES: Cray tells us, "As the story goes, Rudyard Kipling wrote 'The Bastard King of England' (pronounced En-ga-land') and that authorship cost him his poet laureate's knighthood. It is too bad that the attribution is apparently spurious; 'The Bastard King' would undoubtedly be Kipling's most popular work."
I'm sure none of you expect a song like this to be historical, but just in case you do, I'm going to prove it wasn't.
To start with a nitpick, there were no bastard kings of England. William the Conqueror (1066-1087) was illegitimate, and was even called "William the Bastard" as Duke of Normandy, but he won the throne of England by conquest, not birth. King Henry VII Tudor (1485-1509) also had questionable blood, but he himself was legitimate; it's just that his father was probably a bastard, and his mother's grandfather (through whom he traced his claim to the throne) was also of doubtful legitimacy. But, again, it hardly matters; Henry held the throne by right of conquest.
If you're looking for really *dirty* English monarchs, the obvious choice is the Hannoverians -- most especially George I (1714-1727). Not only was George incapable of presenting a pleasant appearance, he also was highly sexually active, and put away his wife (for having an affair) at a relatively young age.
Philip of France is only slightly clearer; France had six Kings Philip: Philip I (1060-1108, making him contemporary with William the Conqueror and his sons), Philip II Augustus (1180-1223, who warred with the English kings Henry II, Richard I, and John), Philip III the Bold (1270-1285), Philip IV the Fair (1285-1314, who also warred with England), Philip V (1316-1322), and Philip VI Valois (1328-1350).
This poses some problems. Several of these French kings were involved in wars with the English (notably Philip II, Philip IV, and Philip VI). And Philip IV, in particular, was regarded as the handsomest man in Europe. But it is noteworthy that the last of them died in 1350.
However -- the kingdom of Spain did not even come into existence until the marriage of Ferdinand of Aragon and Isabella of Castile in the latter half of the fifteenth century. Thus the first Queen of Spain, Isabella, did not ascend until a century after the death of the last Philip of France.
What's more, England and Spain had very few dealings. The only English queen from Spain was Catherine of Aragon (plus Mary I Tudor, who became Queen of Spain by marriage). In addition, Richard I the Lion-hearted married Berengeria of Navarre -- but there is no proof he ever slept with her! - RBW
Paul Stamler proposes to split this song in two, with the second having the following description: "The (unnamed) Bastard King of England is a man of dubious morals and hygiene. The amorous Queen of Spain cavorts with him; Philip of France tries to steal her away. The BKoE sends a duke with the clap to give it to Philip, after which the Queen of Spain dumps Philip and marries the BKoE. At the wedding all dance without their pants."
Paul's notes to this state, "Obviously this is a sibling (fraternal twin?) of 'Bastard King of England (I).' But since the plot elements of (I) don't appear in (II), and vice versa, I've split them. Besides, the other guy comes out on top, so to speak. 
"Incidentally, I've assigned the keyword 'homosexuality' because Silber's version, at least, makes it sound like the 'Duke of Zippity-Zap' gives Philip the clap directly rather than through a female intermediary."
I have to think, though, that the differences between the versions are the result of two sorts of rehandling: One to make the English come out ahead of some kind of furriner or other, and the other to clean up the song. After some vacillation, and a glance at the intermediate sorts of texts, I decided to keep the two together. This is one of those songs which invites self-parodying. - RBW, PJS
The recording on "The Unexpurgated Songs of Men" is of the song I consider "Bastard King of England (II)." I suspect this is Silber's source. - PJS
File: EM122
===
NAME: Bat Shay
DESCRIPTION: "Yes, Troy City was crowded On Independence Day All listening to the verdict of Bat Shay." "Do not electrocute Bat Say, The weeping neighbors said; It would break his mother's heart And kill his poor old dad." (Shay is condemned even so.)
AUTHOR: Tom Harrington ?
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: homicide political punishment execution
FOUND_IN: US
REFERENCES: (1 citation)
Burt, p. 240, (no title) (1 fragment)
NOTES: Reportedly based on an election brawl in 1894, in which Robert Ross was killed. Burt reports that no one really knows who fired the fatal shot, but Bartholomew Shay was the one tried and punished. - RBW
File: Burt240
===
NAME: Batchelor's Walk: see Bachelor's Walk (File: PGa055)
===
NAME: Batson [Laws I10]
DESCRIPTION: Batson has worked for Mr. Earle for years without being properly paid. At last he murders Earle. He is arrested and sentenced to die. Much of the ballad is devoted to details of Batson's hanging and his conversations while in prison
AUTHOR: unknown
EARLIEST_DATE: 1934 (Lomax collection)
KEYWORDS: homicide gallows-confession execution
FOUND_IN: US(So)
REFERENCES: (1 citation)
Laws I10, "Batson"
Roud #4178
CROSS_REFERENCES:
cf. "Lamkin" [Child 93] (plot)
NOTES: As far as I know, [Batson] has been collected, in anything resembling complete form, only once, in Lafayette, LA, in 1934, by Lomax, from "Stavin' Chain"
(Wilson Jones). Jones said it was based on a crime that happened near Lake Charles, LA, but Lomax's inquiries failed to confirm the story.
Nearly ten years earlier, Gordon had received three verses from two informants and had briefly looked into the factual history, sufficient to establish that the ballad is based on a crime committed near Lake Charles, LA, in 1902 and the subsequent conviction and execution, by hanging, of Albert "Ed" Batson, age 22, a hired hand on the farm of one of the victims, Ward Earll. Batson was from Spickard, Grundy County, MO.
A book written about the crime in 1903 argued that Batson's conviction on purely circumstantial evidence was probably wrong and that other leads should have been investigated. The book also states that there was high prejudice against Batson and that local citizens who swore that they could be fair jurors also made statements indicating that they were convinced of his guilt. A motion for a change of venue was denied in the face of substantial indications that Batson could not get a fair trial in the venue of the crime.
I have now made contact with relatives of Ed Batson. They know about his case, and they believe him to have been innocent. They tell of a statement clearing Ed, made many years after the murder and trial by a "colored man" who had been afraid to come forward at the time. - JG
File: LI10
===
NAME: Battle Cry of Freedom, The
DESCRIPTION: "Oh, we'll rally 'round the flag, boys, we'll rally once again, Shouting the battle cry of freedom... The Union forever, hurrah, boys, hurrah...." Sundry boasts about the might and patriotism of the Union army marching to overcome the rebels
AUTHOR: George F. Root
EARLIEST_DATE: 1862
KEYWORDS: Civilwar patriotic
FOUND_IN: US Australia
REFERENCES: (7 citations)
Meredith/Anderson, p. 34, "The Battle Cry of Freedom" (1 text, 1 tune, thoroughly mixed with "Marching Through Georgia")
RJackson-19CPop, pp. 18-21, "The Battle Cry of Freedom" (1 text, 1 tune)
Silber-CivWar, pp. 18-19, "The Battle Cry of Freedom" (1 text, 1 tune)
Darling-NAS, pp. 346-347, "Battle Cry of Freedom" (1 text)
Hill-CivWar, p. 205, "The Battlecry of Freedom" (1 text)
Silber-FSWB, p. 285, "The Battle Cry Of Freedom" (1 text)
DT, BATTLCRY*
ST MA034 (Full)
RECORDINGS:
[Arthur] Harlan & [Frank] Stanley, "Battle Cry of Freedom" (Victor 4099, c. 1904) (CYL: Edison 8805, 1904)
J. W. Myers, "Battle Cry of Freedom" (Victor 3387, c. 1904)
John Terrell, "Battle Cry of Freedom" (Berliner 1854, 1898)
CROSS_REFERENCES:
cf. "The People's Rally Cry" (tune)
SAME_TUNE:
The People's Rally Cry (Greenway-AFP, p. 61)
ALTERNATE_TITLES:
We'll Rally Round the Flag
Rally Round the Flag
File: MA034
===
NAME: Battle Hymn of the Republic, The
DESCRIPTION: "Mine eyes have seen the glory of the coming of the Lord...." A hymn of praise to a martial God, who sounds forth a trumpet "that shall never call retreat," and to Christ who "died to make men holy." The listener is reminded, "Our God is marching on."
AUTHOR: Words: Julia Ward Howe (1819-1910)
EARLIEST_DATE: 1861
KEYWORDS: religious nonballad patriotic war
FOUND_IN: US
REFERENCES: (9 citations)
RJackson-19CPop, pp. 22-24, "Battle Hymn of the Republic" (1 text, 1 tune)
Silber-CivWar, pp. 36-37, "The Battle Hymn of the Republic" (1 text, 1 tune)
Hill-CivWar, pp. 193-194, "Battle-Hymn of the Republic" (1 text)
Krythe 7, pp. 113-132, "The Battle Hymn of the Republic" (1 text, 1 tune)
Silber-FSWB, p. 286, "The Battle Hymn Of The Rebublic" (1 text)
Fuld-WFM, pp. 131-135+, "Battle Hymn of the Republic (Say, Brothers, Will You Meet Us? -- John Brown -- Glory Hallelujah -- John Brown's Baby Had a Cold upon His Chest")
DT, GLORYHAL*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), p. 90-91, "The Battle Hymn of the Republic" (1 text, 1 tune)
Walter de la Mare, _Come Hither_, revised edition, 1928; #176, "Battle Hymn of the Republic" (1 text)
ST RJ19022 (Full)
RECORDINGS:
100% Americans, "Battle Hymn of the Republic" (KKK 75005, c. 1924) 
CROSS_REFERENCES:
cf. "John Brown's Body" (tune & meter) and references there
NOTES: Yes, you read the recording listing correctly: a recording of the "Battle Hymn of the Republic" issued by the Ku Klux Klan. I haven't heard the disk in question, but one would suspect it's been slightly, umm, folk-processed. - PJS
I'm not sure even that follows; there isn't much in the Hymn that is really anti-slavery, and military metaphors are common among reactionary conservatives.
The words to this piece were written by Julia Ward Howe in November 1861 (so Fuld; Johnson says December, as Howe watched a parade of Union troops). It was first published in 1862 with neither music nor the famous "Glory hallelujah" refrain. It was not until the text and music were combined (later in 1862) that the piece became a success. - RBW
File: RJ19022
===
NAME: Battle of Alma, The: see The Heights of Alma (I) [Laws J10] (File: LJ10)
===
NAME: Battle of Antietam Creek, The
DESCRIPTION: At Antietam, singer hears a wounded comrade tell of leaving his home, disliking his master, and running off to New Orleans, where he is concripted.After ten battles, he has been wounded. The singer realizes that the man is his own brother
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording, Warde Ford)
LONG_DESCRIPTION: At the battle of Antietam Creek, singer hears a wounded comrade tell of leaving his home and family for Ohio. The man tells of being an apprentice, disliking his master, then running off to New Orleans, where he is concripted into the army. He has been in ten battles, but has finally been wounded -- by his brother, he thinks. The singer realizes that the man is his own brother, and rushes to him as he dies. The singer buries him
KEYWORDS: army battle Civilwar war parting travel death dying burial work injury brother apprentice
HISTORICAL_REFERENCES: Sept 17, 1862 - Battle of Antietam (Sharpsburg). Robert E. Lee's invasion of Maryland meets a bloody check at the hands of McClellan
FOUND_IN: US(MW)
REFERENCES: (0 citations)
Roud #15487
RECORDINGS:
Warde Ford, "The Battle of Antietam Creek" (AFS 4213 A, 1939; on LC29, in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "General Lee's Wooing" (subject)
NOTES: The Battle of Antietam/Sharpsburg was hardly a victory for anyone. It produced the highest casualties of any single day of battle in the war. By the time it was over, every regiment in Lee's army was worn out, and he may have had fewer than 25,000 effective soldiers left. McClellan still had unused troops, but he refused to commit them; his losses had also been immense.
After the battle, Lee headed back across the Potomac. The wooing of Maryland was over. The one good result of Antietam was that it was enough of a victory -- barely -- to allow Lincoln to issue the preliminary Emancipation Proclamation.
Both the fact that the dying soldier was inducted in Louisiana and the fact that he had been in ten battles would imply that he was a member of Stonewall Jackson's corps. In all likelihood, we are to believe that he was a member of either Hays's "Louisiana Tigers" (division of Ewell/Early) or Starke's/Stafford's brigade (division of Jackson/Winder/Talliaferro/Stark; later commanded by Edward Johnson). These were, apart from a few artillerymen, the only Louisiana troops in Lee's army.
What's more, the divisions of Ewell and Jackson had had harder fighting than almost any others in the army. A truly veteran regiment from other parts of Lee's army -- say the First North Carolina -- might have fought seven or eight battles by then (First Bull Run, Fair Oaks/Seven Pines, Seven Days, Second Bull Run, and Antietam, plus perhaps one or two skirmishes such as Big Bethel or Williamsburg) -- but Jackson's and Ewell's troops had also had a part in the dozen or so battles of Jackson's Valley Campaign. - RBW
File: RcBoAC
===
NAME: Battle of Ballycohy, The
DESCRIPTION: Billy Scully "turn'd from the Church." He gave notice to tenants who had paid their rent. Armoured, he was shot by "the boys of Ballycohy" and Gorman and a peeler Scully had for help were killed. "Here's success to brave Moore, says the Shan Van Voch"
AUTHOR: unknown
EARLIEST_DATE: 1868 (Zimmermann)
KEYWORDS: battle death farming Ireland landlord police
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 7D, "The Battle of Ballycohy" (1 text, 1 tune)
BROADSIDES:
Bodleian, 2806 c.7(1), "The Battle of Ballycohy," P. Brereton (Dublin), c.1867; also Johnson Ballads 2243c, "The Battle of Ballycohy"
CROSS_REFERENCES:
cf. "The Shan Van Voght" (tune)
cf. "The Shan Van Voght" (1828) for Shan Van Voght song on another subject.
cf. "The Shan Van Voght" (1848) for Shan Van Voght song on another subject.
cf. "The Shan Van Voght" and references there, including Shan Van Voght broadsides on other subjects
cf. "Rory of the Hill" (subject:  the shooting of Billy Scully)
NOTES: Zimmermann 7D: "William Scully purchased a property in Ballycohey, County Tipperary. Scully soon became the terror of his tenantry. He turned Protestant when the Catholic priest remonstrated against his conduct. In 1868, he decided to evict his twenty-one tenants, but when he went to serve his notices, he was severely wounded. His steward and a constable were killed. It is believed that the landlord wore a suit of chain-mail which saved his life. Before Scully recovered from his wounds, Charles Moore, then Member for Tipperary, purchased the Ballycohey estate." - BS
File: Zimm07D
===
NAME: Battle of Barossa, The
DESCRIPTION: "On the second day of February, from Cadiz we set sail." They travel via Gibraltar and Algiers to "the Reef o' Bay." General Graham encourages the British army. The 92nd and 81st regiments fight valiantly. The soldiers anticipate seeing home and women
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: soldier battle Spain
HISTORICAL_REFERENCES: March 5, 1811 - Battle of Barrosa
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 291-293, "The Battle of Barossa" (1 text)
Roud #2182
CROSS_REFERENCES:
cf. "Oliver's Advice (Barossa)" (subject)
cf. "Barrosa Plains" (subject)
NOTES: Roud lumps this with the poorly-attested "Oliver's Advice (Barrosa)," but the two are clearly separate songs.
The "battle" of Barrosa was more of a skirmish; the forces involved were small, though the British won a clear victory. Most histories of the Napoleonic Wars don't seem even to mention it, and the sources can't even agree on whether to call it "Barrosa" or "Barossa." (The former seems to be correct.)
The battle was part of the attempt to relieve the French siege of Cadiz. By the time the British and Spanish arrived in March 1811, Cadiz had been under siege for 13 months. But shortly before (by coincidence), the besieging commander Claude Perrin Victor (1764-1841) had had to detach about a third of his forces for use elsewhere in Spain.
Thomas Graham (1748-1843) had meanwhile brought some 5000 troops from Britain (the fleet setting sail on February 21, not February 2); they landed at Algeciras (called "Algiers" in the song) and joined a rather larger Spanish force under La Pena.
When the combined force encountered French troops on March 5, the Spanish fled, as described in the song, but Graham rallied the British and shoved aside a somewhat larger French force. He was not able to relieve Cadiz, but the British had a nice little victory to boast about.
The siege of Cadiz finally ended in August 1812. Marshal Soult, French commander in Spain, had lost at Salamanca and decided to withdraw the troops to reinforce his weakened army.
For the 92nd Regiment (Gordon Highlanders), mentioned in the song, see the notes to "The Gallant Ninety-Twa." The 81st Regiment (Loyal Lincolnshire Volunteers), has had an even more complex history, being raised in 1741 and receiving its number in 1793. It was amalgamated into the Loyal North Lancashire Regiment in 1881, and then in 1970 into the Queen's Lancashire Regiment; obviously there isn't much continuity in its history. It fought throughout the Peninsular Campaign but did not serve in the Hundred Days.
Interestingly, the song (at least the versions I've checked) does not mention the 87th Regiment (Royal Irish Fusiliers), officially regarded as the unit most responsible for the British success, which captured an eagle and celebrate March 4 (Barrosa Day) as a regimental anniversary. That regiment is, however, strongly praised in "Barrosa Plains," also about this battle.
The spelling ÒBarossaÓ in the title is Ord's; and seems to occur a lot in traditional sources (so much so that I called the battle by that name in earlier editions of the Index); I have bestowed the name "The Battle of Barossa" on that basis, even though that is not the correct name of the battle. - RBW
File: Ord291
===
NAME: Battle of Boulogne, The
DESCRIPTION: "On the second of August, eighteen hundred and one, We sailed with Lord Nelson to the port of Boulogne." The forces attack a strongly entrenched position, and suffer heavy casualties. Nelson and crews work for better times for the wounded
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: sea sailor battle death ship
HISTORICAL_REFERENCES: Aug 2, 1801 - Battle of Boulogne
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 178-179, "The Battle of Boulogne" (1 text, 1 tune)
ST StoR178 (Partial)
Roud #3175
ALTERNATE_TITLES:
The Second of August
NOTES: For a conflict involving Lord Nelson (1758-1805), most histories have little to say about the Battle of Boulogne -- many histories of the Napoleonic Wars don't mention it at all. Nelson, always aggressive, attempted an attack on the French fortifications, and was bloodily repulsed, much as described in the song.
This song is known primarily from broadsides, but Greig at least had a traditional version. - RBW
File: StoR178
===
NAME: Battle of Bridgewater, The
DESCRIPTION: "On the twenty-fifth of July, as you may hear them say, We had a short engagement on the plains of Chippewa." Although the British have 8000 men, and American generals Brown and Scott are wounded, the Americans win the day
AUTHOR: unknown
EARLIEST_DATE: 1916 (Cox)
KEYWORDS: battle soldier death
HISTORICAL_REFERENCES: July 25, 1814 - Battle of Lundy's Lane (Bridgewater)
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
JHCox 61, "The Battle of Bridgewater" (1 text)
Roud #4030
NOTES: This is item dA32 in Laws's Appendix II.
The first year of the War of 1812 went very badly for the Americans on the Canadian front, with every move repulsed (see the notes to "The Battle of Queenston Heights" and "Brave General Brock [Laws A22]"). In 1813, things went better for the Americans, as they won the Battle of Lake Erie (see the notes to "James Bird" [Laws A5]) and managed to move into Canada. But that year also saw the war turn ugly. An American militia officer named George McClure, left to garrison Fort George on the Canadian side of the Niagara River, decided he had to evacuate -- and burned the town of Newark as he left. From then on, Canadian apathy turned to anger, and the British -- with Napoleon soon to be out of the picture -- were able to escalate the war. On December 30, they burned Buffalo (see Walter R. Borneman, _1812: The War That Forged a Nation_, pp., 170-171).
1814 saw the Americans start their last offensive; a new commander, Jacob Brown, sent his chief subordinate Winfield Scott across the Niagara River on July 3 (Borneman, p. 185; Donald R. Hickey, _The War of 1812_, p. 185). They quickly swallowed up the British garrison at Fort Erie. Major General Phineas Riall, the British commander at Fort George (the main base in the area), brought together what troops he could on the Chippewa River, but of course Brown was also bringing up troops. Brown's army on July 4 marched the 16 miles to the Chippewa River (Fort Erie is on the shores of Lake Erie, the Chippewa about half way between Lake Erie and Lake Ontario, just above Niagara Falls)
The two armies met on July 5. It appears, from the numbers in Borneman (p. 189), that neither army was fully engaged; most of the fighting on the American side was done by Scott's brigade -- who, however, heavily pounded Riall's troops. That encouraged Brown to bring his entire force across the Niagara River (Hickey, p. 187).
Brown then started to march toward Queenston, the town near Lake Ontario which the Americans had signally failed to take in 1812. This time, they took Queenston Heights -- and retreated.. Brown requested naval support from Commodore Isaac Chauncey, the American commander on Lake Ontario. It was not forthcoming (Borneman, p. 189; HIckey, p. 187), meaning that Brown's supply line was the tenuous one from Fort Erie. The British, as it turned out, weren't getting naval support either -- but they were getting help. Lt. General Gordon Drummond, the British commander in Upper Canada, arrived to take charge, and troops were also trickling in. There were rumors that the British were sending forces to the American side of the Niagara. Brown fell back to the Chippewa (Borneman, p. 190).
Brown did not sit tight, though. On July 25, he sent Scott on a reconnaissance. Scott had marched only a couple of miles north toward Queenston when he ran into nearly  the entire British army in position at Lundy's Lane (which was just what it sounded like: A minor dirt road). Heavily outnumbered, Scott nonetheless stood his ground and called for help from the rest of the American army. Brown brought forward his other two brigades (though he committed only one of them).
The result was chaotic. On the American side, Scott was wounded, then Brown, leaving the army under the commandof a junior brigadier, who interepreted one of Brown's orders as a command to retreat. He did so, even leaving some British guns in the field (Borneman, p. 195). The British had their own casualties -- Riall had lost an arm and Drummond suffered a lesser wound -- but they held the field, and they had perhaps the slight advantage in casualties suffered: They lost about 875-900, representing probably 25-27% of their forces in the field (Borneman, p. 195; Hickey, p. 188); American losses were about 850, but thatÕs something like a third of their total force (I read somewhere that Amercain casualties may even have been in the 40-50% range).
The British later besieged Fort Erie (August 2-September 1); they were unable to capture it (they conducted a very costly assault on August 15, costing them another 900 or so casualties; Borneman, p. 197; Hickey, p. 189). But in November, the new Amerrican commander, George Izard, evacuated and blew up the post, and the Niagara front was finally quiet (Borneman, p. 198; Hickey, p. 189). - RBW
File: JHCox061
===
NAME: Battle of Bull Run, The [Laws A9]
DESCRIPTION: [Irvin] McDowell leads a Union army to defeat at Bull Run (Manasses Junction). The valiant rebels are compared with the cowardly Unionists, who are so completely routed that many fine Washington ladies must flee with them.
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: Civilwar battle patriotic
HISTORICAL_REFERENCES: July 21, 1861 - First battle of Bull Run/Manasses fought between the Union army of McDowell and the Confederates under Johnston and Beauregard
FOUND_IN: US(So)
REFERENCES: (3 citations)
Laws A9, "The Battle of Bull Run"
Randolph 210, "Manassa Junction" (2 texts, 1 tune)
DT 799, MANASJCT
Roud #2202
NOTES: Although the Confederates won the Battle of Bull Run (and its successor a year later), the insults they flung at their opponents were rather unfair. Both armies were raw, and had a number of inept general officers; the Confederates won more because they were on the defensive than because of any superiority on their part.
It is true, however, that the Federal army wound up in rout, and that many fine ladies who had gone out to see the show fled with them. They hardly need to have hurried, however; the Confederates were so disorganized that they could not follow up their victory.
The truth is, neither side was ready for the battle, and both fought rather poorly. Union commander Irvin McDowell was well aware that his men were not ready for combat. But it was a case of "use them or lose them"; the Federal government, in its folly, had initially enlisted soldiers for only ninety days, and by July, their terms were expiring (see, e.g., Bruce Catton, _The Coming Fury_, p. 445). So, ready or not, McDowell marched. At least he expected to have the advantage in numbers -- roughly 40,000 men to 25,000 Confederates (Catton, p. 444).
He did not realize that he would also have an enemy who played right into his hands. The Confederates were concentrated at Mannasses Junction, near a creek known as Bull Run, a few dozen miles south of Washington. Their commander was the famous Pierre Gustave Toutant Beauregard, who had commanded the bombardment of Fort Sumter that started the war. Beauregard had shown himself a competent engineer, and later would reveal some skill in defensive warfare. But whenever Beauregard was in position to plan a set piece battle, the results were pretty dreadful. Bull Run was his masterpiece. His objective was simply to hold off McDowell. But his battle plan made that nearly impossible.
The Federals would inevitably come down from Washington to a town called Centreville, about three miles away from Bull Run. From there, they would deploy and attack -- somewhere.
Beauregard had under his command the equivalent of about eight brigades. A logical approach would have been to spread them out along Bull Run, with a strong central reserve to resist where McDowell attacked. But a glance at Douglas Southall Freeman, _Lee's Lieutenants_, p. 47, shows that he did no such thing. His left was hanging in midair. In what should have been his center, he posted about two and a half brigades to guard the entire Bull Run front. The rest of his force, roughly two-thirds of the whole, he concentrated around Blackburn's Ford for a counterattack on Centreville once the Union force was defeated. Unless he received reinforcements, he had no general reserve; it was all at Blackburn's Ford.
And the Federals didn't go that way. They went around Beauregard's left, and were in position to roll up his flank (see Curt Johnson & Mark McLaughlin, _Civil War Battles_, p. 33).
Beauregard was lucky. Reinforcements were coming. There were actually two armies on the Virginia front: One between Washington and Richmond, commanded by Beauregard, and one in the Shenandoah Valley, commanded by Joseph E. Johnston. The Federals had an army in the Valley also, and it was supposed to pin Johnston down, but the Union army was commanded by an officer by the name of Robert Patterson, who had actually fought in the War of 1812 (Catton, p. 445). Patterson, old and confusing orders, simply sat, and Johnston took four brigades -- one led by a fellow by the name of Thomas Jonathan Jackson -- to Bull Run by railroad (Catton, pp. 446-449; James M. McPherson, _Battle Cry of Freedom: The Civil War Era_, pp. 339-340).
Few generals had even been luckier than Beauregard. With his army about to be defeated in detail, Johnston showed up, and they sent their troops to where the Federals were attacking. They set up a defensive line, anchored by Jackson whose brigade stood Òlike a stone wall" (earning him the nickname "Stonewall" Jackson; Catton, p. 460; McPherson, p. 342. There is controversy about exactly what happened there -- see Freeman, pp. 733-734 -- but no doubt that the Confederate line drawn by Jackson held).
Attacking is harder than defending. It's especially hard for inexperienced troops. The Union forces had done fine when they were rolling up the Confederate flank. Confronted with real opposition, they ran out of steam, and gradually the assault turned into a retreat, which turned into a rout (Freeman, p. 72; McPherson, pp. 344-345).
This should have been Beauregard's big hour. Those five brigades at Blackburn's Ford? If they could get to Centreville and hold it, they could capture nearly the entire Federal army.
No dice. Beauregard's command arrangements were so bad, and his planning so incomplete, and his forces so ill-trained, that nothing much happened (Freeman, pp. 73-78). Johnston would lter write, "Our army was more disorganized by victory than that of the United States by defeat" (McPherson, p. 345).  First Bull Run was an overwhelming Confederate victory. But it was a victory that accomplished almost nothing except to show that neither army was really ready to fight.
The Union flight back to Washington involved more than soldiers. A number of congressmen and other dignitaries had come out to see the show. After the battle, the various impedimenta they took along caused the retreat to become even more disorganized as their coaches and such fouled and blocked the bad and muddy roads. - RBW
File: LA09
===
NAME: Battle of Carrickshock, The
DESCRIPTION: The Irish are liberated: "They'll pay no more the unjust taxation, Tithes are abolished on Sliav na Mon." The Catholics exult. The battle was bloody and Luther's candle now is fading. We'll banish the oppressors and traitors.
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: battle death Ireland political police
HISTORICAL_REFERENCES: Dec 14, 1831 - Carrickshock, County Kilkenny: Peasants attack tithe process servers, killing at least 13 (source: Zimmermann)
FOUND_IN: 
REFERENCES: (1 citation)
OLochlainn-More 91, "The Battle of Carrickshock" (1 text, 1 tune)
Roud #9772
CROSS_REFERENCES:
cf. "A Discussion Between Church and Chapel" (subject: The Tithe War)
cf. "The Sorrowful Lamentation of Denis Mahony" (subject: The Tithe War)
cf. "Daniel O'Connell (II)" (subject: The Tithe War)
cf. "Fergus O'Connor and Independence" (subject: The Tithe War)
cf. "The Castlepollard Massacre" (subject: The Tithe War)
cf. "The Barrymore Tithe Victory" (subject: The Tithe War)
cf. "The Ass and the Orangeman's Daughter" (subject: The Tithe War)
cf. "Slieve Na Mon" (subject: The Tithe War and the Carrickshock Riot)
cf. "The Three O'Donnells" (subject: The Tithe War)
NOTES: OLochlainn-More: "Our song celebrates a famous victory by the peasants over the 'Peelers' [police] in the Tithe war, 1831-4."
"The event occurred on an isolated road in south Kilkenny in December 1831 when an armed police column clashed with a large crowd, resulting in the deaths of 17 people. Unlike most incidents of this kind, the majority of the victims (13) were constables." (source: _1831: Social Memory and an Irish cause celebre_ by Gary Owens, copyright The Social History Society 2004, pdf available at the Ingenta site) - BS
Starting in 1778 and continuing through the nineteenth century, the British gradually liberalized its policy toward Catholics in Ireland, as it was also doing (more rapidly) in Britain itself. By the 1830s, only two major components were left: Catholics were barred from certain offices, and they were forced to pay the tithe.
The objectionable part of the latter was that the tithes were paid to Protestant priests of the established (Anglican) Church of Ireland.
Starting in 1830 in Kilkenny, many Catholics refused to pay the tithes. What followed wasn't really a war; it was more of a boycott, with people simply withholding their payment. But the British responded by seizing property to pay the tithes. Occasionally this led to scuffles, with this riot and one at Newtownbarry (June 18, 1831) being the biggest and best-known. There were also quite a few casualties at Castlepollard (see the notes to "The Castlepollard Massacre").
In June 1833, the government effectively gave in: It no longer forced payment of the tithe, paying off the Protestant clergy with revenue from other sources. (Unfortunately, for the next third of a century, the source was the Landlords, who raised rents accordingly, making the conflict between landlords and tenants even worse. It wasn't until the Disestablishment of the Church of Ireland -- for which see "The Downfall of Heresy" -- that Protestant clergy were entirely cut off from revenue derived from Irish Catholics.)
The Tithe War was famous. Carrickshock, however, wasn't particularly; I checked four histories of Ireland without finding an index reference.
And, of course, Anglicans are not Lutherans. They are not even, in formal terms, Protestant; they form one of the three major branches of post-Catholic Christianity (the others being Lutheran/Protestant and Reformed/Presybterian). - RBW
File: OLcM091
===
NAME: Battle of Elkhorn Tavern, The, or The Pea Ridge Battle [Laws A12]
DESCRIPTION: A Union/Confederate soldier (Dan Martin) tells of how he fled from the rebels/federals at Elkhorn Tavern
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: Civilwar war
HISTORICAL_REFERENCES: Mar 7-8, 1862 - Battle of Pea Ridge (Elkhorn Tavern), Ark. Federal forces under Samuel Curtis had advanced into Arkansas, and were met by the larger Confederate forces of Earl Van Dorn. Van Dorn's envelopment strategy was too complex for his raw troops, and Curtis was able to beat them off and eventually counterattack
FOUND_IN: US(So)
REFERENCES: (6 citations)
Laws A12a, "The Battle of Elkhorn Tavern"/Laws A12b, "The Pea Ridge Battle"
Belden, pp. 368-369, "The Battle of Elkhorn Tavern" (1 text)
Randolph 209, "The Pea Ridge Battle" (1 text plus a fragment, 1 tune)
Randolph/Cohen, pp. 200-203, "The Pea Ridge Battle" (1 text, 1 tune -- Randolph's 209A)
Darling-NAS, pp. 162-163, "The Battle of Pea Ridge" (1 text)
DT 685, ELKHORNT
Roud #2201
NOTES: The officers referred to in this ballad include:
[Samuel] Curtis (1877-1866), Union commander at Pea Ridge. He was field commander of Union forces in Missouri and Arkansas for most of the war. Although badly outnumbered at Pea Ridge, he asked far less of his raw troops than Van Dorn, and so was able to win the battle
"Mackintosh" (so Belden): Probably James McIntosh (1828-1862), a Confederate general killed March 7.
[Ben] McCulloch (1811-1862), who had held field command of Confederate forces west of the Mississippi until the arrival of Van Dorn. Now relegated to command of a de facto division, he was killed on March 7
[Sterling] Price (1809-1867), former governor of Missouri and commander of Missouri's Confederate troops
"Rain": Neither army had a general named "Rain," but the Confederates had three generals named "Rains," The reference is probably to James E. Rains (1833-1862), who served in the west though he was still only a colonel (11th Tennessee) at the time of Pea Ridge
[Franz] Sigel (1824-1902), a wing and division commander under Curtis. He had attained his rank by bringing many German immigrants to the Union colors; other soldiers (both Union and Confederate) had a very low opinion of his "Dutchmen." Generally inept, Sigel had his one good day of the war at Pea Ridge. He is probably Belden's "Segal"
[William Y.] Slack (died 1862), a Confederate brigadier killed on March 7
[Earl] Van Dorn (1820-1863), commander of Confederate forces beyond the Mississippi. He was appointed to soothe the squabbles between Price and McCulloch over who was senior (the two had been squabbling about this for over a year; Price was made Major General earlier, but by the government of Missouri; McCulloch was appointed by the Confederate government). For more on his rakish personal life, see the notes to "Oh You Who Are Able...." - RBW
File: LA12
===
NAME: Battle of Fisher's Hill
DESCRIPTION: "Old Early's Camp at Fisher's Hill Resolved some Yankee's blood to spill, He chose the time when Phil was gone." Early attacks the Union troops, but Sheridan hears the fight, rides back, and rallies his troops to brush Early aside
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: battle Civilwar
HISTORICAL_REFERENCES: Sep 22, 1864 - Battle of Fisher's Hill.
Oct 19, 1864 - Battle of Cedar Creek
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 58, "Battle of Fisher's Hill" (1 text)
ST ThBa058 (Partial)
NOTES: This song appears to conflate two battles, Fisher's Hill and Cedar Creek. Phil Sheridan (the "Phil" of the song) was appointed in August 1864 to command Union forces in the Shenandoah. They had about a 3:1 edge over the understrength corps of Jubal A. Early, who had earlier raided Washington and continued to be viewed as a major threat.
The campaign began in earnest in September, with Sheridan winning a battle at Winchester on September 19 and following it up with another at Fisher's Hill on September 22.
The Union forces thought Early no longer a threat, but he regrouped and counterattacked at Cedar Creek a month later. Sheridan was away at the time, and made his famous ride back to his army to rally the troops. Early's forces (most of them starving) had scattered to plunder the Union camp, and Early had not tried hard enough to rally them to finish off the Federals; as a result, Sheridan was able to gather his forces and crush Early finally and completely.
As "Old Early Camped at Fisher's Hill," this is item dA40 in Laws's Appendix II. Thomas doesn't indicate a tune, but I suspect "Old Dan Tucker." - RBW
File: ThBa058
===
NAME: Battle of Fredericksburg, The: see The Last Fierce Charge [Laws A17] (File: LA17)
===
NAME: Battle of Gettysburg (I), The: see The Last Fierce Charge [Laws A17] (File: LA17)
===
NAME: Battle of Harlaw, The [Child 163]
DESCRIPTION: A Highland army marches to Harlaw (to claim an earldom for their leader). The local forces oppose them on principle, and a local chief kills the Highland commander. The battle is long and bloody, but the defenders hold their ground
AUTHOR: unknown
EARLIEST_DATE: 1823 (Laing)
KEYWORDS: battle nobility
HISTORICAL_REFERENCES: 1411 - Donald, Lord of the Isles, gathers an army to press his (legitimate) claim to the Earldom of Ross. Both sides take heavy losses, but the Highlanders suffer more and are driven off
FOUND_IN: Britain(Scotland(Aber),England(South))
REFERENCES: (4 citations)
Child 163, "The Battle of Harlaw" (2 texts, 1 tune) {Bronson's #7}
Bronson 163, "The Battle of Harlaw" (21 versions+1 in addenda)
Ord, pp. 473-475, "Harlaw" (1 text)
DT 163, BATHARLW*
Roud #2861
RECORDINGS:
Jeannie Robertson, "The Battle of Harlaw" (on FSBBAL2) {Bronson's #14}
Lucy Stewart, "The Battle of Harlaw" (on FSB5, FSBBAL2) (on LStewart1) {Bronson's #13}
NOTES: Most ballad books discussing Harlaw mention only the immediate cause: The conflict over the Earldom of Ross. This was real enough: The earldom had passed to a woman, Euphemia Ross, who in 1382 had married Alexander the "Wolf of Badenoch," a younger son of Robert II. (For this see, e.g., Stephen Boardman, _The Early Stewart Kings_, pp. 77-79). But this was Ross's second marriage. She had had a daughter Mary by her first marriage, and Mary had married Donald of the Isles. In any case, the marriage to Alexander had ended in divorce (Boardman, pp. 179-180).
The exact date of Euphemia Ross's death is unknown, but it was probably around 1395. Alexander of Badenoch died in 1406. Donald of the Isles, as husband of Mary Ross, was the obvious heir -- and he set out to make good that claim. Hence the events resulting in the Battle of Harlaw.
But the conflict was in fact much more important than a conflict over an earldom. Since the death of Robert Bruce, Scotland's central government had been weak even by Scottish standards: David Bruce had spent much of his reign in English hands, his successor Robert II the Steward was a tired old man, Robert III was crippled and had limited ability to rule, and the King at the time of Harlaw was James I, who was still only a teenager and in English custody as well. The country, since the time of Robert III, had been ruled by Robert Duke of Albany, the younger brother of Robert III (they shared the name Robert because Robert III was born John but took a different throne name; he thought "John" unlucky).
Albany was energetic, but not particularly efficient; Scotland degenerated into a collection of quarreling baronies. The Highlands were almost completely beyond central control. The Lords of the Isles were in effect independent kings, and they had great influence in the western Highlands. Given control of Ross, in the central Highlands, and Scotland would likely have split into two nations. Harlaw allowed the government to retain just enough control to prevent that.
This ballad is generally regarded as historically unreliable, on several counts -- a charge dating back to Child. David Buchan, however, takes a different view (see "History and Harlaw," printed in E. B. Lyle, ed., _Ballad Studies_).
The first objection to the song lies in the prominence of the Forbeses in a battle directed by the Earl of Mar. Buchan, however, alludes to Dr. Douglas Simpson's book _The Earldom of Mar_, which attempts to reconstruct this battle.
According to this view, the citizens of Aberdeenshire were concerned about the invasion by Highlandmen, and sought to block it. But they could not know which route MacDonald would take to the city -- via Harlaw or Rhynie Gap, several hours' march apart. Simpson argues that Mar garrisoned Harlaw and assigned the Forbeses, strong vassals situated in the area, to guard Rhynie.
When the Highlandmen arrived at Harlaw, Mar sent for the Forbes. They arrived on the scene, defeated the nearest Highland forces, and partly retrieved the battle. The ballad then makes sense if seen as a description from the Forbes standpoint.
The second objection, to the presence of Redcoats, Buchan meets by assuming the song has been confused with an account of the Jacobite rebellions. This strikes me as less convincing.
The third argument that the song is recent comes from the similarity of versions. Buchan argues that this could have been caused by broadsheets distributed by Alexander Laing, who printed the earliest (B) fragment known to Child. This is possible though by no means sure (no such broadsheet, to my knowledge, has been found) -- but in any case the objection is weak, because Bronson's #15, at least, represents a text well removed from the common stream. Most texts of "Harlaw" are from Aberdeenshire; they could be close together simply because many singers knew the song and could compare their texts.
Ord reports a claim that the chorus is derived from a druidic chant. Uh-huh. - RBW
File: C163
===
NAME: Battle of Jericho: see Joshua Fit the Battle of Jericho (File: LxU110)
===
NAME: Battle of Kilcumney, The
DESCRIPTION: The rebels are routed at the Battle of Kilcumney. Afterwards, nine British troops burn John Murphy's house. Four Wexford pikemen kill five of the nine. Teresa Malone escapes from the house to rebel lines after shooting one more of the attackers.
AUTHOR: unknown
EARLIEST_DATE: 1998 (Kinsella, Moran and Murphy's _Kilcumney '98--its Origins, Aftermath and Legacy_, according to Moylan)
KEYWORDS: battle rebellion escape death soldier
HISTORICAL_REFERENCES: June 26, 1798 - "The western division of the United army, under Fr John Murphy, was attacked upon Kilcumney Hill, near Goresbridge, by General Sir Charles Asgill, and dispersed. The troops did not confine their attention to the rebel army, but carried out a slaughter of the inhabitants of Kilcumney itself." (source: Moylan)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 93, "The Battle of Kilcumney" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Father Murphy (I)" (subject of Father Murphy) and references there
NOTES: This particular affair was the last spasm of a dying cause, and hardly is mentioned in most histories. The Big Event had been five days earlier, at Vinegar Hill, where General Lake had dispersed the Wexford rebels. But his encirclement had been incomplete, and a handful including Father Murphy fled toward Kilkenny (see Robert Kee, _The Most Distressful Country_, being volume I of _The Green Flag_, p. 122). Their victory at Kilcolmney (as Kee spells it) was only a skirmish, an did no real good; the locals offered no help, and the rebels continued their flight, ending eventually in the death of Murphy and others (see the notes to "Father Murphy (I)" and "Some Treat of David").
General Asgill, it is generally agreed, is as brutal as Moylan's note implies; even the pro-British Thomas Pakenham calls him "as insensitive and negligent as [British Commander in Chief General] Lake." (Pakenham, _The Year of Liberty_, p. 282). Given that Lake could at least as well have been called "snake" (with apologies to all reptiles, which possess neither guile nor treachery nor Lake's peculiar stupidity), this will give you a clear view of Asgill. - RBW
File: Moyl093
===
NAME: Battle of Mill Springs, The [Laws A13]
DESCRIPTION: A wounded soldier speaks fondly of his family and sweetheart. He wonders who will care for them. He recalls how soldiers looked so gallant when he was a little boy. He kisses the (Union) flag and dies.
AUTHOR: unknown
EARLIEST_DATE: 1925 (Cox)
KEYWORDS: patriotic battle death Civilwar
HISTORICAL_REFERENCES: Jan 19, 1862 - Battle of Logan Cross Roads (Mill Springs), Kentucky. A small battle (about 4000 troops on each side) which ended in a Confederate retreat but little substantial result except for the death of the Confederate commander Zollicoffer 
FOUND_IN: US(Ap,SE)
REFERENCES: (4 citations)
Laws A13, The Battle of Mill Springs
JHCox 65, "The Battle of Mill Springs" (1 text)
Thomas-Makin', pp. 83-86, "Wounded Soldier" (1 text, 1 tune)
DT 775, MILSPRNG
Roud #627
ALTERNATE_TITLES:
Young Edward
Young Edwards
NOTES: This isn't really about the Battle of Mill Springs, or any other battle; that's just a convenient title. Thomas's text, e.g., calls itthe conflict "Humboldt Springs," which is no battle at all (at least according to Phisterer's comprehensive list of 2261 Civil War battles) and implies that the boy is from England. It's really just a platform for a lot of familiar themes: The dying soldier bidding his family farewell, etc.
Mill Springs may have been chosen because it was one of the first battles of the war (the only prior battles of significance were First Bull Run and Wilson's Creek; Mill Springs was the first real battle on the Kentucky front). - RBW
File: LA13
===
NAME: Battle of New Orleans, The [Laws A7]
DESCRIPTION: American troops under Andrew Jackson easily repulse the British attempt to capture New Orleans. After three unsuccessful charges, the British are forced to retire.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Brewster in SFQ 1)
KEYWORDS: war battle
HISTORICAL_REFERENCES: Jan 8, 1815 - Battle of New Orleans. Although a peace had already been signed, word had not yet reached Louisiana, which Pakenham sought to invade. Andrew Jackson's backwoodsmen easily repulsed Pakenham's force; the British commander was killed in the battle.
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Laws A7, "The Battle of New Orleans"
Botkin-MRFolklr, p. 560, "The Battle of New Orleans" (1 text, 1 tune)
DT 380, BATNWOR2*
CROSS_REFERENCES:
cf. "The Hunters of Kentucky" [Laws A25] " (subject)
cf. "The Battle of New Orleans (II)" (subject)
cf. "Pakenham" (subject)
NOTES: Not to be confused with the Jimmy Driftwood song of the same name. - PJS
For the general background of the final campaigns of the War of 1812, see the notes on "The Siege of Plattsburg."
The force which attacked New Orleans had previously been involved in the Chesapeake campaign; see the notes to "The Star-Spangled Banner." The British thought to send them to Louisisana in no small part because they thought the French and Spanish residents would be unhappy with the Americans running things (see Donald R. Hickey, _The War of 1812_, p. 204). They don't seem to have done much to take advantage of that, though, and Robert Ross, who was initially supposed to command the attack, had been ordered not to make any substantial promises to the locals (Hickey, p. 205). It was one of many advantages the British voluntarily handed over to Andrew Jackson, the American commander on the Gulf of Mexico.
Jackson had had a difficult time in the War of 1812; the administration distrusted him (see Walter R. Borneman, _1812: The War that Forged a Nation_, p. 136) and tried to keep him in the background. But he had been lucky enough to be in the right place at the right time to fight the Creek War (for which see "Andrew Jackson's Raid"), and after that, he was too politically significant to be shuttled aside. When the final thrust of the war began, it came in Jackson's district.
Jackson wasn't the greatest strategist; when the British force headed for New Orleans, he was convinced it was heading for Mobile, and tried to distribute his forces accordingly (Borneman, p. 265. To be sure, the British had made an earlier probe at Mobile, which was easily repulsed; Hickey, p. 206). Fortunately, his subordinates resisted, which in the end saved Jackson a great deal of trouble. When the British arrived at the mouth of the Mississippi, Jackson's forces were scattered -- but the British were slow to attack, and Jackson was able to concentrate. Jackson also did a good job of instilling discipline into the disastrously disorderly Appalachian militia, though it took several executions to bring it about. (As it was, most of those famous "Hunters of Kentucky" would break when they first faced British troops in December.) Plus he fortified the city and its approaches, something which had been neglected until then (Hickey, p. 206).
The British failure was one of those things that was no one person's fault. The campaign had begun as early as November 26, 1814, when British Admiral Alexander Cochrane set sail from Jamaica (Borneman, p. 276). He ha with him a new Army commander; the veteran Robert Ross had been killed in Maryland. His replacement was Sir Edward Pakenham, Wellington's brother-in-law, a veteran of the Napoleonic Wars whose record till then had been good (Hickey, p. 208) but who was new to the Americas and whose command experience was limited. And the weather was generally to prove terrible, much debilitating the attackers (Hickey, p. 209).
The biggest single problem was logistic. The British fleet was not really equipped for Louisiana operations -- it needed shallow-bottomed vessels to maneuver in the marshes, and it didn't have them. This closed off some of the best routes into New Orleans. (There were three basic routes to New Orleans: By shallow boat across Lake Ponchartrain, by ship up the Mississippi, and by land across the Plain of Gentilly. The lack of boats closed off Lake Ponchartrain, an there were enough forts along the Mississippi that the admirals didnÕt want to try that. That left Gentilly, which unfortunately for the British was both marshy and narrow).
On December 23, the British advance guard met the first American militia, and routed them. The British veterans won a quick victory (Hickey, p. 209, says that the British suffered more casualties while conceding that they held the field), but their commander, not knowing the size or location of JacksonÕs main force, failed to push on (Borneman, p. 277). It would eventually prove a fatal decision by the British brigade commander John Keane.
It is rarely mentioned that Jackson brought up his troops that evening and tried a counterattack, which failed (Borneman, pp. 277-278). Still, as general Pakenham discovered when he arrived on Christmas Day, the British troops had put themselves in something of a box: The Mississippi was on their left, the impassible swamps not-quite-connecting Lakes Ponchartrain and Borgne on their right, and the Americans in their front. There were only two ways out: To go through Jackson, or to retreat -- and, by this time, with Jackson alert to their presence, it would be much harder to mount a new attack. Still, Pakenham was not ready to give up (Hickey, p. 210).
Pakenham did his best to improve the situation. His plan did not call for a simple head-on attack. Rather, he planned to send a brigade to the west bank of the Mississippi, to take over the American guns there and use them to enfilade the American lines. He also had a regiment equipped with fascines to get his troops across the Rodriguez Canal which guarded the American front. He set up several artillery batteries in field fortifications of sugar barrels to attack the American lines. (Hickey, p. 210). And he planned to attack in darkness and fog (Borneman, pp. 280-282).
None of it worked. The sugar barrels set up to guard the artillery were a disaster; it had been thought that sugar would be as good a protection as sand. It wasnÕt. The American batteries, which were emplaced in real fortifications, quickly silenced the British guns (Hickey,  pp.210-211).
The lack of transport ruined the move across the Mississippi -- a canal intended to bring up boats, demanded by the navy, proved impossible to build in the mud; instead of enough boats for a brigade, the western force crossed only a few hundred men. And the Mississippi current washed them so far downstream that they were hours late. They eventually did reach and capture the American gun emplacements -- but they were few enough that the Americans managed to spike the guns, so the west bank artillery could not have participated in the battle even had they been on time (Borneman, pp. 290-291; Hickey, p.211)
Worse still, the regiment with the fascines apparently disappeared for a time. Daylight on January 15 was approaching, and the key to Pakenham's assault was missing (Borneman, p. 285). Pakenham probably should have called off the assault, but he cannot have known all the details of the situation across the river -- a trick he could probably try only once. He ordered the attack to go ahead, somewhat late. By the time the assault was fully underway, the sun was rising. And then the fog burned off (Borneman, p. 286; Hickey, pp. 211-212).
And even the attack was botched. There were two brigades involved in the assault: GibbsÕs and Keane's. Keane started late and also ended up cutting across the field rather than attacking straight on; it was slaughtered and the commander wounded. Gibbs went straight on, and found his front ranks slaughtered. Pakenham showed up, having finally found the troops with the fascines, but was wounded. He ordered up his reserves -- but, before they could arrive, he was killed. General Gibbs also fell at the head of his troops. That left no general officers in the field (Borneman, p. 289). When General Lambert arrived with the reserve brigade, he decided to rescue what he could rather than try another fatal assault. Half an hour after Pakenham had fired the signal rocket to start the assault, the battle was over (Borneman, p. 290).
With their commander and two out of four brigadiers dead or wounded, the British reports on the battle were not especially clear, but they probably suffered about 300 killed, 1300 wounded, and 500 captured. ThatÕs roughly two-thirds of the forces committed to the actual assault on the American lines, and nearly half their total force. Jackson listed his losses as seven killed and six wounded -- though, because much of his force was militia that came and went at will, he probably didn't know the exact numbers (Borneman, p. 291). And the forces across the river had taken fifty or sixty casualties (Hickey, p. 212).
In partial defence of Pakenham (1778-1815), he was in a very unfamiliar situation; most of his best work had been as a staff officer, and although he had served in the line (including some time as a division commander in the Peninsular War), he didn't have any real experience as an independent commander. And this *was* the era of commission by purchase.
Had the war gone on, the British might still have done some damage. Lambert and Cochrane took their surviving forces to Mobile, and the city was in danger of falling when word came that peace had been made (Hickey, p. 214). - RBW
File: LA07
===
NAME: Battle of Otterbourn, The: see The Battle of Otterburn [Child 161] (File: C161)
===
NAME: Battle of Otterburn, The [Child 161]
DESCRIPTION: As armies under Earls Douglas of Scotland and Percy (aka Hotspur) of Northumberland battle, the dying Douglas asks Montgomery to conceal his corpse under a bush.  Percy refuses to surrender to the bush but does yield to Montgomery
AUTHOR: unknown
EARLIEST_DATE: c. 1550
KEYWORDS: battle borderballad death nobility
HISTORICAL_REFERENCES: 1388 - Battle of Otterburn. Scots under Douglas attack England. Although Douglas is killed in the battle, the Scots defeat the English and capture their commander Harry "Hotspur" Percy
FOUND_IN: Britain(Scotland)
REFERENCES: (8 citations)
Child 161, "The Battle of Otterburn" (5 texts, 1 tune) {Bronson's #1}
Bronson 161, "The Battle of Otterburn" (2 versions)
Percy/Wheatley I, pp. 35-51+notes on pp. 53-54, "The Battle of Otterbourne" (1 text)
Leach, pp. 436-446, "The Battle of Otterburn" (2 texts)
OBB 127, "The Battle of Otterburn" (1 text)
Gummere, pp. 94-104+323-325, "The Battle of Otterburn" (1 text)
HarvClass-EP1, pp. 88-93, "The Battle of Otterburn" (1 text)
DT 161, OTTRBURN*
Roud #3293
CROSS_REFERENCES:
cf. "The Hunting of the Cheviot" (subject)
NOTES: Needless to say, despite texts such as Child's "A" and "C," it was not Harry "Hotspur" Percy who killed Douglas at Otterburn. It is likely that Douglas's raid would not have been so successful had not the English been divided; as often happened, the Percies of Northumberland were feuding with the other great border family, the Nevilles (of Raby and Westmoreland).
Scottish sources are not really clear what was happening here. Stephen Boardman, in _The Early Stewart Kings_, notes that the Scots and French were creating a semi-coordinated attack on the English, with the inept government of Richard II not really able to do much about it (John of Gaunt had recently conducted a very damaging raid on Scotland, but the war in France was going badly).
It appears that the Scots sent down two armies, one into Cumbria toward Carlisle and one toward Northumberland. 
It has been theorized that the two Scottish armies were supposed to meet for an attack on Carlisle. But Douglas decided to go his own way. Without Douglas's troops, the western army ended up turning back. Possible, but hard to prove. For that matter, it might have been the other way: The western army might have been intended to turn east; Boardman argues that all our Scottish sources are biased by a political quarrel in Scotland between pro- and anti-Douglas factions.
Indeed, the death of Douglas almost certainly caused Scotland more harm than his victory gained them; apart from pushing Richard II of England to try harder to defeat them, the Earl had no son, and the quarrels over the Douglas succession led to many political difficulties. - RBW
File: C161
===
NAME: Battle of Pea Ridge: see Laws A12, "The Battle of Elkhorn Tavern" (File: LA12)
===
NAME: Battle of Philiphaugh, The [Child 202]
DESCRIPTION: Sir David [Leslie] comes to Philiphaugh with 3000 Scots. They find a man to lead them to Montrose's army. The man, concerned by Leslie's small numbers, reveals why he hates Montrose and reveals how to defeat him. The defeat duly takes place
AUTHOR: unknown
EARLIEST_DATE: 1803 (Scott)
KEYWORDS: battle hate
HISTORICAL_REFERENCES: Sept 13, 1645 - Battle of Philiphaugh
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Child 202, "The Battle of Philiphaugh" (1 text)
Bronson 202, comments only
Roud #4016
NOTES: The Battle of Philiphaugh saw a royalist force under Montrose defeated by Scottish Covenanters led by David Leslie. This was almost the only time Montrose was defeated in battle (Leslie's forces, hidden by a mist, surprised Montrose).
This was hailed as a great victory for the Covenanters (even though Montrose's was outnumbered, ill-supplied, and surprised), since Montrose had won a half dozen battles against equally long odds in the preceding year. But it took only one battle to ruin his reputation as invincible. From that time on, King Charles's position deteriorated rapidly. - RBW
File: C202
===
NAME: Battle of Point Pleasant, The
DESCRIPTION: "Let us mind the tenth day of October, Seventy-four, which caused woe." "Captain Lewis and some noble Captains" engage in battle with the Indians by the Ohio River; "seven score," including the officers, are casualties, but the battle is won
AUTHOR: unknown
EARLIEST_DATE: 1913 (Aplington)
KEYWORDS: Indians(Am.) battle death
HISTORICAL_REFERENCES: Oct 10, 1774 - Battle of Point Pleasant
FOUND_IN: 
REFERENCES: (1 citation)
LPound-ABS, 40, p. 93, "The Battle of Point Pleasant" (1 text)
Roud #4029
NOTES: This song is item dA31 in Laws's Appendix II. - RBW
The Battle of Point Pleasant was the culmination of "Lord Dunmore's War." John Murray, Earl of Dunmore (1732-1809), was governor of Virginia, but determined to control territories beyond the Appalachians (a plan completely contrary to official British policy). His maneuvers pushed the Shawnee and Ottowa Indians to war.
The Battle of Point Pleasant was fought when the Shawnee chief Cornstalk was caught between two converging columns of Virginia soldiers, led by Dunmore and Colonel Andrew Lewis. Cornstalk, realizing his plight, attacked Lewis's force at Point Pleasant (at the mouth of the Great Kanawha River), but was defeated.
After Point Pleasant, there was little the Shawnee could do, and diplomats had already convinced other tribes to leave them to their fate. Negotiations secured the Europeans free passage of the Ohio and hunting rights in Kentucky. - RBW
File: LPnd093
===
NAME: Battle of Prestonpans, The: see Tranent Muir (File: DTtranmu)
===
NAME: Battle of Queenston Heights, The
DESCRIPTION: "Upon the heights of Queenston one dark October day, Invading foes were marshalled in battle's dread array." General Brock, intent on repelling the invaders, leads his troops up the hill and is killed. The soldiers mourn
AUTHOR: Music: Alan Mills
EARLIEST_DATE: 1960 (Fowke/Mills/Blume)
KEYWORDS: Canada soldier death
HISTORICAL_REFERENCES: October 13, 1812 - American troops cross the Niagara River and take up a position on Queenston Heights in Canada. General Brock, the victor at Detroit, moves to drive them off. His soldiers succeed, but Brock is killed
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 66-67, "The Battle of Queenston Heights" (1 text, 1 tune)
Roud #4524
CROSS_REFERENCES:
cf. "Brave General Brock" [Laws A22] (for the earlier career of General Brock)
NOTES: Theoretically, the Americans wanted to open the War of 1812 by attacking Canada on three fronts simultaneously (see Donald R. Hickey, _The War of 1812_, p. 80; John K. Mahon, _The War of 1812_, p. 38). The main thrust was intended to be toward Montreal, with diversions along the Detroit and Niagara fronts. The idea was to cut off traffic on the Saint Lawrence, isolating Canada from Britain.
Very little of it worked. The Montreal assault started late, and the other two probes, which might have amounted to something had they been simultaneous, instead took place weeks apart -- long enough that Isaac Brock could personally deal with both of them. (Indeed, there was actually a cease-fire on the Niagara front while the Detroit campaign was going on; Mahon, pp. 75-76.)
For Brock's first success in the War of 1812, see "Brave General Brock" [Laws A22]. Having bluffed the Americans out of Michigan, and captured their army with vastly inferior forces, Brock hurried back to defend the Niagara front. Here again the Americans muffed a chance to use their superior forces.
Queenston Heights was one of those battles where the key was which side made the last mistake. The British forces were on the north side of the Niagara River (actually the west side, given that the river flows south to north), the Americans on the south (east), with their leaders itching to invade but suffering from divided command between officers who did not get along (see Walter R. Borneman, _1812: The War That Forged a Nation_, pp. 70-72; Hickey, p. 86). What was supposed to be a double-pronged assault on Queenston and Fort George (the latter to the south and the former to the north) turned into a single assault on Queenston, led by the political appointee Stephen Van Rensselaer (who had no military experience; Borneman, p. 70); General Alexander Smyth (himself a political appointee some years earlier), who should have attacked Fort George, refused direct orders to cooperate in the attack (Mahon, p. 76, tells of how Smyth avoided meeting van Rensselaer so he couldn't possibly be given orders).
The Canadian town of Queenston is about eight miles north of Niagara Falls, about half way between the Falls and Lake Ontario. The Americans in the vicinity had 3500 troops to face Brock's 2000, most of whom were about six miles away at Fort George (near Lake Ontario) rather than at Queenston, but the Americans had a horrid time finding boats to get across the river and for a time lost all their oars (Hickey, p. 87); they never did find enough transportation to move their full force (Mahon, p. 77).
The Americans eventually managed to push about 200 soldiers across the river west of the town. There was a British redoubt part-way up the Heights, which inflicted heavy casualties on the forces in its front, but Captain John Wool's company of regulars circled up the heights and came at it from above. Brock gathered the forces he could and counter-attacked. The motley crew did retake the redoubt, but Brock was dead on the field (Borneman, p. 73; Mahon, p. 79).
That wasn't the end of the battle. General Van Rensselaer sent Winfield Scott's troops across to reinforce Wool. Wool had by then retaken the redoubt (Borneman, p. 74), and Scott had 600 men to hold the position (though only 350 of them were regulars; Mahon, p. 80). Had they been reinforced, Queenston Heights might have held. But the rest of the American militia refused Van Rensselaer's pleas to cross the river (Hickey, p. 87), and British artillery was making the crossing perilous anyway, so few of the boatman were willing to go on the river (Mahon, p. 80).
From that time on, it all went bad for the Americans. Brock's second-in-command, Major General Hale Sheaffe, brought up the garrison of Fort George, giving him probably a three to one edge over Scott's forces on the Heights.
Van Rensselaer ordered Scott to retreat, and promised to have boats to evacuate his troops. But he had no boats. Scott, pinned on the river bank rather than in the strong position on the heights, was forced to surrender (Borneman, p. 75; Hickey, p. 87; Mahon, p. 80). In terms of casualties, it was an overwhelming British victory: 14 British killed, 84 wounded, and 15 missing; the Americans had 90 killed, 100 wounded, and 958 prisoners (Mahon, pp. 80-81). The only thing spoiling it for the British was the death of Brock.
In the aftermath, Van Rensselaer asked to be relieved, and Smythe (who blamed Van Renssalaer for not using his troops when heby his own actions made cooperation impossible; Mahon, p. 81) took his place and produced an even bigger mess at Fort Erie, after which he too was out of a job (Hickey, p. 88; Mahon, pp.83-85. Mahon on p. 85 reports that his reputation after this was so bad that he was threatened by some of his own troops).
The third thrust of the American offensive, the one toward Montreal (led by Henry Dearborn), was so badly organized that it didn't start until November, never made it past the Canadian border, and at one point on the way American troops fired on each other (Hickey, p. 88). So Brock, even though dead, had won another victory -- and by doing so permanently saved Canada from American occupation. The Americans would try again in 1813 (see the notes to "The Battle of Bridgewater") but while that involved much heavier fighting, it still left the Americans on their side of the Niagara. By 1814, it was the British who were invading New England (see "The Siege of Plattsburg").
These lyrics are associated with the memorial raised to General Brock in 1824. There is no reason to believe they were ever sung.
And yes, Brock's charge is the incident Stan Rogers wrote a song about (but from the standpoint of Lt. Colonel John Mcdonell, the #2 man in the field behind Brock, who also died at Queenston). I have to dispute that song's contention that Mcdonell, had he lived, "might be what Brock became"; Brock had already done far more by his campaigns in the Ontario peninsula -- victories which had earned him a knighthood, though word had not reached Canada when he died (Borneman, p. 75). And Mcdonell would soon have been superseded by Sheaffe even had he lived. And, at best, Mcdonell might have drrven the Americans back into the river before Scott could cross. But, given how the battle turned out, that would probably have made the campaign less of a British victory. - RBW
File: FMB066
===
NAME: Battle of Shiloh Hill, The [Laws A11]
DESCRIPTION: A survivor of the Battle of Shiloh describes the difficult and bloody campaign, hoping that there will be no more such battles. The sufferings of the wounded men are alluded to, as are the prayers of the dying.
AUTHOR: Words credited to M. B. Smith, 2nd Texas Volunteers
EARLIEST_DATE: 1914 (cf. Brown)
KEYWORDS: Civilwar battle
HISTORICAL_REFERENCES: April 6-7, 1862 - Battle of Shiloh. The army of U.S. Grant is forced back but, reinforced by Buell, beats off the army of A.S. Johnston. Johnston is killed. Both sides suffer heavy casualties (Shiloh was the first battle to show how bloody the Civil War would be)
FOUND_IN: US(So,SE)
REFERENCES: (6 citations)
Laws A11, "The Battle of Shiloh Hill"
Randolph 220, "The Battle on Shiloh's Hill" (1 text, 1 tune)
BrownII 229, "The Battle of Shiloh Hill" (1 text)
Lomax-FSNA 181, "The Battle on Shiloh's Hill" (1 text, 1 tune)
Silber-CivWar, pp. 56-57, "The Battle of Shiloh Hill" (1 text, 1 tune)
DT 674, SHILOHIL
Roud #2200
NOTES: The battle of Shiloh is named for Shiloh Church, around which much of the fighting centered. It is also called Pittsburg Landing, after the site where Grant made his last stand before reinforcements arrived from Buell.
Some versions of this song refer to the "second battle that was fought on Shiloh hill." This actually refers to the second day of the battle, when the reinforced Yankees drove the Confederates back.
To tell this song from Laws A10, consider this first stanza:
"Come all you gallant soldiers, a story I will tell
About the bloody battle that was fought on Shiloh hill;
It was an awful struggle and will cause your heart to chill,
It was the famous battle that was fought on Shiloh hill." - RBW
File: LA11
===
NAME: Battle of Shiloh, The [Laws A10]
DESCRIPTION: A southerner tells of the southern "victory" at Shiloh and the Yankee "retreat"
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: Civilwar battle
HISTORICAL_REFERENCES: April 6-7, 1862 - Battle of Shiloh. The army of U.S. Grant is forced back but, reinforced by Buell, beats off the army of A.S. Johnston. Johnston is killed. Both sides suffer heavy casualties (Shiloh was the first battle to show how bloody the Civil War would be)
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Laws A10, "The Battle of Shiloh"
SharpAp 136, "The Battle of Shiloh" (1 text, 1 tune)
DT 587, BATSHILO*
Roud #2199
NOTES: The Confederates could claim victory on the first day at Shiloh (Pittsburg Landing); they had thrown Grant's army back to the edge of the river and left him with only a few thousand soldiers in hand. On the second day of the battle, however, reinforcements from Buell allowed Grant to counterattack and repel the Confederates.
What's more, while the battle was close to a draw in terms of casualties, it was an overwhelming strategic defeat for the Confederates; had Grant's superior General Halleck pursued his win, the war might have been over in 1862. - RBW
File: LA10
===
NAME: Battle of Stone River, The
DESCRIPTION: Confederate General Bragg tells his men to hold the line at Stone River. Union Gen. Johnson is prepared to cut and run, but Rosecrans and Van Cleve stand firm. Singer sees the ground red with blood; Sills is killed. They fight until the rebels retreat
AUTHOR: unknown
EARLIEST_DATE: Late 1930s (AFS recording, Oscar Parks)
KEYWORDS: army battle Civilwar fight violence war 
HISTORICAL_REFERENCES: Dec 31, 1862-Jan 2, 1863 - Battle of Stones River/Murfreesboro
FOUND_IN: US(MW)
REFERENCES: (0 citations)
Roud #16820
RECORDINGS:
Oscar Parks, "The Battle of Stone River" (on AFS 1727, late 1930s) (on FineTimes)
CROSS_REFERENCES:
cf. "Ohio" (subject)
NOTES: The battle took place along the banks of the Stone River near Murfreesboro, Tennessee. The generals: Braxton Bragg, of the Confederate Army of the Tennessee; William Rosecrans, Richard Johnson, Horatio Van Cleve and Joshua Sills, of the Union Army of the Cumberland. Gen. Sills was killed by one Col. Perry, a rebel in an area with Union sympathies. Parks tells of singing a snatch this song in the woods one day when Col. Perry himself came up and made him sing the whole thing, then said, "I'm the very goddam man that shot him." - PJS
Despite the title of the song, the correct name of the battle was not Stone River but Stones River, or Murfreesboro to the Confederates -- and it was actually a multi-part battle spread over three days. On the first day, Bragg's Confederate army hit the Union right flank. The division of Richard W. Johnson (1827-1897) was the extreme flank element in the union line, and naturally was driven hardest in the assault in which Hardee's Confederate corps drove McCook's through a 180 degree angle and almost back onto the Union left rear.
It's odd to see Van Cleve (Horatio Phillips Van Cleve, 1809-1891) mentioned as one of the key props of the Union line (if we had to name one officer, it would surely be Philip Sheridan); his troops were on the Union left, intended to attack the Confederate right, and served only to strengthen the final Union line.
"Sills" is properly Joshua Woodrow Sill (1831-1862), a brigadier killed on December 31.
December 31 was the big day at Stones River, but Bragg did mount a minor second assault on January 2, 1863, which failed. The Confederates had achieved a significant tactical victory, having driven the Union troops badly, but they could not exploit the win, and Bragg retreated after the battle. On the other hand, Rosecrans and his army had been so stunned that they spent six months licking their wounds -- a lull that the Confederates could have made good use of had they had a true central command to coordinate their efforts. - RBW
File: RcTBoSR
===
NAME: Battle of the Boyne (I), The
DESCRIPTION: Battle began "upon a summer's morn, unclouded rose the sun." Williamites Schomberg, Walker, and Caillemotte are killed. James deserts his supporters who are "worthy of a better cause and of a bolder king." William would not pursue the fleeing Jacobites
AUTHOR: Lieut. Colonel William Blacker (1777-1853)
EARLIEST_DATE: battle Ireland royalty rebellion
LONG_DESCRIPTION: "It was upon a summer's morn, unclouded rose the sun." On William's side, Duke Schomberg ["the veteran hero falls, renowned along the Rhine"], Rev George Walker ["whose name, while Derry's walls endure, shall brightly shine"], and Caillemotte were killed. James deserted his supporters ["O! worthy of a better cause and of a bolder king ... many a gallant spirit there retreats across the plain, Who, change but kings, would gladly dare that battle field again"]. William would not pursue the fleeing Jacobites [.".. vanquished freemen spare"].
KEYWORDS: battle Ireland royalty rebellion
HISTORICAL_REFERENCES: July 1, 1690 - Battle of the Boyne. William III crushes the Irish army of James, at once securing his throne and the rule of Ireland. Irish resistance continues for about another year, but Ireland east of the Shannon is his, and the opposition is doomed.
FOUND_IN: 
REFERENCES: (3 citations)
O'Conor, pp. 71-72, "Battle of the Boyne" (1 text)
Edward Hayes, The Ballads of Ireland (Boston, 1859 (reprint of 1855 London edition)), Vol I, pp. 210-211, "The Battle of the Boyne"
DT, BATLBOYN
ST PGa014A (Full)
CROSS_REFERENCES:
cf. "The Boyne Water (I)" (subject: The Battle of the Boyne)
cf. "The Boyne Water (II)" (subject: The Battle of the Boyne)
cf. "Schomberg" (subject: The Battle of the Boyne)
cf. "The Bright Orange Stars of Coleraine" (subject: The triumph of William of Orange)
NOTES: Hayes's footnotes on p. 210 confirm that the allusions are to Schomberg and Walker.
Huguenot Colonel Caillemotte was killed just before noon, at about the same time Schomberg was killed. James left the field and de Lauzun sent Sarsfield's Horse and Maxwell's Dragoons to insure his safety, compromising the remaining forces's effectiveness against the Williamite cavalry (source: Michael McNally, _Battle of the Boyne 1690: the Irish Campaign for the English Crown_ (Oxford, 2005), pp.82, 86). - BS
Panic and indecision was, indeed, a strong characteristic of James VII and II (1633-1701) -- easy traits to understand in a younger son of an imperious father whose self-importance was thoroughly dealt with when he was deposed and executed when James was still only 16.
After the Restoration of the Monarchy, James's older brother Charles II (reigned 1660-1685) had managed to control parliament by many years of skillful maneuvering, and the use of French subsidies to allow him to rule without parliament. But Charles had advantages James did not: He had come in on the groundswell of support following the downfall of Oliver Cromwell's "Protectorate" (religious dictatorship) -- and Charles was, at least nominally, Protestant. Whereas James was Catholic, and there were rumors that he was behind the "Popish Plot" -- a story concocted in 1678 by one Titus Oates, which claimed the Catholics were trying to assassinate Charles and bring a Catholic takeover (see Clark, pp. 88-92. For references, see the Bibliography at the end of this note). It was basically a series of lies by Oates for personal gain, but it made the whole nation nervous.
Of James II, Clark writes (p. 111), "If tragedy is the story of a man of high worldly rank whose sufferings are due to his virtues as well as to his vices, then the reign of James II was tragic, and it is not surprising that historians... should take his personal share in them as the guiding thread through the events." Clark describes Charles as an "easy, clever temporizer" and James as "inadaptable, indeed obstinate."
James faced a rebellion at the very beginning of his reign by Charles II's illegitimate son the Duke of Monmouth; it was easily crushed (see, e.g. the notes to "Bothwell Bridge" [Child 206] and, for this whole messy period, the notes to "The Vicar of Bray."). But then James made the first of his many mistakes: Rather than disband his army, he kept it together, even giving it many Catholic officers. This at the very time that Louis XIV of France was revoking the Edict of Nantes which had granted toleration to Protestants (Clark, p. 116). Naturally the Protestants were afraid. But this did not keep James from appointing more and more Catholics to high offices (Clark, p. 117).
According to Foster, p. 141, "[T]he uneasy political strife was tipped over by a _deus ex machine_ from another quarter. This was the birth of a Catholic heir in June 1688, and the escalation of the political tempo caused by James's importation of Irish regiments in the autumn."
The heir was the real surprise. James's second wife Mary of Modena had long been barren, but now she gave birth to a son. James had two daughters by his first wife who were safely Protestant. But this child -- the so-called Old Pretender, or James III -- would be Catholic. This came as a "bombshell" to the Protestants, including the supporters of James's protestant daughter Mary and her Protestant husband William III of Orange (see Prall, p. 173). So concerned were many of the Protestants that they invited William III -- who was King of the Netherlands in his own right -- to invade England and depose James. And, by sheer luck, William was able to do so -- Louis XIV of France, who had been planning to invade Williams's kingdom, went haring off after other objectives in 1688 (Clark, p. 129) when the German princes came to William's support (Bardon, p. 151). William then was free to sail to England, helped by the famously fortunate "Protestant wind" (Clark, p. 132). Representatives of Parliament came to him after his landing (Prall, p. 234), and in effect a new form of government was agreed upon -- a much more limited monarchy, and one which placed greater stress on what we would call "human rights."
But it placed James in a difficult position. He could stay and try to convince parliament to stay on his side -- and, in the opinion of Kenyon, p. 251, he was likely to have succeeded: "James's position was still strong, probably stronger now that the idea of a military campaign had virtually been abandoned. William was in the position of aggressor, and James was free to renounce any settlement at a later date on the grounds that it had been imposed on him by force."
But James was afraid. Kenyon, p. 252, points out that all the Protestants' problems would be solved if James were dead --they could raise the infant James as a Protestant (perhaps with William and Mary as regents), or they could simply crown William and Mary as king and queen in their own right; either way, Protestantism would prevail. It was true that no sitting English king had been assassinated since at least 1100 (when William Rufus died in suspicious circumstances) and possibly since 978 (when Edward the Martyr was killed) -- but Edward II, Richard II, Henry VI, and Edward V had all died after being deposed. And there were still alive men who had ordered James's father executed forty years before. James simply didn't want to risk it; he took his family and fled England (Clark, pp. 136-138), burning the wrists of summons to the parliament while he was at it (Prall, pp. 237-238).
Technically, it was a smart move; Parliament was not in session, and had not been called, so formally the government was non-functional; it could not take action without James (see Trevelyan, p. 67). But England was not as bureaucratically paralyzed as, say, France; Parliament in effect summoned itself (Prall, p. 247), calling the meeting a "convention" to satisfy the legal niceties (Clark, p. 139). It was decided that James had abdicated (Clark, p. 140; Kenyon, pp. 254-257; Prall, p. 261; Trevelyan, p. 77). With the Old Pretender also missing, it was decided that he could not be the heir; in February the throne was awarded jointly to William III and Mary II (Bardon, p. 151) with the understanding that William was in charge for the moment, but that Mary would succeed him if she outlived him, and their children after her, and the princess Anne if William and Mary had no children. (And, as it would turn out, William and Mary didn't have offspring. Anne had quite a few, but they all predeceased her, which would lead to another set of problems.)
But James, not too surprisingly, wasn't willing to give up that easily. His mistakes meant that England was almost universally happy with the settlement the Parliament created (the Whigs had of course long wanted to reduce the power of the monarchy, which they had, and even the Tories, who would ordinarily have supported James, were Protestants and so preferred a Protestant monarch). But there was discontent in Scotland -- and then there was Catholic Ireland.
Plus there was Louis XIV of France. In the reign of Charles II, he had used cash to keep England out of his way. But William III would not be bought -- so Louis used distraction instead. Foster, p. 141, notes that "[t]he impetus that led to James's last stand at the Boyne came from Louis XIV's encouragement rather than his own ambition." Clark, p. 291, adds that "Within three months of his arrival [in France,James] was packed off again, and on 22 March he landed at Kinsale.
"His aims still diverged from those of the Irish. He wanted to return to Britain, merely taking Ireland on his way, and once he had got back to England or Scotland, he would no doubt have looked on Ireland as before" [i.e. as a dependency].
James spent the next few months fiddling around with Irish politics. His military situation deteriorated badly in that time; the siege of Londonderry failed (see the notes to "The Shutting of the Gates of Derry"), and his troops had been defeated at Newtownbutler (Clark, p. 294); the battle ended in a massacre which almost destroyed the Jacobites of Ulster (Bardon, p. 159).
James lasted as long as he did only because William of Orange didn't really think his invasion was of much significance: "King William had at first been disposed to regard [Ireland] as altogether subsidiary to the continental was, and he did not yield to the English statesmen who urged him to lead an army against James in person. It was even with reluctance that he sent his best general, Schomberg, with a force which should have amounted to 20,000 men, or more than double the contingent sent in that year to the Low Countries. Schomberg landed on August 23 on the cost of County Down near Bangor. His army was far below its nominal strength, ill-provided and, except for the foreign regiments, untrained and badly officered.... None the less he made a good start, capturing Carrickfergus and moving forward in September to Dundalk. Here, however, he had to halt. Rain and very heavy losses from disease were added to his troubles" (Clark, pp. 294-295).
Schomberg landed in Ballyhome Bay on August 13, 1689 by the modern calendar; there was no opposition, only a great crown of Protestants  giving thanks for their deliverance (Bardon, p. 159). Unfortunately, Schomberg -- who was 74 or 75 and a former Marshal of France expelled for being a Protestant (Hayes-McCoy, p. 222) -- was slow to follow up his success that year (Bardon, p. 160). Some of the soldiers on James's side thought that Schomberg was trapped, but James refused to do anything about it. Schomberg, his forces reduced to about 7000, sat tight for the winter (Hayes-McCoy, p. 223).
After half a year of inaction, the English King decided that Schomberg was not getting the job done (William reportedly met him with coldness; Bardon, p. 161); on "24 June 1690 William himself landed at Carrickfergus" (Clark, p. 295), not long after Schomberg had captured Charlemont, the last holdout for James in Ulster. (Fry/Fry, p. 161, and Bardon, p. 161, however, give William's landing date as June 14, and most other sources I checked say simply "June 1690." It appears this is the usual difference between Old Style and New Style dates, since Clark also uses the date of July 11 for the Battle of the Boyne itself.)
The Battle of the Boyne soon followed. Clark, p. 295, reports, "The Protestant army numbered something less than 40,000 men, including six Dutch, eight Danish, and three hugenot battalions, so that the greater part of the infantry were foreign. Against them James had a somewhat smaller force, of which seven battalions were Frenchmen who had come over in the winter under the command of the romantic and incompetent duc de Lauzun."
However, the Irish force was ill-equipped and ill-trained; Hayes-McCoy, p. 218, reports "There was no lack of men, 'the finest men one could see,' said D'Avaux, strong, tall and capable of enduring fatigue; but they were poorly armed -- some whom D'Avaux saw carried only staves; their opponents noticed that 'some had scythes instead of pikes' -- and they were inadequately trained and most inadequately equipped." And this at a time when even pikes were going out of use -- although the habit for some time had been to mix muskets and pikes, the ratio of muskets to pikes was steadily increasing -- a ratio of 5:1 or more was becoming standard in the regiments in William's army (Hayes-McCoy, p. 219), since the only purpose of the pikes was to resist cavalry. A portion of William's troops had the new flintlock muskets; the rest of his forces, and nearly everyone on James's side, had to use matchlocks (Hayes-McCoy, p. 220).
Foster, p. 148, observers, "The most striking thing about this confused battle is the internationalism of both sides: Irish, French, German, and Walloon [for James] versus Irish, English, Dutch, Germans, and Danes [for William]." Bardon, pp. 162-163, adds French Huguenot to this list; William's's army "represented the Grand Alliance against France."
According to Fry/Fry, p. 161, "William review his army of 36,000 men in Co. Down on 22nd June. Then he moved south toward Dublin, which was the immediate prize, and reached Dundalk. James decided to make his stand upon the river Boyne. He was only slightly outnumbered, he had had all winter to train his Irishmen, and he picked his ground well." The battlefield site is just west of the town of Drogheda (Bardon, p. 162). Hayes-McCoy, p. 224, reports that "To defend the line of the Boyne was the only practicable course open to James if he was to prevent an opponent who had come as far as Dundalk from reaching Dublin. The ground between Dundalk and the capital is in general low lying and easily traversed." The Boyne was the only significant east-west obstacle in the area.
Hayes-McCoy, p. 225: "The Boyne was fordable in many places in 1690; still, William's progress might be contested on its banks. The Jacobite army which occupied the south bank with its centre at Oldbridge, Co. Meath, its right at Drogheda and its left towards Slane was in position to make the attempt. It would have been impossible for William, if the Jacobites were to stand, and he was to retain anything of his reputation, to avoid the battle. Unfortunately, the Jacobite position, although it was the only one that could have been taken up on the river, had two serious defects. The river Boyne... forms a large loop around [a] ridge of high ground...." In other words, there was a salient in the center of James's line, which William could attack from three sides with his artillery.
"The second weakness of the terrain as far as James was concerned lay in the fact that an enemy force on the south bank at Rosnaree would be nearer to Duleek [a town in James's rear that offered the only good crossing of the river Nanny] than he was at Donore" (Hayes-McCoy, p. 226). In other words, a maneuver around James's left could block his retreat to Dublin and take him in rear. As a result, "James's security depended on guarding his left." And, according to Hayes-McCoy, he had only about 25,000 men. That meant that William would have a big advantage somewhere along the line.
William himself nearly became the first casualty of the batle; he was among his Dutch Guards when they came under Jacobite artillery fire, and his shoulder was grazed -- but he continued his inspection (Hayes-McCoy, p. 226).
Reportedly the day began with mist, "but the day brightened with the mounting sun and the words of the song that the victors were to sing -- 'July the first, in a morning clear' -- were justified" (Hayes-McCoy, p. 230).
There is a map of the battle on p. 217 of Hayes-McCoy, William, though not known for his generalship, fooled James: He sent a feint upstream (west), around James's left, which drew off James's Frenchmen, meanwhile using his much-superior artillery to bombard James's front at Oldbridge. William's army then crossed the stream for a frontal attack on the Jacobite center (Bardon, p. 163).
According to Hayes-McCoy, p. 228, about two-thirds of the army made the attack at Oldbridge, and one-third made the encircling movement. The latter proved a smashing success; James had only a regiment of dragoons guarding the crossings on his left, and they were forced back and their commander killed (Hayes-McCoy, p. 230). The entire 10,000 troops of William's flanking maneuver were soon across the stream. James responded by sending roughly half his army there. But, of course, that left that big salient in his center relatively weak -- and under attack by twice its numbers.
The main attack went in at 10:00, timed to coincide with a tide that lowered the river somewhat. The first assault was met by an Irish counterattack that stopped them. (For a brief moment, the lack of pikes in the Williamite army helped the Irish cavalry.) It was at this point that Caillemotte, the Huguenot commander of a regiment in the second line, was killed; his troops had neither pikes nor bayonets nor any sort of obstacles to stop cavalry. (Hayes-McCoy, p. 232).
There is confusion about what happened to Schomberg, though he too fell at about this time; Bardon, p. 163, reports, "Schomberg was killed by mistake by a French Huguenot who 'shot him in the throat, and down he dropped dead,' according to Southwell; however, Danish and Irish accounts say the Duke was slain by one of Tyrconnell's Life Guards. The Reverend George Walker was also killed." (Walker was, according to Bardon, p. 154, "Church of Ireland rector of Donoughmore," famous for his part in organizing the successful defence of Derry; he managed to find time before his death to write a _True Account of the Siege of Derry_.)
But William had other troops available, and a second column crossed the Boyne (at a place the Jacobites thought unfordable) and attacked at 11:00. A third force joined the attack around noon. Finally, the Jacobite center was forced back. The left, now threatened with attack in front and back, had to follow. The Irish cavalry performed magnificently -- but they were not enough (Hayes-McCoy, pp. 234-235).
Fry/Fry, p. 162: "James' Irish infantry could not hold them, though his cavalry under Tyrconnell (now a duke) charged with reckless valour again and again. The French had been positioned too far away to be of much help; they only lost six men in the whole battle, but hey checked William's men sufficiently to give James the chance of a fairly orderly retreat. Dublin was evacuated, and Tyrconnell ordered the French and Irish forces to Limerick, while James slipped quietly back to France."
Clark, p. 295, estimates James's losses at 1500 (or 6% of his force), and William's at 500 (less than 2%).
Clark, p. 296: "[James] himself, despairing too soon, spent only one night in Dublin, made off to Waterford and Kinsale, and landed in France before the end of the month."
The fight in Ireland continued until the Battle of Aughrim -- which, unlike the Boyne, was a complete defeat for the Irish and French. For the aftermath, see "After Aughrim's Great Disaster."
Bardon notes, pp. 163-164, "The Battle of the Boyne was not a rout.... The Irish and French retired in good order to fight doggedly behind the Shannon for another year. Yet the battle was decisive; it was a severe blow to Louis XIV's pretensions to European hegemony... James, who made a precipitate flight to France, could no longer think of Ireland as a springboard for recovering his throne; for the English the Glorious Revolution and parliamentary rule were made secure... and for Ulster Protestants the battle ensured the survival of their plantation and a victory for their liberty to be celebrated from year to year."
Hayes-McCoy, pp. 235-236: "The Boyne was a significant rather than a great battle. As a result of it William won Dublin and Leinster and more than half of Munster -- priceless advantages. It was reckoned a great victory by that part of Europe that opposed Louis XIV... but its real significance was, after all, Irish. Although the defeated army continued to fight for more than a year after the date of its discomfiture, it did so with diminishing hope of success. Militarily the Boyne was the decisive battle of the war. Yet the fact that it became the rallying cry of the ascendancy that it served to set up was to suggest that it hadn't really been decisive after all."
Trevelyan, p. 121: "The destruction of James's army [at the Boyne]... and his own too early flight first from the field and then back to France, put the victors in possession of Dublin and three-quarters of Ireland. The English Revolution was saved, and England had set her foot on the first rung of the latter that led her to heights of power and prosperity in the coming years. And by the same action Ireland was thrust back into the abyss."
Author Blacker also wrote "No Surrender (II)" in this Index.
>>BIBLIOGRAPHY<<
Bardon: Jonathan Bardon, _A History of Ulster_, Blackstaff Press, 1992
Clark: G. N. Clark, _The Later Stuarts 1660-1714_, Oxford, 1934, 1944
Foster: R. F. Foster, _Modern Ireland 1600-1972_ Penguin, 1988, 1989
Fry/Fry: Peter and Fiona Somerset Fry, _A History of Ireland_, Barnes & Noble, 1988, 1993
Hayes-McCoy:  G. A. Hayes-McCoy, _Irish Battles: A Military History of Ireland_ (Barnes & Noble, 1969, 1997)
Kenyon: J. P. Kenyon, _Stuart England_, being part of the Pelican History of England, Pelican,1978
Prall: Stuart Prall, _The Bloodless Revolution: England, 1688_, Anchor, 1972
Trevelyan: G. M. Trevelyan, _The English Revolution 1688-1689_, Oxford, 1938 - RBW
File: PGa014A
===
NAME: Battle of the Boyne (II), The
DESCRIPTION: "July the first, in Oldbridge town ...." "In vain they marched to slaughter;For oh! 'tis lost what William won That day at the Boyne Water" "Fear has lost what valour won" May "days return when men shall prize The deeds of the Boyne Water"
AUTHOR: unknown
EARLIEST_DATE: c.1895 (Graham)
KEYWORDS: battle Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Graham, p. 9, "The Battle of the Boyne" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Girl I Left Behind Me (II - lyric)" (tune)
cf. "The Boyne Water (I)" (lyrics)
NOTES: The beginning of the first verse is the beginning of "Boyne Water (I)".  Home Rule for Ireland had been defeated in 1885 and 1893; is this about fear of its approach?  (See, for example, "A Loyal Song Against Home Rule.") - BS
Alternately, perhaps, it's a reference to the elimination of the Protestant Ascendency, under which Catholics were required to pay tithes to support the Protestant clergy (for which see, e.g., "The Downfall of Heresy").. The answer probably depends on the date of the song. The Church was disestablished in 1869. The Home Rule issue came up soon after; it never passed in the nineteenth century, because any time the Liberals came close to putting it through, the Conservatives would win an election and suppress the matter. But that made it a constant irritant to the people of Ulster. - RBW
File: Grah009
===
NAME: Battle of the Diamond, The
DESCRIPTION: "We men of the North" defeated a brand-wielding "lawless band" in a deadly battle on Diamond Hill. For the singer, that battle is the model for future encounters. "We have bided our time -- it is well nigh come! It will find us stern and steady"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: battle death Ireland patriotic
HISTORICAL_REFERENCES: Sep 21, 1795 - The Battle of the Diamond [at Diamond Crossroads] between the Roman Catholic Defenders and the Protestants of the area (source: _The Orange Institution - The Early Years_ at Grand Orange Lodge of Ireland site.)
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 11, "The Battle of the Diamond" (1 text)
CROSS_REFERENCES:
cf. "Not a Drum Was Heard" (tune, according to OrangeLark)
cf. "The Battle of the Navvies" (tune)
NOTES: OrangeLark: "The song itself is an account of a battle which was to have a profound effect on Irish history. It was between the Roman Catholic "Defenders" and the Protestant "Peep o' Day Boys." The Defenders who had some thirty men killed were frustrated in their intention to expel the Protestants from Co. Armagh. The Protestants defeated their enemies without loss of life. The victors, with joined hands pledged themselves to defend the Crown, the Country and the Reformed Religion. Shortly afterwards they founded the Loyal Orange Institution of Ireland."
For some background on Defenders and Peep o' Day Boys, see the notes to "Bold McDermott Roe" and "The Noble Ribbon Boys." For more on the Loyal Orange Institution see the notes to "Dialogue Between Orange and Croppy." - BS
According to Robert Kee, _The Most Distressful Country_ (being Volume I of _The Green Flag_), Penguin, 1972, 1989, p. 71, "The new outbreak of feuding in the North reached its cllimax in September 1795 at the so-called Battle of the Diamond, a piece of ground near the town of Armagh. A large party of Defenders attacked  party of Peep o' Day Boys there and got the worst of it, leaving twenty or thirty corpses on the field. The incident, which by itself constituted nothing new, is a historical landmark since it led the Peep o' Day boys to reorganize under a name which was to play an increasingly significant role in the future of Ireland: the Orange Society -- the colour orange having long been a popular symbol with which to celebrate the victory of William of Orange over James II a century before."
Kee's assertion that the battle was "nothing new" is supported by Jim Smyth, _The Men of No Property_ (St. Martin's Press, 1992, 1998), pp. 110-111: "In December 1794, for example, Defenders and Peep O'Day Boys, 'young boys and idle journeymen weavers', clashed at a fair. After the twelfth of July celebrations the following year a group of Catholic were attacked near Portadown. The tenions which such incidents revealed culminated in the set-piece battle at the Diamond.... Although heavily reinforced by contingents from the neighbouring areas of Down, Derry, and, particularly, Tyrone, the Defenders were badly beaten, suffering between seventeen and forty-eight casualties. This rout was then followed by the mass expulsion of catholics. At least one church was burned down and catholic homes and property -- looms, webs, and yarn -- were destroyed.... Estimates of the number of refugee ran from 3,500 to 10,000.... The Defenders at the battle of Randalstown in 1798 carried a banner inscribed 'REMEMBER ARMAGH'."
R. F. Foster, in _Modern Ireland: 1600-1972_ (Penguin, 1988, 1989), p. 272, describes the aftermath: "Defenderism was in one sense a 'defence' against [Protestant aggresion]. By the mid-1790s, local _causes celebres_ like the battle of the Diamond near Loughgall, County Armagh, on 21 September 1795, which inaugurated the Orange Order, had taken a definitively sectarian tinge. Protestants wanted to ban Catholics from the local linen industry; Protestants were colonizing traditionally Catholic areas in the Ulster borderlands; and, most importantly, local Protestant gentry from the mid-1790s abandoned what one of them called 'the farce of impartiality between the parties' and openly supported the Orangemen. In these conditions, Defenderism rapidly became an 'anti-Protestant, anti-state ideology', it was also anti-English and capable of spectacular violence."
Peter and Fiona Somerset Fry, _A History of Ireland_ (Barnes & Noble, 1988, 1993), p. 194, note that in the aftermath "The Orangemen attacked Ulster Catholics with merciless brutality. They assaulted them, turned them out of their homes, or 'papered' them pinning notices on their doors telling them to go 'To hell -- or Connacht' [a reminiscence of Cromwell's ethnic cleansing of a century and a half earlier].... Poor catholic weavers had their looms broken, and labourers' houses were burned down; sometimes as many as a dozen houses would be burned in a night. At the end of 1795 the governor of Armagh wrote: 'No night passes that houses are not destroyed, and scarce a week that some dreaadful murders are not committed. Nothing can exceed the animosity between Protestant and Catholic at this moment in this country.'"
This was to have significant consequences during the 1798 rebellion, when religious differences badly hampered the Ulter rising; see e.g. the notes to "General Monroe." - RBW
File: OrLa011
===
NAME: Battle of the Kegs, The
DESCRIPTION: The singer tells of the battle between the British fleet and a flotilla of American barrels. As the barrels float downstream, the British fear they contain bombs or commandos, and blast the kegs to smithereens -- then boast of their victory
AUTHOR: Francis Hopkinson
EARLIEST_DATE: 1778
KEYWORDS: technology war rebellion battle humorous
HISTORICAL_REFERENCES: Jan 5, 1778 - "The Battle of the Kegs"
FOUND_IN: US
REFERENCES: (2 citations)
Scott-BoA, pp. 77-80, "The Battle of the Kegs" (1 text, 1 tune)
DT, BATTKEGS*
CROSS_REFERENCES:
cf. "Yankee Doodle" (tune) and references there
NOTES: After the British took over Philadelphia during the Revolutionary War, the Colonials tried various expedients to harass their shipping. One of these was the use of what we would
now call floating mines -- kegs filled with gunpowder and intended to explode among the British ships.
The most intense combat of this sort took place in the winter of 1778. When the British saw a large number of kegs floating downriver, they naturally did all they could to explode them in advance (and, in fact, they were highly successful). The residents of Philadelphia, however, derived great amusement from watching the British attack a bunch of barrels. Hence this song. - RBW
File: SBoA077
===
NAME: Battle of the Navvies, The
DESCRIPTION: "We burnt the Bully Beggarman." Led by Mick Kenna "the Navvies left their work" firing pistols and throwing rocks through the windows of a school. When they saw us they fled. Challenged, we beat them again. Now we help "to crush those fearful Riots"
AUTHOR: unknown
EARLIEST_DATE: 1864 (broadside, Bodleian Firth b.34(12))
KEYWORDS: violence Ireland political
HISTORICAL_REFERENCES: Aug 8-23, 1864 - Sectarian Belfast riots about Dublin Daniel O'Connell statue (source: Leyden)
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 41, "The Battle of the Navvies" (1 text)
BROADSIDES:
Bodleian, Firth b.34(12), "Battle of the Navvies" ("We burnt the Bully Beggarman, for him our scorn expressed"), The Poet's box (Glasgow), Sep 3, 1864
ALTERNATE_TITLES:
cf. "Battle of the Diamond" (tune)
cf. "The Orange Riots in Belfast" (subject)
NOTES: Leyden: "The protagonists in these disturbances were the Protestants of Sandy Row and the Catholics of the nearby Pound area (now the Divis Flats area)." [And still, a century later and more, a border between Catholic and Protestant areas, and a trouble spot - RBW] The Catholic navvies were "engaged in the excavation of the New Docks." "Never before had there been rioting on such a scale with widespread shooting, intimidation and looting of gunsmiths, resulting in death, injury and destruction."
The conflict began when the foundation stone for a statue of Daniel O'Connell, "the Bully Beggarman," was laid in Dublin. That evening Sandy Row Protestants burned an effigy of O'Connell in Belfast. The next day a crowd of more than 400, mostly navvies, rushed Brown Square School while it was full of children. The Protestants in the fights were workers from foundries and shipyard. Mick Kenna was editor of the nationalist _Ulster Observer_. (source: Leyden) For notes on Daniel O'Connell see "Erin's Green Shore [Laws Q27]."
See the notes to "The Boys of Sandy Row" for comments on sectarian riots earlier and later in the same Belfast area. - BS
File: Leyd041
===
NAME: Battle of the Nile, The [Laws J18]
DESCRIPTION: Nelson's fleet attacks the French near the Egyptian shore. Although the singer's ship Majestic suffers severely, the British are completely victorious, with 13 ships destroyed or taken and the rest fled
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: war Napoleon
HISTORICAL_REFERENCES: Aug 1, 1798 - Nelson's British fleet mauls the French forces at the Battle of the Nile
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Laws J18, "The Battle of the Nile"
DT 550, BATTNILE
Roud #1892
NOTES: Napoleon's first truly independent expedition was his attack on Egypt. He took an army and fleet to attack the British protectorate there. However, Lord Horatio Nelson's squadron of 14 ships of the line trapped the French fleet (13 ships of the line plus four frigates) and destroyed or captured 12 of them. Napoleon was cut off; he himself fled to France, but nearly all the rest of the expeditionary force was captured.  - RBW
File: LJ18
===
NAME: Battle of the Windmill, The
DESCRIPTION: "On Tuesday morning we marched out In command of Colonel Fraser... To let them know, that day, below, We're the Prescott Volunteers." The soldiers come to the Windmill Plains and, boldly led, drive off the invaders
AUTHOR: unknown
EARLIEST_DATE: 1942
KEYWORDS: battle soldier Canada rebellion
HISTORICAL_REFERENCES: Nov 11, 1838 - Roughly 170 men of "The Hunters," a group devoted to republican government in Canada, invade Canada near Prescott under Colonel Von Schultz
Nov 13, 1838 - Loyalist forces (Glengarry militia under Capt. George Macdonall, Dundas militia under Colonel John Crysler, and Grenville militia Colonel Richard Duncan Fraser) gather and attack the invaders
Nov 16, 1873 - The loyalists receive artillery reinforcements, while the invaders are out of ammunition and have not received expected reinforcements. The invaders are forced to surrender. Von Schultz and ten others will be hanged, and others transported
FOUND_IN: Canada
REFERENCES: (3 citations)
Fowke/Mills/Blume, pp. 78-81, "The Battle of the Windmill" (1 text, 1 tune)
Fowke/MacMillan 3, "The Battle of the Windmill" (1 text, 1 tune)
DT, BATWNDML*
Roud #4523
CROSS_REFERENCES:
cf. "An Anti-Rebel Song" (theme)
cf. "The Girl I Left Behind Me (lyric)" (tune & meter) and references there
NOTES: For the history of the Canadian rebellion, which led to the events in this song, see the notes on "An Anti-Rebel Song" and "Farewell to Mackenzie."
The Canadian rebellion/invasion resembled most of the border raids of this period: So badly planned that it would have been funny if lives had not been lost.
1837 was a troubled time in Canada; a series of bad harvests had produced hardship and discontent (Brown, p. 211. For references, see the Bibliography at the end of this note) William Lyon Mackenzie, long a foe of the government, took advantage to raise a rebellion. In December 1837, they tried to march on Toronto -- but they were completely disorganized; a few volleys by the local militia put them to flight (Bourrie, p. 57). Mackenzie fled to the United States; two of his followers were hanged (Brown, p. 213). Brebner/Masters, p. 240, observes that "The protest [Mackenzie and followers] personified so feebly and pathetically was widespread and deep, but too immature to find voice in either a solid party program or in truly substantial revolt." McNaught, p. 89, points out that the very fact that Mackenzie made it to the U. S. with all the power of the local government against him shows how much sympathy he had among ordinary Canadians.
A small-scale reign of terror followed as Colonel Allan MacNab worked to burn out the protests by employing Indians to kill alleged rebels.
A motley band of Americans, lured as always by the prospect of taking Canada from the British, decided to support the rebels. But their leaders, General Sutherland and Colonel von Rensellaer, were both "frauds," according to Bourrie, pp. 57-58. They shoved Mackenzie out to Navy Island in the Niagara River, made him a provisional president, promised land in Canada to his supporters -- and waited. The British managed to burn Mackenzie's support ship, the _Caroline_, and send it over Niagara Falls (Bourrie, pp. 59-61). That was pretty much the end of the Niagara rebellion. The action then shifted to the far end of Lake Ontario.
In November 1838, a more serious menace arose, in the form of the Hunters' Lodges, groups of unofficial soldiers trying to gain a foothold in Canada. They weren't really supporting Mackenzie (he in fact said that they never consulted him; Bourrie, p. 62) -- but he gave them an excuse.
Exactly how many men invaded Canada in 1838 is uncertain; Brebner/Masters, p. 241, claims there were about a thousand, but Bourrie, p. 63, offers a figure of 300, of whom a hundred (including their commander John Ward Birge) turned back when one of their ships ran aground. On the whole, it seems most likely that 150-200 men came ashore in Canada and occupied a windmill in Prescott. They were now under the command of Nils von Schultz -- yet another of the fake military men who seemed to swirl around these efforts (Bourrie, p. 64).
The British brought up over a thousand troops, many of them militia but all of them more regular than the Americans. Their first attack failed, but they pulled back their lines and let the Americans stew (Bourrie, pp. 65-66). Four days later, on November 16, the British went in again. They had been reinforced up to 2000 men, and they had supplies, which the Americans did not. (It will tell you something bout how messed-up the Americans were that their commander was styled a "colonel" though he had fewer than 200 men; the British, who outnumbered them ten to one, were commanded by Lt. Colonel Dundas).
Von Schultz was realistic enough to offer surrender if the British would treat his troops as prisoners of war. Dundas, properly I think, refused (Bourrie, p. 67); the invaders were not troops of the U. S. government but a private army. The British brought up artillery and bombarded the Windmill; the invaders eventually surrendered even without the promise of POW starus.
Give Von Schultz this much credit: Tried for treason and sentenced to hang, he left four hundred pounds in his will to the widows and orphans of the Windmill battle. Ten others were also hanged, perhaps thirty of the Hunters escaped, those under 21 were sent back to the U. S., and the rest -- 82 in all -- transported to Van Diemen's Land. (Bourrie, p. 70).
Mackenzie survived, but had to remain in exile until 1849. In that time, his property was plundered, so that he went from well-to-do to a near-pauper when he died in 1861 (Bourrie, pp. 71-72). He was nonetheless fondly remembered by anti-aristocratic forces in Canada.
This sort of filibustering was largely halted in 1842 as the Webster/Ashburton treaty resolved many border issues (Brebner/Masters, p. 241). The Fenians would later try to invade Canada -- but that was an independent excursion, not something with broad American support.
>> BIBLIOGRAPHY <<
Bourrie: Mark Bourrie, __Many a Midnight Ship: True Stories of Great Lakes Shipwrecks_, University of Michigan Pres, 2005
Brebner/Masters: J. Bartlett Brebner, _Canada_, revised and enlarge by Donald C. Masters, University of Michigan Press, 1970
Craig Brown, editor, _The Illustrated History of Canada_, Key Porter, 1987-2000.
McNaught: Kenneth McNaught, in _The Pelican History of Canada_ (enlarged edition, Pelican, 1982) - RBW
File: FMB078
===
NAME: Battle of Trenton, The
DESCRIPTION: "On Christmas day in seventy-six Our gallant troops with bayonets fixed For Trenton marched away." The Americans cross the Delaware River and attack and scatter the Hessian garrison. The soldiers toast the memory of that day
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: war rebellion battle river patriotic
HISTORICAL_REFERENCES: Dec. 25, 1776 - The colonial army under Washington crosses the Delaware River and successfully attacks a force of Hessian mercenaries in their winter quarters at Trenton
FOUND_IN: US
REFERENCES: (1 citation)
Scott-BoA, pp. 72-74, "The Battle of Trenton" (1 text, 1 tune)
File: SBoA072
===
NAME: Battle of Vicksburg, The
DESCRIPTION: "On Vicksburg's globes and bloody grounds A wounded soldier lay, His thoughts was on his happy home Some thousand miles away." The dying man recalls mother and sweetheart and prepares for the end
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: death battle separation Civilwar
HISTORICAL_REFERENCES: April 6-7, 1862 - Battle of Shiloh. The army of U.S. Grant is forced back but, reinforced by Buell, beats off the army of A.S. Johnston. Johnston is killed. Both sides suffer heavy casualties (Shiloh was the first battle to show how bloody the Civil War would be)
Nov 1862 - Union general Ulysses S. Grant begins his Vicksburg campaign. His first four attempts to reach the city fail
Apr 16, 1863 - Porter's gunboats run past Vicksburg, opening the way for Grant's final successful campaign
May 12-17, 1863 - Grant fights a series of minor battles which bring him to the defences of Vicksburg
May 22, 1863 - Grant's attempt to take Vicksburg by storm is a bloody failure. The Union army settles down to a siege
July 4, 1863 - Lt. General Pemberton surrenders Vicksburg
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 225, "The Battle of Vicksburg" (1 text, 1 tune, plus a fragmentary  text of the original song, "On Buena Vista's Battlefield")
Hudson 120, p. 261, "The Vicksburg Soldier" (1 text)
Fuson, p. 93, "Shallows Field" (1 text, clearly this song although the battle site is "Shallows Field"="Shiloh's Field"; this may come from confusion with "The Drummer Boy of Shiloh")
ST R225 (Partial)
Roud #4500
CROSS_REFERENCES:
cf. "On Buena Vista's Battlefield" (tune & meter, theme)
cf. "Victorious March" (subject)
cf. "Late Battle in the West" (subject)
cf. "The Drummer Boy of Shiloh" [Laws A15] (lyrics)
NOTES: This song is a clear rewrite of the Mexican War song "On Buena Vista's Battlefield." The choice of Vicksburg is perhaps curious; although the Vicksburg campaign led to even more deaths by disease than usual, battle casualties were relatively light compared to the great battles in Virginia and Tennessee. On the other hand, the "Buena Vista" song seems to have spawned other Civil War pieces, e.g. about Shiloh (see Fuson's "Shallows Field," which I lump here but which Roud splits off; it's his #4284)
And it should be admitted that Vicksburg was important -- arguably the single most important Union victory of the war. In the early spring of 1863, the Union war effort seemed stalled. In Virginia the Army of the Potomac had had a two to one advantage in manpower at Chancellorsville, but still managed to lose. William S. Rosecrans's Army of the Cumberland, operating in central Tennessee, had been inert since the bloody draw of Stones River/Murfreesboro.
That left only the western army of Ulysses S. Grant. And even he seemed to be stuck; Vicksburg, high on a bluff above the Mississippi, was too strong to bypass and too tough to attack from the river and too well-masked to be reached from the north.
Finally Grant ran his river fleet past Vicksburg, marched his army south of the town on the western bank of the Mississippi, and crossed to attack Vicksburg from the south and east. It meant that, for several days, he had no supply line, but he was able to carry what his scavengers could not find. The Confederate general Pemberton, who had done little to prevent Grant's crossing, fought a small battle, was beaten, and retreated into the Vicksburg defences (against the orders of the theater commander, Joseph E. Johnston, who correctly saw that if Pemberton went into Vicksburg, both the town and the army would be lost; if he abandoned Vicksburg, at least the army would be saved).
Grant encircled the town, and began to starve it out; had the defenders had more supplies, they might have held out indefinitely, but by July 1863, they were starving. Pemberton surrendered on July 4, 1863 -- the day after the end of the Battle of Gettysburg.
Grant had captured the third-largest army in the Confederacy. He had also eliminated the strongest fortress guarding the Mississippi. Within days, there would be no Confederate forces left along the river; the Confederacy would be split in two -- meaning that men and supplies from Texas and Arkansas and western Louisiana could no longer reach the armies further east. It was not immediately decisive, but it was a deadly blow -- far more deadly than Gettysburg, which was strategically very nearly a draw(Lee was forced out of Pennsylvania but still had his army intact).
It's one of those little ironies that Gettysburg, the most written-about battle of the Civil War, has almost no place in traditional song, and Vicksburg, the most decisive battle, has only a slightly stronger place in the folk repertoire. - RBW
File: R225
===
NAME: Battle of Waterloo (I), The: see The Plains of Waterloo (V) (File: LJ03A)
===
NAME: Battle of Waterloo (II), The: see The Plains of Waterloo (V) (File: LJ03)
===
NAME: Battle of Waterloo (III), The: see The Plains of Waterloo (III) [Laws J4] (File: LJ04)
===
NAME: Battle on Vinegar Hill, The
DESCRIPTION: The English army of 20000 defeat 10000 Wexford pikemen in a fierce battle. The pikemen were brave and valiant; the English were stubborn and warlike. The singer comments on the pity that freeborn Englishmen "should strike fair freedom down"
AUTHOR: Rev. P. F. Kavanagh (source: Moylan)
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: army battle rebellion death
HISTORICAL_REFERENCES: Jun 21, 1798 - Battle of Vinegar Hill (source: Moylan)
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 89, "The Battle on Vinegar Hill" (1 text, 1 tune)
NOTES: Moylan dates "The Battle on Vinegar Hill" to about 1880. - BS
The battle of Vinegar Hill was the final end of the Wexford rebellion. The rebels, having failed at New Ross and Arklow, made a last stand on the hill. Ill-equipped and, in many cases, sick, they faced a British army some 10,000 strong under General Lake, and were slaughtered (see Thomas Pakenham, _The Year of Liberty_, pp. 256-258). For more details on the battle, see, e.g., the notes to "Father Murphy (I)." - RBW
According to Kathleen Hoagland, _1000 Years of Irish Poetry_, p. 784,
Moylan's dating is problematic. I assume this is the Patrick Kavanagh (1904/05-1967) who was best known for his poem "The Great Hunger." Thus he can hardlyl have written the poem in the nineteenth century! - RBW
File: Moyl089
===
NAME: Battle That Was Fought in the North, The
DESCRIPTION: Orangemen come to Tyrone to celebrate July 12, "but our loyal-hearted Catholics soon made them run away." "We'll still be faithful to George the Fourth, and loyal to his crown, But not afraid, nor yet dismay'd, to keep those Brunswickers down"
AUTHOR: unknown
EARLIEST_DATE: c.1830 (Zimmermann)
KEYWORDS: violence death Ireland political
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 35, "The Battle That Was Fought in the North" (1 text)
CROSS_REFERENCES:
cf. "Owen Rooney's Lamentation" (subject: "party fights")
cf. "The Lamentation of James O'Sullivan" (subject: "party fights")
cf. "The Noble Blue Ribbon Boys" (subject: Ulster quarrels)
NOTES: July 12 is the Gregorian Calendar (adopted in England in 1752) date for celebrating the victory of William II of Orange in the Battle of the Boyne, July 1, 1690.
Zimmermann: "This ballad ... [was] perhaps also inspired by the 'party fights' in July 1829. Upwards of twenty men were said to have been killed in County Tyrone.... There was more fighting near Stewartstown in July 1831."
Zimmermann 35: "'Brunswicker' was then more or less synonymous with 'Orangeman' or simply 'Protestant'." - BS
This song is presumably dated by its internal references. If the reference is to the Party Fights, then it must be after July 1829, but since the King is George IV, who died in 1830, it must be before that.
On the other hand, the most noteworthy of the party fights came later, at Dolly's Brae (July 12, 1849; for this battle, see "Dolly's Brae (I)" and "Dolly's Brae (II)"), at which several dozen Catholics were killed. This led England to pass the Party Processions Act in 1850. On still another hand, there was also the earlier clash at Garvegh (1813; see "March of the Men of Garvagh"). The king at this time was George III, but he was in his final madness and the future George IV was regent.
So while the 1830 date is likely, there are plenty of other possible dates if one allows for the possibility of anachronism. - RBW
File: Zimm035
===
NAME: Battle with the Ladle, The: see A Rich Old Miser [Laws Q7] (File: LQ07)
===
NAME: Battlecry of Freedom, The: see The Battle Cry of Freedom (File: MA034)
===
NAME: Battleship Maine (I), The: see On the Shores of Havana (File: FSC021)
===
NAME: Battleship Maine (II), The: see My Sweetheart Went Down with the Maine (File: R689)
===
NAME: Battleship of Maine
DESCRIPTION: Humorous song about a country boy caught up in the Spanish-American war, for which he has little sympathy. He describes bad conditions in the army, notes that the "Rough Riders" wear $5.50 shoes, while the poor farmers wear dollar-a-pair shoes.
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: army war humorous soldier cowardice
HISTORICAL_REFERENCES: 1895 - Cubans rebel against Spain
Feb 15, 1898 - Explosion of the battleship "Maine" in Havana harbour
April 25, 1898 - Congress declares war on Spain
FOUND_IN: US(SE)
REFERENCES: (4 citations)
BrownII 239, "That Bloody War" (4 texts, of which the first two are this piece; the final two fragments appear to be "That Crazy War")
Cohen/Seeger/Wood, pp. 100-101, "Battleship of Maine" (1 text, 1 tune)
Silber-FSWB, p. 288, "Battleship of Maine" (1 text)
DT, BTTLMAIN*
Roud #779
RECORDINGS:
Mary C. Mann, "The Battleship of Maine" (AFS A-526, A-527, 1926)
New Lost City Ramblers, "Battleship of Maine" (on NLCR01, NLCRCD1) (NLCR12) (NLCR16)
Red Patterson's Piedmont Log Rollers, "Battleship of Maine" (Victor 20936, 1927)
Wilmer Watts and the Lonely Eagles, "Fightin' in the War with Spain" (Paramount 3254, 1931; on StuffDreams1)
CROSS_REFERENCES:
cf. "Mister McKinley (White House Blues)" (tune)
cf. "If I Lose, I Don't Care" (tune, floating lyrics)
cf. "Joking Henry" (tune)
cf. "That Crazy War" (lyrics)
cf. "My Sweetheart Went Down with the Maine" (theme) and references there
NOTES: For further information about the _Maine_ and the Spanish-American War, see the notes on "My Sweetheart Went Down with the Maine." - RBW
File: CSW100
===
NAME: Bawbee Allen: see Bonny Barbara Allan [Child 84] (File: C084)
===
NAME: Bawdy Alphabet, The
DESCRIPTION: A variation of the standard Alphabet songs (Logger's, Sailor's, etc.) with A to Z references to matters sexual or private parts
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy wordplay
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman II, pp. 616-621, "The Alphabet Song" (5 texts)
Roud #159
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
ALTERNATE_TITLES:
The Whore's Alphabet
The Tramp's Alphabet
NOTES: Legman in Randolph-Legman II offers extensive notes to this widely known song, and particularly to the obscene and/or bawdy versions. - EC
File: RL616
===
NAME: Bay of Biscay
DESCRIPTION: A ship is wrecked at night in a storm in the Bay of Biscay. At daybreak "a sail in sight appears" and the crew is rescued.
AUTHOR: Andrew Cherry (1762-1812) (source: Bodleian notes to broadside Harding B 25(903); also John Bartlett,_Familiar Quotations_, 15th ed (1980))
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(73))
KEYWORDS: rescue sea ship storm wreck
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Harding B 28(73), "The Bay of Biscay, O" ("Loud roard the dreadful thunder"), W. Armstrong (Liverpool), 1820-1824; also Harding B 11(3128), Harding B 25(903), "In the Bay of Biscay O"; Firth b.25(71), Harding B 11(196), Harding B 15(17a), Harding B 11(192), Harding B 11(193), Harding B 25(148), "[The] Bay of Biscay O[!]"; Firth b.25(82), Firth c.12(305), Harding B 11(194), Harding B 11(195), 2806 b.10(79), 2806 c.17(22), Firth c.21(118), Firth b.27(72), "[The] Bay of Biscay"
LOCSinging, as108370, "Bay of Biscay," L. Deming (Boston), n.d.
NOTES: The tune was at least well enough known to be used for a parody (Bodleian, Harding B 16(198c), "Paddy's Wake" ("Loud howl'd each Irish mourner")) and, years later, another wreck broadside (Bodleian, Harding B 14(335), "Wreck of the ship Reform, commanded by commodore Russell" ("Loud roared the dreadful thunder")). - BS
Not to be confused with "Bay of Biscay, Oh (Ye Gentlemen of England II) (The Stormy Winds Did Blow)" [Laws K3], which also involves a rescued crew but in different circumstances, nor with the song about a sailor's life, "The Bonny Bay of Biscay-O."
Andrew Cherry's other noteworthy piece iss "The Green Little Shamrock of Ireland.' - RBW
File: BdBaOBis
===
NAME: Bay of Biscay O, The: see Willy O! (File: CrMa113)
===
NAME: Bay of Biscay, Oh (Ye Gentlemen of England II) (The Stormy Winds Did Blow) [Laws K3]
DESCRIPTION: The singer's ship and the Rameley set out from Spithead. The two ships are separated by a storm in the Bay of Biscay. The Rameley, arriving at Gibraltar, reports the other ship lost, but at last it comes in, having lost mast, captain, and ten crewmembers
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: sea ship storm
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Laws K3, "Bay of Biscay, Oh (Ye Gentlemen of England II) (The Stormy Winds Did Blow)"
Creighton-NovaScotia 52, "Bay of Biscay Oh" (1 text, 1 tune)
DT 399, BAYBISC*
Roud #524
CROSS_REFERENCES:
cf. "Ye Gentlemen of England (I)" [Laws K2]
NOTES: Not to be confused with the lover's-ghost-returned song "Bay of Biscay." - (PJS)
Creighton-NovaScotia: Also not to be confused with "[The] Bay of Biscay [O]" ["Loud roared the dreadful thunder"] by Andrew Cherry about a disabled ship rescued. - BS
File: LK03
===
NAME: Bayou Sara, The
DESCRIPTION: The Bayou Sara (Bicera) is a fine boat, but catches fire and burns down, taking many people with her. The song may mention all the crew she lost, or the singer's own escape and watching for angels to come for him.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Belden)
KEYWORDS: ship river fire death disaster
FOUND_IN: US(So)
REFERENCES: (3 citations)
Belden, pp. 423-424, "The Burning of the Bayou Sara" (1 text)
MWheeler, pp. 40-41, "B'y' Sara Burned Down" (1 text, 1 tune)
DT, BAYOUSAR* BAYOUSA2
ST DTBayous (Full)
Roud #10010 and 4139
RECORDINGS:
Art Thieme, "Bayou Sara" (on Thieme05)
ALTERNATE_TITLES:
The Burning of the Bayou Sara
The Bicera
NOTES: As "The Burning of the Bayou Sara," this song is item dG39 in Laws's Appendix II.
Belden, who collected the version known to Laws, reported that a ship called the Bayou Sara burned at the dock on December 5, 1885. Mary Wheeler, however, reports that the name of the ship was the "City of Bayou Sara," built in 1884; she burned at New Madrid. All passengers were reportedly saved, though a few crew members died.
The versions of this song are extremely diverse in form (apart from the confusion that caused the ship to be called "The Bicera" by Belden's informant), and it's possible that there are two ballads involved. Laws, for instance, failed to identify Wheeler's text with Belden's, and Roud gives the pieces two numbers. But since the texts are all unique, I place them all here without rendering a final judgment on the matter; this may be just a piece that went through a lot of blues metamorphosis. - RBW
File: DTBayous
===
NAME: Be at Home Soon Tonight, My Dear Boy: see Be Home Early Tonight, My Dear Boy (File: R851)
===
NAME: Be Home Early Tonight, My Dear Boy
DESCRIPTION: The singer's has worked hard all his life, and occasionally goes to town for fun. But his mother regularly tells him, "Be home early tonight." Once, when she is sick, he goes out partying and returns to find her dead. He warns against ignoring mother
AUTHOR: John Gibbons ?
EARLIEST_DATE: 1914 (Wehman Brothers' Good Old Time Songs #3); reportedly first published 1882
KEYWORDS: work mother death warning
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Randolph 851, "Be Home Early Tonight, My Dear Boy" (1 text, 1 tune)
Randolph/Cohen, pp. 534-536, "Be Home Early Tonight, My Dear Boy" (1 text, 1 tune -- Randolph's 851)
BrownIII 27, "Be Home Early" (1 text)
Spaeth-WeepMore, pp. 174-175, "Be Home Early Tonight, My Dear Boy" (1 text)
Roud #7451
RECORDINGS:
Kelly Harrell, "Be at Home Soon Tonight, My Dear Boy" (OKeh 40505, 1925; on KHarrell01)
File: R851
===
NAME: Be Kind to Your Web-Footed Friends
DESCRIPTION: "Be kind to your web-footed friends, For a duck may be somebody's mother...." Listeners are urged to be kind to swamp animals and perhaps other ecologically unfortunate creatures
AUTHOR: Music ("The Stars and Stripes Forever") by John Philip Sousa
EARLIEST_DATE: 1975
KEYWORDS: humorous parody animal nonballad
FOUND_IN: US
REFERENCES: (3 citations)
Pankake-PHCFSB, p. 52, "Be Kind to Your Web-Footed Friends" (1 text, tune referenced)
cf. Fuld-WFM, p. 535, "The Stars and Stripes Forever"
DT, WEBFOOT
Roud #10248
NOTES: Of *course* it's a folk song. Think about where *you* learned it. - RBW
File: DTwebfoo
===
NAME: Beach of Strablane, The: see Braes of Strathblane (File: McCST053)
===
NAME: Beam of Oak
DESCRIPTION: A farmer's daughter loves a servant man. Her father has him sent to sea. He is killed in battle. His ghost visits the father. The daughter hears about it. She hangs herself. Father finds her hanging. Her note blames the father, who goes mad
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: battle navy death suicide father lover ghost
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 15, "Beam of Oak" (1 text, 1 tune)
ST LLab015 (Partial)
Roud #60
CROSS_REFERENCES:
cf. "The Butcher Boy" [Laws P24] (theme)
NOTES: This is not "The Butcher Boy" [Laws P24] in spite of the suicide by hanging, the father finding the body and the suicide note. Consider the differences: the lover is faithful, the father causes the separation, the lover is killed and his ghost returns, and the suicide note blames the father. - BS
Roud lumps it with "Love Has Brought Me to Despair" [Laws P25], but this is a much more detailed song than that. At most, it might be the inspiration, but even that seems forced. The feeling seems very different -- more like "The Suffolk Miracle" than "The Butcher Boy." - RBW
File: LLab015
===
NAME: Beans, Bacon, and Gravy
DESCRIPTION: The singer, born in 1894, has "seen many a panic," but the worst distress is in (1931). He is on a work crew, being fed a daily ration of "beans, bacon, and gravy," which "almost drive me crazy." He describes the hard times and hopes for better
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: hardtimes food work
FOUND_IN: US
REFERENCES: (5 citations)
Arnett, pp. 170-171, "Beans, Bacon, and Gravy" (1 text, 1 tune)
Greenway-AFP, pp. 64-65, "Beans, Bacon, and Gravy" (1 text, 1 tune)
Darling-NAS, pp. 380-381, "Beans, Bacon, and Gravy" (1 text)
Silber-FSWB, p. 289, "Beans, Bacon And Gravy" (1 text)
DT, BBGRAVY*
RECORDINGS:
Pete Seeger, "Beans, Bacon and Gravy" (on PeteSeeger04) (on PeteSeeger13)
CROSS_REFERENCES:
cf. "Little Joe the Wrangler" [Laws B5] (tune) and references there
cf. "Jesse James (I)" [Laws E1] (tune)
File: Arn170
===
NAME: Bear Chase, The
DESCRIPTION: Hunters and dogs go out to hunt the (bear/deer). Most of the song is about the activities of the dogs. Chorus: "Way, away, We're bound for the mountain (x3), Over the hills, The fields and the fountains, Away to the chase, Away!"
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: dog hunting animal
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 219, "The Wild Ashe Deer" (1 text)
Lomax-FSNA 81, "The Deer Chase" (1 text, 1 tune)
Botkin-SoFolklr, p. 741, "Cumberland Mountain Bear Chase" (1 text, 1 tune)
Roud #6675
RECORDINGS:
Pete Seeger, "Bear Chase" (on PeteSeeger09, Pete SeegerCD02)
NOTES: The text in Brown is noticeably literary, and the notes mention a printed song, "The Wild Ashe Deer," from 1854. Whether the traditional song derives from the printed version, or the printed version was taken from tradition and "improved," is by no means clear. - RBW
File: LoF081
===
NAME: Bear in the Hill, The
DESCRIPTION: "There's a bear in yon hill, and he is a brave fellow." The bear goes out to seek a wife. He meets and courts a possum. She will marry him if her uncle (the raccoon) agrees. The agreement is made and the couple married
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: animal talltale courting marriage love request
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Lomax-ABFS, pp. 162-163, "The Bear in the Hill" (1 text, 1 tune)
Roud #15552
CROSS_REFERENCES:
cf. "Frog Went A-Courting" (plot)
NOTES: Looks to me like a deliberate rewrite of "Frog Went A-Courting." In support of this, we note that it is very rare in oral tradition. Maybe somebody's kid wanted a song about a bear getting married instead of a frog? - RBW
File: LxA162
===
NAME: Bear River Murder, The
DESCRIPTION: "About a brutal murder I now say a word, I mean that Bear River murder No doubt of it you've heard." Detective Power discusses the murder and why he thinks Wheeler is the murderer and how it happened. Wheeler confesses and is to be hung September 8.
AUTHOR: S. Smith
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: execution homicide punishment police
HISTORICAL_REFERENCES: 1895 - Anne Kempton murdered by Peter Wheeler at Bear River, Digby County (source: Mackenzie; Creighton says 1896)
FOUND_IN: 
REFERENCES: (1 citation)
Mackenzie 152, "The Bear River Murder" (1 text)
Roud #3286
CROSS_REFERENCES:
cf. "Peter Wheeler" (subject: the same murder)
NOTES: Creighton has extensive notes about this event, which seem largely folklore though she talked with people who knew Annie Kempton. The dates are uncertain; Mackenzie dates the murder to 1895, and Creighton says that Smith wrote his song in that year -- but notes in the same sentence that people in Bear River dated the murder to January 27, 1896. They dated Wheeler's execution to September 1896.
Creighton also reports that Wheeler was not from Digby County; locals thought him Portugese, though one wonders how a non-Englishman would acquire the name "Wheeler." - RBW
File: Mac152
===
NAME: Bear Song, The
DESCRIPTION: A bear is discovered and chased by men two days through the snow. Part of the story is told by the bear: "it's the shot makes me run" It dies. "It is rumored the bear's made a will" witnessed by Nicholas, leaving his fur for "caps for the boys"
AUTHOR: Lawrence Doyle
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: hunting humorous animal lastwill death clothes
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 106-107, "The Bear Song" (1 text, 1 tune)
Roud #12456
NOTES: Dibblee/Dibblee has more details about the chase and shooting. - BS
File: Dib106
===
NAME: Bear the News, Mary
DESCRIPTION: "Bear the news, Mary (x3), I'm on my way to glory." "If you git there before I do, I'm a-hunting a home to go to, Just tell them all I'm a-coming too, I'm a-hunting a home to go to."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: religious floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 563-564, "Bear the News, Mary" (1 text, 1 tune)
Roud #15556
CROSS_REFERENCES:
cf. "Wade in the Water" (floating lyrics) and references there
File: LxA563
===
NAME: Bear Went Over the Mountain, The
DESCRIPTION: "The bear went over the mountain (x3) To see what he could see." "He saw another mountain (x3), And what do you think he did?" "He climbed the other mountain...."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: animal nonballad humorous
FOUND_IN: US(NE)
REFERENCES: (4 citations)
Linscott, pp. 164-165, "A Bear Went Over the Mountain" (1 text, 1 tune)
Pankake-PHCFSB, p. 43, "The Bear Went Over the Mountain" (1 text, tune referenced)
Fuld-WFM, pp. 231-233, "For He's a Jolly Good Fellow -- (Malbrouk -- We Won't Go Home till Morning! -- The Bear Went over the Mountain)"
DT, BEARMTN*
Roud #3727
NOTES: This is another of those songs you never find in folk song books. But I'm pretty sure I learned it orally; I think it belongs here. - RBW
File: DTbearmt
===
NAME: Beardiville Planting
DESCRIPTION: The singer meets a pretty girl who lives near Beardiville. He asks her to come with him to County Derry. She asks him to stay a while so she can be sure he is serious. Her father consents, and they are married
AUTHOR: unknown
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: love courting marriage home beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H718, pp. 460-461, "Beardiville Planting" (1 text, 1 tune)
Roud #9462
File: HHH718
===
NAME: Beau Galant, Le (The Handsome Gentleman)
DESCRIPTION: French. A girl's lover sails to the Indies and returns to find her in a convent. He cries at the door. If I stay, she says, it is your fault. He offers her a gold ring as a remembrance. When he puts the ring on her finger, he falls dead. She mourns.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage courting ring reunion burial death mourning lover
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 662-663, "Le Beau Galant" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Belle Est Morte Entre les Bras de Son Amant, La (The Beautiful Woman Died in her Lover's Arms)" (theme)
File: Pea662
===
NAME: Beau Grenadier, Le (The Handsome Grenadier)
DESCRIPTION: French. A girl has won a sailor's/grenadier's heart. He takes her to his room and gives her a gold ring. Her other lover listens at the door. The jilted lover considers killing the girl but kills her new lover instead.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: foreignlanguage infidelity love ring hiding gold bawdy lover mistress sailor soldier homicide
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, p. 539, "La Jolie Fille et Ses Deux Amants" (1 text, 1 tune)
NOTES: In Peacock's version the ballad stops short of having anyone murdered. Genevilliers is about five miles northeast of Paris - BS
File: Pea539
===
NAME: Beau Militaire, Le (The Handsome Soldier)
DESCRIPTION: French. A young prisoner is conscripted. Without leave, he goes to see Nanette in her castle, where he is captured. He is sent as a deserter to the deepest darkest dungeon in Paris.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage army lover soldier prisoner punishment desertion
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 168-169, "Le Beau Militaire" (1 text, 1 tune)
File: Pea168
===
NAME: Beau Monsieur Tire Ses Gants Blancs, Le (The Handsome Gentleman Throws His White Gloves)
DESCRIPTION: French. A gentleman takes off his white gloves and gives a woman all the money she wants. He says, time for love. She follows him backwards saying "Good evening. I am going down river." I will go with my money to a convent and live happily.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage sex beauty rake whore clothes
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 170-171, "Le Beau Monsieur Tire Ses Gants Blancs" (1 text, 1 tune)
NOTES: There's obviously an idiom here I don't understand: "mettre des gants blancs" meaning "to put on white gloves" and what looks like its obverse. Losing gloves was used euphemisticly in the 17th century for losing virginity, but that's a real stretch here (cf. _Dictionnaire des expressions et locutions_ by Rey et Chantreau, 1993). White gloves signifies elegance and maybe taking them off is appropriate here (cf. _La Grand Robert de la Langue Francais_ (Montreal, 1985), v.$, p. 816). - BS
File: Pea170
===
NAME: Beautiful
DESCRIPTION: "Ain't it fierce to be so beautiful, beautiful." The beautiful girl has "no peace of mind"; everyone is kind, but waits outside her door, offering flowers, etc. The brainy girl replies with similar words, save that she receives good grades and handshakes
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: beauty nonballad
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Lomax-ABFS, pp. 344-345, "Beautiful" (1 text, 1 tune)
Roud #15535
File: LxA344
===
NAME: Beautiful Bill
DESCRIPTION: "Beautiful Bill was a 'dorable beau, Beautiful Bill did worry me so, Sweetest of Wills, my beautiful Bill, My beautiful, beautiful, (beautiful) Bill." Bill courts the lady (but already has a wife and child?)
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: love courting beauty family
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 372, "Beautiful Bill" (2 short texts, 1 tune)
Randolph/Cohen, pp. 302-303, "Baeutiful Bill" (1 text, 1 tune -- Randolph's 372A)
Roud #5061
File: R372
===
NAME: Beautiful Brown Eyes
DESCRIPTION: Man (?) praises "beautiful brown eyes"; he'll never see blue eyes again. Woman says she loves Willie; they were to be married tomorrow, but liquor kept them apart. Man falls on the floor, vows not to drink any more. Woman, married, wishes she were single
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: love marriage drink
FOUND_IN: US(So) Can(West)
REFERENCES: (4 citations)
[Randolph 319, "Beautiful, Beautiful Brown Eyes" -- deleted in the second printing]
Randolph/Cohen, pp. 270-271, "Beautiful, Beautiful Brown Eyes" (1 text, 1 tune -- Randolph's )
Silber-FSWB, p. 230, "Beautiful Brown Eyes" (1 text)
DT, BRWNEYES*
RECORDINGS:
Bill Cox, "Brown Eyes" (Melotone M-13058, 1934)
Stanley G. Triggs, "Brown Eyes" (on Triggs1)
NOTES: This song is a mish-mosh; it sounds like four verses (from separate songs) were scotch-taped together. The voice seems to switch from male to female; the marital status switches from betrothed to seven-years-married. A mess. - PJS
Wonder if that has anything to do with its success in bluegrass? :-) - RBW
File: FSWB230
===
NAME: Beautiful Churchill
DESCRIPTION: The singer describes his home in Donegal. A factory, "where pretty girls do sew," stands in the middle of town. Around it there are plantations and a lake with a beautiful island. Other find towns are nearby. He hopes to live there with his love
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: home nonballad love
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H627, p. 161, "Beautiful Churchill" (1 text, 1 tune)
Roud #13459
File: HHH627
===
NAME: Beautiful City: see Twelve Gates to the City (File: PSAFB081)
===
NAME: Beautiful Dreamer
DESCRIPTION: "Beautiful dreamer, wake unto me, Starlight and dewdrops are waiting for thee." The singer tells how the "sounds of the rude world" have faded in the night, and hopes for an end to sorrow 
AUTHOR: Stephen C. Foster
EARLIEST_DATE: 1864
KEYWORDS: dream love nonballad
FOUND_IN: US
REFERENCES: (4 citations)
Silber-FSWB, p. 261, "Beautiful Dreamer" (1 text)
Saunders/Root-Foster 2, pp. 237-244+437, "Beautiful Dreamer" (1 text, 1 tune)
Fuld-WFM, p. 135, "Beautiful Dreamer"
DT, BEAUTDR*
ST FSWB261 (Full)
NOTES: The 1864 sheet music to this piece lists it as Foster's last song, composed shortly before his death (and Spaeth says the song "undoubtedly" belongs to the last two weeks of his life), but Fuld notes a curious reference to a Foster song "Beautiful Dreamer" in 1863, and the copyright claim on the 1864 sheet music appears to have been altered (though the LC records report the song as entered in March 1864).
Note that while the cover of the sheet music gives the date as 1864, the copyright on page 2 still appears to read 1862.
Even so, it appears that "Beautiful Dreamer" was Foster's last noteworthy song; while there is no real evidence that it went into tradition, it at least has endured in popular circles, unlike anything else he wrote after 1860 at the latest.
As an aside, "She was all the World to Me" was also marketed as Foster's last song, as was "Our Darling Kate."
Thus the possibility must be admitted that the song is in fact older, and had been sitting in someone's files for some time, only to be pulled out to capitalize on Foster's death. (It's quite likely, in fact, that the song was typeset in 1862 but not issued at the time.)
This was by no means uncommon -- the Saunders/Root bibliography lists 16 songs credited to Foster but first printed in 1864 and after (though many of these are the works of others).
Two of these posthumous claims are rather humorous; "Give this to Mother" is listed as "Stephen C. Foster's last musical Idea" (!), while "Little Mac! Little Mac! You're the Very Man" refers to events which took place months after Foster's death (Spaeth suggests Foster's daughter Marion actually wrote the piece). - RBW
File: FSWB261
===
NAME: Beautiful Hands of the Priest, The
DESCRIPTION: "We need them [the priest's hands] in life's early morning, We need them again at its close." Singer mentions the clasp of friendship, and priest's hands at the altar, absolution, marriage, and "when death-dews on our eyes are falling."
AUTHOR: unknown
EARLIEST_DATE: 1974 (Munnelly/Deasy-Lenihan)
KEYWORDS: nonballad religious clergy
FOUND_IN: Ireland
REFERENCES: (1 citation)
Munnelly/Deasy-Lenihan 31, "The Beautiful Hands of the Priest" (1 text, 1 tune)
Roud #5218
RECORDINGS:
Tom Lenihan, "The Beautiful Hands of the Priest" (on IRTLenihan01)
NOTES: Munnelly/Deasy-Lenihan: "A Father Crowley of Dunsallagh gave Tom the words of this poem on a type-written sheet about 1963 and asked him could he put a tune to it?" - BS
Hm. The cynic in me can't help but wonder, Just what had that priest been doing with his altar boys that he needed such propaganda? It is Catholic doctrine that the sacraments come through the church -- but it is also very basic Catholic doctine that the sacraments are made efficacious by God, *not* the particular priest involved, who may in fact not be in a state of grace. The power is all in the church collectively, not the priest; it is the sacrament, not the one who administers it, which acts.
This is not a recent doctrine; the church had to face the issue very early on, in the face of the Donatist heresy and related doctrines such as Novationism, which held the contrary opinion that the state of the minister did matter. The Novationists arose after the Decian persecution of 250; many had fallen away from the faith during the troubles, but wanted readmission to the church after Gallienus's edict of toleration in 260. Pope Cornelius was willing to forgive, but Novation felt that there was no possibility of forgiving the apostate; he split from the church and was declared Bishop of Rome, with his sect lasting for a few centuries (see David Christie-Murray, _A History of Heresy_, Oxford, 1976, p. 96).
The Donatists were a slightly later but rather stronger version of the same thing. They arose in the aftermath of Diocletian's persecution (from 303). The persecution did not end until 312. And, in 311, a new bishop of Carthage had been needed. Caecilian was consecrated bishop by Felix of Aptunga, who was considered to have gone along with the persecution, so many in the diocese refused to accept Caecilian's ordination. A rival sect arose, with Majorinus their first bishop. He soon died, to be replaced by Donatus (from 316), who gave the group its name. According to Lars P. Qualben, _A History of the Christian Church_, revised edition, Nelson, 1936, p. 123, "The [Donatist] party held that the traditors, or those who had surrendered copies of Scripture in the recent persecution, had committed a mortal sin." The sect seems to have endured until at least the Vandal, and perhaps the Islamic, conquest.
According to Christie-Murray, pp. 96-97, "Augustine wrote copiously against the Donatists, helping to establish the principle, which has remained that of the western Church, that the sacraments are not dependent for their validity upon the moral character if the men by whose hands they are administered but are valid in themselves, deriving their efficacy from God.Ó
Similarly Qualben, pp. 123-124: Òthe character of a minister does not affect his official acts. All the acts of the church are valid acts, though the officials may be unworthy men."
Admittedly a fine distinction for a layperson to make -- but one that every Catholic clergyman should know!
Nonetheless this is a very Irish sort of a piece. Tim Pat Coogan, _Eamon de Valera: The Man Who Was Ireland_ (1993; I use the 2001 Dorset Press edition), p, 3, pretty well sums up the peculiar situation in that nation: "The parish priest was the Irish peasant's spokesman and bulwark against authority, an ever-present eternity. The consolation and support that the better priests gave their flocks was reciprocated by a respect for the clergy generally only equalled today by that accorded to an imam in a fundamentalist Arab village." - RBW
File: RcBeHaPr
===
NAME: Beautiful Light o'er the Sea: see Meet Me Tonight in the Moonlight (File: R746)
===
NAME: Beautiful Star (Star of the Evening)
DESCRIPTION: "Beautiful star in heav'n so bright, Softly falls thy silvr'y light, As thou movest from earth afar, Star of the evening, beautiful star. Beautiful star, Beautiful star, Star of the evening, beautiful star." The singer asks the star to watch over his love
AUTHOR: James M. Sayles
EARLIEST_DATE: 1862 (mentioned in diary of Lewis Carroll)
KEYWORDS: nonballad love
FOUND_IN: Britain
REFERENCES: (0 citations)
Roud #13751
BROADSIDES:
Bodleian, Harding B 11(4352), "Beautiful Star," H. Such (London), 1849-1862; same (?) sheet as Harding B 11(4352); also Harding B 19(10), "Beautuful (sic.) star! in heaven so bright " [another trimmed version as 2806 b.9(272), another as 2806 c.15(96)]; Harding B 11(4067), "Beautiful Star," J. Harkness (Preston), 1840-1866; same (?) sheet as Harding B 11(4068); Firth b.26(74); Harding B 11(1669); 2806 c.13(81), "Beautiful Star," James Lindsay (Glasgow), after 1851
NOTES: This obviously isn't a folk song, but there are slight hints of it in oral tradition -- including the fact that the Liddell sisters sang it for Lewis Carroll. Which inspired its far more famous parody (which is the reason I list it here): Carroll used it as the basis for "Beautiful Soup" ("Soup of the evening, Beautiful Soup"), as sung by the Mock Turtle.
How much more famous? _Granger's Index to Poetry_ has two references to "Beautiful Star." Both are books of parodies linking it to "Beautiful Soup" -- which has *five* entries in Granger's.
For further details, one may consult Martin Gardner's _The Annotated Alice_, p. 141. - RBW
File: nnBeaStar
===
NAME: Beautiful Susan [Laws M29]
DESCRIPTION: Susan's parents take advantage of her sweetheart William's absence to inform her that he is dead. They arrange a marriage to another man. William's letter announcing his return drives her to suicide. William sees her ghost and also kills himself
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: death trick suicide ghost love
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Laws M29, "Beautiful Susan"
BrownII 69, "Beautiful Susan" (1 text)
DT 721, BEAUTSU
Roud #1022
CROSS_REFERENCES:
cf. "The Damsel's Tragedy" (theme)
NOTES: Another song Laws lists as traditional, and British, even though only one version is known: The American one from the Brown collection. - RBW
File: LM29
===
NAME: Beautiful, Beautiful Brown Eyes: see Beautiful Brown Eyes (File: FSWB230)
===
NAME: Beautiful, Beautiful Ireland
DESCRIPTION: Singer must leave "Ireland the gem of the sea," which he wishes were free. No land can compare with it. "The ship is now anchored in the bay, But when I will return with my true-love It is then you may be sure I'll stay"
AUTHOR: unknown
EARLIEST_DATE: 1973 (Munnelly/Deasy-Lenihan)
KEYWORDS: emigration sea ship Ireland nonballad patriotic
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #5225
RECORDINGS:
Munnelly/Deasy-Lenihan 20, "Beautiful, Beautiful Ireland" (1 text, 1 tune)
File: RcBeBeIr
===
NAME: Beauty of Garmouth, The
DESCRIPTION: "Near the foot of the Blackhill there lives a fair dame, And fain would I court her, fair Annie by name." The singer praises her looks, her voice, her teeth. If he could, he would write her name in gold letters. But she fancies him not; he begs for pity
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 195, "The Beauty of Garmouth" (1 short text)
Roud #5535
File: Ord195
===
NAME: Beauty of the Braid, The
DESCRIPTION: The singer has wandered far, but his "intellect is consummated By the charming beauty lives in the Braid." He asks how she came there; she was rescuing a lost lamb. He asks her name; she answers in riddles and bids him seek more education
AUTHOR: unknown
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: love courting beauty wordplay riddle
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H723, p. 240-241, "The Beauty of the Braid" (1 text, 1 tune)
Roud #9477
NOTES: Sam Henry believes this song to be many centuries old, as it mentions wolves, long extinct in Ireland. And yet, the lady wants the young man to know Latin, and encourages him to improve his education to solve her riddle. This implies a much more recent date, when learning was widespread.
I think we must regard this song as a mystery, probably of broadside origin. - RBW
File: HHH273
===
NAME: Beauty, Beauty Bride, The: see Charming Beauty Bright [Laws M3] (File: LM03)
===
NAME: Beaver Cap, The
DESCRIPTION: "I went to town the other day To buy myself a hat, sir, I picked upon this beaver cap, With bill so broad and flat, sir." The song may detail the exploits of the boy with the cap -- e.g. letting a hen roost in it, throwing the eggs at his mother, etc.
AUTHOR: unknown
EARLIEST_DATE: 1920 (Belden)
KEYWORDS: clothes commerce bird
FOUND_IN: US(Ap,So)
REFERENCES: (3 citations)
Belden, p. 435, "The Beaver Cap" (1 text)
Randolph 355, "The Beaver Cap" (1 text, 1 tune)
MHenry-Appalachians, p. 32, "Flat Bill Beaver Cap" (1 text)
Roud #6366
File: R355
===
NAME: Beaver Dam Road
DESCRIPTION: "I've worked like a dog and what have I got? No corn in the crib, no beans in the pot." Faced with such dire poverty, the singer sets up a still. He is caught and imprisoned. His wife hires a man and does well. The singer warns against making moonshine
AUTHOR: unknown
EARLIEST_DATE: 1941 (Warner)
KEYWORDS: drink prison hardtimes
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Warner 119, "Beaver Dam Road" (1 text, 1 tune)
DT, BEAVRDAM
Roud #7477
RECORDINGS:
Frank Proffitt, "Beaver Dam Road" (on Proffitt03)
File: Wa119
===
NAME: Beaver Island Boys, The [Laws D17]
DESCRIPTION: Johnny Gallagher sets out across Lake Michigan despite a warning from his mother. On the way home, the boat is almost to Beaver Island when it sinks with all hands in a storm
AUTHOR: Daniel Malloy (1874)
EARLIEST_DATE: 
KEYWORDS: ship death storm
HISTORICAL_REFERENCES: 1873 - Death of Johnny Gallagher on Lake Michigan
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Laws D17, "The Beaver Island Boys"
DT 789, BEAVRISL
Roud #2238
File: LD17
===
NAME: Because He Was Only a Tramp: see The Tramp (II) (File: R843)
===
NAME: Becky at the Loom
DESCRIPTION: The singer remembers Georgia and the cotton farms. "I cannot help from thinking, no matter what my doom, Of the happy moments when I saw sweet Becky at the loom." He has left her far behind, but hopes above all else to return
AUTHOR: unknown
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: weaving separation love
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 677, "Becky at the Loom" (1 text)
Roud #7368
NOTES: Carla Sciaky has recorded this piece, but it should be noted that her tune is modern. - RBW
Pete Sutherland has composed a tune for this song; it's been recorded as "Sweet Becky at the Loom." - PJS
That's the one. - RBW
File: R677
===
NAME: Bed-Making, The
DESCRIPTION: The girl is sent into service "when I was young." Her master becomes enamored of her. The mistress catches him with her, and throws the girl out. At last she bears a son, and brings him back to the father, blaming it all on "the bed-making."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: servant sex pregnancy bastard begging hardtimes
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, p. 199, "My Mither She Feed Me" (1 short text)
DT, BEDMAKIN
Roud #1631
ALTERNATE_TITLES:
My Old Father Was a Good Old Man
My Mother Sent Me to Service
The Bedmaking
NOTES: Roud splits off Ord's text, "My Mither She Feed Me," as a separate item, #3796. But Ord's text, while only a fragment, contains all the characteristics, and many of the words, of this piece (or at least its first portion). I can't see splitting them unless a fuller version of Ord's song is forthcoming. - RBW
File: Ord199
===
NAME: Bed-Time Song (I), The: see Martin Said To His Man (File: WB022)
===
NAME: Bedford Van, The
DESCRIPTION: The singer, a tinker, meets Sally Anne and takes her into his Bedford Van. She proposes, they marry, and honeymoon in Glasgow. He is stopped for driving drunk. Sally "took sick" from overeating. When "a big dame" makes a pass at him Sally clouts her.
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: sex marriage drink humorous wife tinker technology
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 7, "The Bedford Van" (1 text, 1 tune)
NOTES: The singer, in the song, is from Springtown, a post World War 2 slum outside Derry City, closed in 1967 and demolished (source: McBride). When stopped in Dublin he is given a breathalyser test. The song ends with a warning not to be too quick to pick up a girl in your Bedford Van: you're likely to end by being married. - BS 
File: McB1007
===
NAME: Bedlam: see A Maid in Bedlam (File: ShH41)
===
NAME: Bedlam Boys: see Tom a Bedlam (Bedlam Boys) (File: Log172)
===
NAME: Bedlam City: see A Maid in Bedlam (File: ShH41)
===
NAME: Bedmaking, The: see The Bed-Making (File: Ord199)
===
NAME: Bedroom Window: see The Drowsy Sleeper [Laws M4] (File: LM04)
===
NAME: Bedtime Prayer, The: see Matthew, Mark, Luke, and John (I) (File: FO033)
===
NAME: Beefsteak When I'm Hongry: see Rye Whisky (File: R405)
===
NAME: Been All Around the Whole Round World
DESCRIPTION: "Been all around the whole round world, oh babe (x3), Tryin' to find a brown-skinned Creole girl..." The singer complains about the killing work on the Joe Fowler, boasts of his ability to work, and admits being on the run for murder
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: travel work river
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, p. 103-104, "Been All Aroun' the Whole Roun' Worl'" (1 text, 1 tune)
Roud #10037
NOTES: Not to be confused with "Hang Me, Oh Hang Me (Been All Around This World)."
For information on the steamer "Joe Fowler," see the notes to "I'm Going Down the River." - RBW
File: MWhee103
===
NAME: Been All Around This World: see Hang Me, Oh Hang Me (Been All Around This World) (File: R146)
===
NAME: Been in the Pen So Long
DESCRIPTION: "Been in the pen so long, Oh honey, I'll be long gone, Been in the pen, Lord, I got to go again...." The singer tells of lonesomeness. He mentions that "some folks crave for Memphis, Tennessee, But New Orleans [or another city] is good enough for me."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: prison home
FOUND_IN: US(So)
REFERENCES: (2 citations)
Sandburg, pp. 220-221, "Been in the Pen So Long" (1 text, 1 tune)
Silber-FSWB, p. 65, "Been in the Pen So Long" (1 text)
File: San220
===
NAME: Been in the Storm So Long
DESCRIPTION: "I been in the storm so long...Oh Lord, give me more time to pray" "This is a needy time..." "I am a motherless child..." "Lord, I need you now..."
AUTHOR: unknown
EARLIEST_DATE: before 1960 (recording, Paul Robeson); referred to in Marsh's Story of the Jubilee Singers (1901)
KEYWORDS: loneliness floatingverses nonballad religious
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #15325
RECORDINGS:
Mary Pickney w. Janie Hunter, "Been in the Storm So Long" (on BeenStorm1, BeenStormCD1)
File: RcBITSWL
===
NAME: Been on the Cholly So Long: see Joseph Mica (Mikel) (The Wreck of the Six-Wheel Driver) (Been on the Choly So Long) [Laws I16] (File: LI16)
===
NAME: Been on the Choly So Long: see Joseph Mica (Mikel) (The Wreck of the Six-Wheel Driver) (Been on the Choly So Long) [Laws I16] (File: LI16)
===
NAME: Been to the Gypsy (St. Louis Blues)
DESCRIPTION: "Been to de Gypsy to get mah fortune tole, To de Gypsy done got my fortune tole, 'Cause I'se wile about mah Jelly Roll. Gypsy done tole me, "Don't you wear no black." Yas, she done tole me, "Don't you wear no black. Go to St. Louis, you can win him back."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: Gypsy prophecy separation abandonment clothes
FOUND_IN: US
REFERENCES: (2 citations)
Scarborough-NegroFS, p. 267, (no title) (1 short text)
DT, (STLOUBLU)
NOTES: This passage is used in W. C. Handy's St. Louis Blues. But Scarborough at least implies that this portion is older. As usual, she offers no real supporting evidence.
Note that neither song should be confused with Lead Belly's "St. Louis Blues." - RBW
File: ScaNF267
===
NAME: Before the Daylight in the Morning (Dirty Nell)
DESCRIPTION: The singer complains of his wife, who lives off his money and refuses to do any work. He gives graphic details of how dirty she is and how filthy she leaves their home. He prays "that God or the devil may whip her away Before the daylight in the morning."
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: husband wife home hardtimes
FOUND_IN: Canada(Mar,Newf) US(MW)
REFERENCES: (1 citation)
Leach-Labrador 121, "Dirty Nell" (1 text, 1 tune)
Roud #5714
RECORDINGS:
Sara Cleveland, "Before the Daylight in the Morning" (on SCleveland01)
CROSS_REFERENCES:
cf. "Darby O'Leary" (tune)
File: RcBTDITM
===
NAME: Before This Time Another Year: see Oh, Lord, How Long (File: R615)
===
NAME: Beggar Man, The: see The Gaberlunzie Man [Child 279A] (File: C279A)
===
NAME: Beggar Wench, The
DESCRIPTION: A merchant's son meets a beggar girl; they go to bed and, being drunk, sleep soundly. She awakens first, takes his clothes and gear, and leaves. He awakes to find only the girl's clothes, which he puts on, swearing never to sleep with a beggar again
AUTHOR: unknown
EARLIEST_DATE: before 1847 (broadside, Bodleian Harding B 6(48))
KEYWORDS: sex theft clothes cross-dressing trick drink begging youth
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Kennedy 338, "The Beggar Wench" (1 text, 1 tune)
Flanders-Ancient1, p. 242, "Willie's Lyke-Wake" (1 fragment, two lines only, the second line of which is found in Child's "C" text of "Willie's Lyke-Wake" [Child 25], but a similar line is found in "The Beggar Wench," and the first line of this fragment, "Kind sir, if you please," may fit better with this piece)
DT, MRCHNTSN* MRCHNTS2*
Roud #2153
RECORDINGS:
Davie Stewart, "The Merchant's Son [and the Beggar Wench]" (on FSB2, FSB2CD, Voice13)
BROADSIDES:
Bodleian, Harding B 6(48), "The Merchant's Son, and the Beggar Wench of Hull ("You gallants all, I pray draw near"), J. Turner (Coventry), 1797-1846; also Douce Ballads 4(5), Douce Ballads 3(66b), "The Merchant's Son, and the Beggar-Wench of Hull"
CROSS_REFERENCES:
cf. "The Shirt and the Apron" [Laws K42] (plot) and references there
ALTERNATE_TITLES:
The Merchant and the Beggar Wench
The Merchant's Son
NOTES: The plot is, of course, virtually identical to "The Shirt and the Apron" -- but as the protagonist is a merchant rather than a sailor, and the lady is a beggar, they get split. - PJS
File: K338
===
NAME: Beggar-Laddie, The [Child 280]
DESCRIPTION: A girl asks the shepherd what his trade is. He tells her, then declares that he loves her "as Jacob loved Rachel of old." She decides to go with him despite his poverty. He takes her home with him and reveals that he is actually well-to-do
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: work home courting money disguise
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Child 280, "The Beggar-Laddie" (5 texts)
Bronson 280, "The Beggar-Laddie" (18 versions)
Ord, pp. 382-383, "The Beggar's Dawtie" (1 text)
Roud #119
CROSS_REFERENCES:
cf. "The Gaberlunzie Man" [Child 279A]
cf. "The Jolly Beggar" [Child 279] and references there
NOTES: The reference to Jacob loving Rachel, or vice versa, is to Gen. 29:18 and following; it is probably offered as an example because Jacob served Laban (Rachel's brother) for seven years to win her hand (and actually wound up working for Laban for fourteen years, because he got Rachel's sister Leah also).
The reference to Judas loving gold is more of a stretch; we are told that Judas was given thirty pieces of *silver* (Matt. 26:15), and the less explicit accounts of Mark (14:11) and Luke (22:5) also mention only silver (usually rendered "money" in English translations). These references seem to be corruptions of the reading in Child's "A" text, which refers to the classical legend of Jason and the Golden Fleece. (Compare Ord's text, in which it is Jesse, not Judas, who loves "cups of gold.")
The repartee also has a strange parallel in Lewis Carroll's _Through the Looking Glass_. The White Knight sings a song which includes these lines:
"Who are you, aged man," I said.
"And how is it you live?"
And his answer trickled through my head
Like water through a sieve.
He said, "I look for butterflies
That sleep among the wheat....
And that's the way I get my bread --
A trifle, if you please." - RBW
File: C280
===
NAME: Beggar, The: see Let the Back and Sides Go Bare (File: ShH78)
===
NAME: Beggar's Daughter of Bednall-Green, The: see The Blind Beggar's Daughter of Bednall Green [Laws N27] (File: LN27)
===
NAME: Beggar's Dawtie, The: see The Beggar-Laddie [Child 280] (File: C280)
===
NAME: Beggar's Song, The: see Let the Back and Sides Go Bare (File: ShH78)
===
NAME: Beggarman (I), The
DESCRIPTION: On Monday morning the beggarman takes his meal, flail and staff and leaves his wife and daughter in Ballinderry. He stops at a farmer's home not welcoming to strangers. The mistress of the house makes him welcome to table and bed as long as he'll stay.
AUTHOR: unknown
EARLIEST_DATE: 1955 (IRRCinnamond02)
KEYWORDS: adultery sex rambling begging
FOUND_IN: Ireland
REFERENCES: (0 citations)
ST RcTBegm (Partial)
Roud #3080
RECORDINGS:
Robert Cinnamond, "The Beggarman's Ramble" (on IRRCinnamond02)
NOTES: In IRRCinnamond02, the beggarman, Tom Targer, is from Killyleagh town, County Down. The plot vaguely resembles "The Jolly Beggar" [Child 279] but it adds the beggar's wife and daughter at the beginning and drops the revelation of a disguise at the end.
The description is based on John Moulden's transcription from IRRCinnamond02 included in the Traditional Ballad Index Supplement. - BS
The whole thing reminds me a bit of the story of David and Nabal of Carmel (1 Samuel 25): David, fleeing from Saul (and separated from his wife Michal) seeks help (protection money, really) from Nabal. Nabal refuses. Nabal's wife Abigail gives it -- and later marries David. If you assume that this *is* a relative of The Jolly Beggar, it sort of makes sense. But I imagine it's just coincidence. - RBW
File: RcTBegm
===
NAME: Beggarman (II), The: see Willie and Mary (Mary and Willie; Little Mary; The Sailor's Bride) [Laws N28] (File: LN28)
===
NAME: Beggarman (III), The: see Hind Horn [Child 17] (File: C017)
===
NAME: Beggarman Cam' ower the Lea, A: see The Gaberlunzie Man [Child 279A] (File: C279A)
===
NAME: Beggarman's Song, The: see The Little Beggerman (Johnny Dhu) (File: K345)
===
NAME: Beggars of Coudingham Fair: see Widdicombe Fair (II) (File: K289)
===
NAME: Begging Song, The: see When I Set Out for Glory (File: Fus212)
===
NAME: Begone Dull Care
DESCRIPTION: "Begone dull care, I prithee be gone from me, Begone dull care, thou and I shall never agree; long time thou hast been tarrying here, and fain though wouldst me kill...." The singer warns of how excess care can age and weary its victims
AUTHOR: unknown
EARLIEST_DATE: before 1900 (broadside NLScotland, L.C.178.A.2(256))
KEYWORDS: nonballad
FOUND_IN: 
REFERENCES: (0 citations)
Roud #13896
BROADSIDES:
NLScotland, L.C.178.A.2(256), "Begone Dull Care," unknown, c. 1860
NOTES: The notes in at the National Library of Scotland site claim this dates back to the reign of James II and VII (1685-1688/1689), without offering secondary evidence. The notes also report that it might be derived from a French piece. Finally, they claim it is popular. Popular it does indeed seem to have been, with broadside printers. Field collections are, however, few. - RBW
File: BrBeDuCa
===
NAME: Behind the Great Wall: see Behind These Stone Walls (File: R165)
===
NAME: Behind These Stone Walls
DESCRIPTION: The singer, although "brought up by good parents," tells of being orphaned at ten. He soon went rambling to seek work; jobs were few, and he took to robbery. He was taken and tried, and sentenced to a long prison term. He warns others against his mistake
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph, Warner)
KEYWORDS: orphan robbery trial prison warning
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
Randolph 165, "Saint Louis, Bright City" (1 text, 1 tune)
Warner 111, "Court House" (1 text, 1 tune)
McNeil-SFB1, pp. 53-55, "Behind the Great Wall" (1 text, 1 tune)
ST R165 (Partial)
Roud #2808
NOTES: As "Saint Louis, Bright City," this song is item dE35 in Laws's Appendix II. - RBW
File: R165
===
NAME: Behind Yon Blue Mountain: see The Hills of Tyrone (File: HHH609)
===
NAME: Behy Eviction, The
DESCRIPTION: "The Cavan Urban Council sent the Sheriff for to take possession of the engine house that stands by Behey Lake." Joe, who "had always pumped a good supply," is evicted. The man driving the engine declares Cavan will have water only if Joe is brought back
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: discrimination political technology
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 90, "The Behy Eviction" (1 text, 1 tune)
NOTES: OLochlainn-More: "A Cavan song taken from a ballad slip forty years ago recording an event probably still (1965) remembered in Behey, a townland near Killeshandra, Co. Cahan." My description omits the part played by the Orange vs Green conflict and eviction for the benefit of "grabbers." - BS
File: OLcM090
===
NAME: Beinn a' Cheathaich
DESCRIPTION: Scots Gaelic. (The singer, gathering sheep, looks out and sees) (McNeil's) galley head for Kismul. (Those aboard are listed). The ship (survives a rough passage to) arrive at the castle, where there is joy and feasting
AUTHOR: unknown
EARLIEST_DATE: 1909 (Kennedy-Fraser)
KEYWORDS: foreignlanguage ship food storm sheep
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: (2 citations)
Kennedy 2, "Beinn a' Cheathaich (The Misty Mountain") (1 text+English translation, 1 tune)
Kennedy-Fraser I, pp. 80-83, "Kishmul's Galley (A' Bhirlinn Bharrach)" (1 text+English translation, 1 tune)
RECORDINGS:
Flora MacNeil, "Beinn a' Cheathaich" (on FSB6)
NOTES: N. A. M. Rodger's _The Safeguard of the Sea_, p. 290, links this song to events of the reign of Elizabeth I: "Ruari Og MaNeill of Barra made a career of piracy... Throughout Elizabeth's reign the 'Galleys of Kisimul' (still celebrated in Gaelic folksong) raided the length of the Irish Sea as far south as the Bristol Channel."
I can see no hints of this in either the Kennedy or Kennedy-Frasier versions, though the two versions are very distinct. - RBW
File: K002
===
NAME: Belfast Beauty, The
DESCRIPTION: The singer met "the beauty of sweet Belfast Town' in Donegall Street. He describes her "angelic beauty" If he were rich "all earthly treasure I'd resign To wed with this damsel" He ends with a riddle that will spell her name.
AUTHOR: unknown
EARLIEST_DATE: 1989 (Leyden)
KEYWORDS: courting riddle beauty
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 27, "The Belfast Beauty" (1 text, 1 tune)
NOTES: The riddle: "One half of a town in the province of Leinster The first twice in station with one fourth of a fowl And when it's completely placed in arrangement The next in rotation it must be a vowel The name of a berry that is much admired Neither add nor subtract but when it's penned down It will spell you the name of this charming fair dame That I title the beauty of sweet Belfast Town"
For a similar riddle on a name see "Drihaureen O Mo Chree (Little Brother of My Heart)
Among other classic Greek references here: "I thought she was Flora or lovely Aurora Or Helen the cause of the downfall of Troy" and "If Clio fair or Queen Dido was there Neither Juno nor Venus of fame and renown ...." See the notes to "Sheila Nee Iyer" for some traits of the "hedge school master" school of Irish ballad writing. "Sheila Nee Iyer" also has a typical "if I were king..." verse ("O had I the wealth of the Orient store, All the gems of Peru or the Mexican ore, Or the hand of a Midas to mould o'er and o'er ...."); "The Belfast Beauty" says "Had I wealth and grandeur like Great Alexander ... Or was I the monarch of a European nation There is none but my darling should possess the crown...." As seems often the case for this kind of song, the outcome is unresolved. - BS
File: Leyd027
===
NAME: Belfast Cockabendy, The
DESCRIPTION: Cockabendy, a Belfast street fiddler, meets a girl. They drink, he plays, and the girl lifts his watch and chain. While he sleeps, drunk, she pledges his last coins for brandy. He asks her to advance the price of a pint. Instead, she hits him in the nose.
AUTHOR: unknown
EARLIEST_DATE: 1817 (according to Leyden)
KEYWORDS: courting theft drink fiddle money injury
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 29, "The Belfast Cockabendy" (1 text)
NOTES: Leyden: "A colourful account of the amorous pursuits of one Cockabendy. There was in fact such a person with that nickname in Belfast: he was a fiddle player ...." - BS
File: Leyd029
===
NAME: Belfast Lass, The
DESCRIPTION: The singer comes to Belfast and falls in love with "the charming Belfast lass." He claims wealth and proposes. She preferrs "the heart that's true" to riches. Confounded, he leaves for America, returns, proposes again and "she gave consent at last"
AUTHOR: unknown
EARLIEST_DATE: 1989 (Leyden)
KEYWORDS: courting marriage parting return reunion separation money America
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 25, "The Belfast Lass" (1 text, 1 tune)
NOTES: Leyden: "A love song from a ballad sheet published by Swindell's in Manchester." The Bodleian collection has almost 200 broadsides - but not this one - printed by Swindells in Manchester between 1780 and 1853. - BS
File: Leyd025
===
NAME: Belfast Mountains (The Diamonds of Derry)
DESCRIPTION: (The singer hears a girl lamenting).  She is "confined in the bands of love" by a "sailor lad that did inconstant prove." She begs for relief. (She meets her false love and begs him to change his mind.) (She curses him bitterly)
AUTHOR: unknown
EARLIEST_DATE: c.1810 (Catnach broadside, according to Leyden)
KEYWORDS: love betrayal curse
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H519, p. 389, "Belfast Mountains" (1 text, 1 tune)
Leyden 1, "The Belfast Mountains" c.1810 (1 text, 1 tune); 2, "The Belfast Mountains" c.1893 (1 text, 1 tune); 3, "The Belfast Mountains" c.1930 (1 text, 1 tune)
Roud #1062
CROSS_REFERENCES:
cf. "The Cavehill Diamond (I)" (subject of the Cavehill Diamond)
cf. "The Cavehill Diamond (II)" (subject of the Cavehill Diamond)
cf. "Belfast Town" (subject of the Cavehill Diamond)
NOTES: SHenry: "Other title: 'The Diamonds of Derry.' ... This is a version of a street ballad popular in 1800.... The Belfast Mountains (Cave Hill) were supposed to contain diamonds which shone at night. They were often referred to in the ballads of the period." The SHenry version has no reference to diamonds.
Leyden's c.1930 version is from SHenry H519. Leyden's earlier versions refer to the diamonds: "Had I but all the diamonds, That on the rocks do grow, I'd give them to my Irish laddie, If he to me his love would show." Leyden states that these lines contain "a clue to a mystery that continually aroused interest and fascination throughout the nineteenth and early twentieth century. The mystery centered around the existence of a diamond known as 'the Cavehill Diamond'. Whether or not the diamond ever existed is still a contentious point and perhaps cynics were right to dismiss it as a chunk of limestone." Leyden goes on to report several accounts between 1895 and 1920. (See also "The Cavehill Diamond" (I) and (II)). - BS
File: HHH519
===
NAME: Belfast Riot, The
DESCRIPTION: Election day, going to vote, Malcolm McKay is murdered by "bloodthirsty Irishmen"; "the Irish ... Each one with his weapon [blessed by a priest] ... Our noble Scotch heroes made them all run away"; 27 Irishmen and no Scotchmen are killed.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: violence homicide revenge political religious
HISTORICAL_REFERENCES: Mar 1, 1847 - Election day riot Belfast, PEI; Malcolm McRae killed (see notes)
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 74-76, "The Belfast Riot" (1 text, 1 tune)
Roud #12462
CROSS_REFERENCES:
cf. "The Twelfth of July" (Canadian political situation)
NOTES: "...election day, March 1, 1847 ... pitted 200 mainly Irish supporters of the Reform candidates against 200 mainly Scottish adherents of the Conservative candidates.... Three were killed, one Scotsman and two Irishmen. That this incident occurred in a district incidentally called Belfast, that one side was predominately Irish and Catholic and the other predominantly Scottish and Presbyterian, and that a contemporary controversy over the use of the Bible in the public schools was a proximate issue -- these circumstances gave credence to the belief, especially among the Scots, that the Belfast riot was a critical battle in a holy war, or at least in a contest of national pride and honour." (source: _A 'New Ireland Lost': The Irish Presence in Prince Edward Island_ by Brendan O'Grady on The Irish in Canada site.
"Malcolm McRae ... died March 01, 1847 in Belfast, PEI, Canada." (source: The [Prince Edward] Island Register site); the ballad makes the name "Malcolm McKay." - BS
File: Dib075
===
NAME: Belfast Sailor, The
DESCRIPTION: A Belfast lass asks her sailor lover to stay at home. The ship sails for Newfoundland "till taken slaves to end our days all in a Turkish galley." They are tortured. The sailor writes "the Turks they are so cruel ... so fare thee well, my jewel"
AUTHOR: unknown
EARLIEST_DATE: before 1820 (broadside, Bodleian Harding B 22(147))
KEYWORDS: captivity love separation lover sailor ordeal slavery
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 105, "The Belfast Sailor" (1 text)
BROADSIDES:
Bodleian, Harding B 22(147), "The Lass of Belfast", J. Pitts (London), 1802-1819; also Harding B 25(1167), "Lovers All"
CROSS_REFERENCES:
cf. "The Turkish Lady" [Laws O26] (theme)
cf. "La Jeune Fille si Amoureuse (The Girl So In Love)" (theme)
NOTES: Laws re O26: "A merchant ship from Bristol is captured by a Turkish rover and all its men are made slaves." The ballads have no lines in common.
Broadsides Bodleian Harding B 22(147) and Bodleian Harding B 25(1167) mention in passing that her father is a rich merchant. - BS
File: Ran105
===
NAME: Belfast Town
DESCRIPTION: Mary is keeping sheep when Prince Dermott rides out hunting. He sees her and falls in love. When he asks her hand, she says she is too poor. He persists, and asks her mother of her ancestry. The girl proves to be Dermott's lost cousin
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: love courting beauty family orphan marriage reunion
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H45, pp. 477-478, "Belfast Town" (1 text, 1 tune)
Leyden 28, "Belfast Town" (1 text, 1 tune)
Roud #3579
CROSS_REFERENCES:
cf. "The Cavehill Diamond (I) (subject of the Cavehill Diamond)
cf. "The Cavehill Diamond (II)" (subject of the Cavehill Diamond)
cf. "Belfast Mountains (The Diamonds of Derry)" (subject of the Cavehill Diamond)
NOTES: I find myself surprised that the Catholic Irish would make so little objection to first cousins marrying. - RBW
Leyden's text seems to be SHenry H45, with its apparent misplacement of verse 2, but the tune is different. - BS
File: HHH045
===
NAME: Belfast Tram, The
DESCRIPTION: "You wait and wait in vain standing shiv'ring in the rain If you want to be late again take a Belfast Tram." Suggest the tram to "a friend you'd rather miss." To get someplace on time "use your 'Shanks'" or take a taxi or sidecar.
AUTHOR: unknown
EARLIEST_DATE: 1989 (Leyden)
KEYWORDS: commerce humorous nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Leyden 17, "The Belfast Tram" (1 text, 1 tune)
NOTES: Leyden: "The enthusiastic public response to the introduction of horse trams [in Belfast in 1872] soon gave way to constant complaints about their lack of punctuality.... [T]his song is in the music hall mould and was published in _Ireland's Saturday Night_." [_Ireland's Saturday Night_ began publication in 1894 and is still being published. (source: National Library of Ireland site)] - BS
File: Leyd017
===
NAME: Believe Me If All Those Endearing Young Charms
DESCRIPTION: "Believe me if all those endearing young charms Which I gaze on so fondly today Were to change by tomorrow... Thou wouldst still be adores As this moment thou art." The singer says he loves her for herself; she didn't create her beauty anyway
AUTHOR: Words: Thomas Moore
EARLIEST_DATE: 1808 (Moore, "A Selection of Irish Melodies"; tune printed in 1775)
KEYWORDS: beauty love nonballad
FOUND_IN: Ireland
REFERENCES: (4 citations)
O'Conor, p. 120, "Believe Me, If All Those Endearing Young Charms" (1 text)
Silber-FSWB, p. 252, "Believe Me, If All Those Endearing Young Charms" (1 text)
Fuld-WFM, pp. 138-139, "Believe Me If All Those Endearing Young Charms -- (Fair Harvard)"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 378, "Believe Me If All Those Endearing Young Charms" (1 text)
RECORDINGS:
Henry Burr, "Believe Me If All Those Endearing Young Charms" (Little Wonder 105, 1915; Little Wonder 836, 1918)
James McCool, "Believe Me If All Those Endearing Young Charms" (Victor 4594, 1906)
Unknown tenor, "Believe Me, If All Those Endearing Young Charms" (Emerson 758, 1916)
BROADSIDES:
Bodleian, Johnson Ballads 3070 View 2 of 3[very difficult to read], "Believe Me If All Those Endearing Young Charms", T. Batchelar (London), 1817-1828; also Firth b.26(511), Firth c.18(31), "Believe Me If All Those Endearing Young Charms"
NOTES: If Granger's Index to Poetry is any guide, this is the most popular of all Moore's songs, appearing in no fewer than 18 of the anthologies it cites. And yet, I know of no traditional collections at all. - RBW
File: FSWB252A
===
NAME: Believe Me, Dearest Susan
DESCRIPTION: "When the wind swells the canvas and the anchor's a-trip and the ensign's hauled down from the peak of the ship - Believe me dearest Susan, I will come back again!" Verses have same pattern "When (insert sailing procedure) -- Believe me dearest Susan ..."
AUTHOR: unknown
EARLIEST_DATE: 1938 (Colcord)
KEYWORDS: foc's'le sailor return tasks
FOUND_IN: US
REFERENCES: (1 citation)
Colcord, pp. 163-164, "Believe Me, Dearest Susan" (1 text, 1 tune)
ST Colc163 (Partial)
Roud #4689
File: Colc163
===
NAME: Bell-Bottom Trousers: see Rosemary Lane [Laws K43] (File: LK43)
===
NAME: Bellaghy Fair: see I Went to the Fair at Bonlaghy (File: E151)
===
NAME: Belle Brandon
DESCRIPTION: "'Neath a tree by the margin of the woodland... There I saw the little beauty, Belle Brandon, And we met 'neath the old arbor tree." The singer tells of carving their names in a tree. Now she is dead, and "sleeps 'neath the old arbor tree."
AUTHOR: unknown
EARLIEST_DATE: 1859 (Beadle's Dime Song Books)
KEYWORDS: love courting death
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 805, "Belle Brandon" (1 text)
Fife-Cowboy/West 48, "Belle Brandon" (1 text, 1 tune)
Roud #7423
BROADSIDES:
LOCSinging, as100900, "Belle Brandon", J. Andrews (New York), 1853-1859; also as100890, "Belle Brandon"
NLScotland, L.C.1269(154a), "Belle Brandon, The Beauty of the Valley," Poet's Box (Glasgow?), 1865
NOTES: Randolph, probably based on Spaeth's _History of Popular Music in America_, p. 130, reports the publication of a song called "Bell Brandon" in 1860 (by T. E. Garrett and Francis Woolcott), and a report that sheet music was printed in 1854. He apparently did not know if they were the same song, and I have no way of checking the matter. - RBW
Broadside LOCSinging as100900: 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: R805
===
NAME: Belle Cherche Son Amant, La (The Beautiful Woman Seeks Her Lover)
DESCRIPTION: French. A woman takes her baby and goes to find her lover. She asks the mother of angels for help. She is told her husband is nearby, drinking wine and playing cards. He wipes her tears away but says he will not stay. Then he changes his mind.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage love reunion separation beauty cards drink supernatural baby lover
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 172-173, "La Belle Cherche Son Amant" (1 text, 1 tune)
File: Pea172
===
NAME: Belle Est Morte Entre les Bras de Son Amant, La (The Beautiful Woman Died in her Lover's Arms)
DESCRIPTION: French. A soldier gives a girl a gold ring to wait for him. Her father marries her to an old man. One night her young lover returns and knocks at her door though knowing she is married. She dies in his arms. Her father mourns.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage grief courting marriage ring death lover father soldier
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 664-665, "La Belle Est Morte Entre les Bras de Son Amant" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Le Beau Galant (The Handsome Gentleman)" (theme)
File: Pea664
===
NAME: Belle Gunness
DESCRIPTION: "Belle Gunness was a lady fair In Indiana State, She weighed about 300 pounds, And that is quite some weight." "Her favorite occupation Was a-butchering of men." "Now some say Belle killed only ten, And some say 42." At last she vanishes with the cash
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: homicide husband wife abandonment
HISTORICAL_REFERENCES: April 28, 1908 - Burning of the home and children of Belle Gunness
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 74-76, "Belle Gunness" (1 text plus a fragment; also a bit of a poem on the same topic)
NOTES: This is one of those stories that apparently had quite a local vogue, but little long-term notoriety; I checked four biographical dictionaries of various ages without finding a mention of Belle Gunness. So all my information comes from Burt.
It appears that her story really begins with the fire at her home. Four bodies were found in the house: Gunness's three children and a woman. Whether the woman was Belle was never finally established. After that, the grounds were searched, and a number of male bodies were discovered -- apparently husbands and male friends Belle had murdered.
Folklore has it that Belle murdered the men for their money and then made off with the booty. There is apparently no evidence either way. - RBW
File: Burt074
===
NAME: Belle Nanon (Beautiful Nanon)
DESCRIPTION: French. Nanon tells her lover that they cannot make love in the garden now. He must win over her father. He cannot. She says that they can kiss, and that love is certain, but that they cannot think of other things because her father stands in the way.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage courting love sex bawdy dialog father lover mistress
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 501-502, "Belle Nanon" (1 text, 1 tune)
File: Pea501
===
NAME: Belle of Long Lake, The: see Blue Mountain Lake (The Belle of Long Lake) [Laws C20] (File: LC20)
===
NAME: Belle Recompense, Une (A Beautiful Reward)
DESCRIPTION: French. The singer's unfaithful captain says he will marry her but then leaves. She follows him, dresses as a volunteer dragoon and rides a horse like a general. She kills him. The king gives her a gold pin and watch as a reward.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage courting warning army fight war cross-dressing death dialog lover soldier
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, p. 326, "Une Belle Recompense" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "William Taylor" [Laws N11] (plot)
File: Pea326
===
NAME: Belle Regrette Son Amour Tendre, La (The Beautiful Woman Sorrows for Her Tender Love)
DESCRIPTION: French. The singer left his mistress to work along the river. There he met another lover.  When she cried he comforted her and said he would return after this trip. When it came to saying goodbye she cried.
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage grief seduction lover mistress
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 430-431, "La Belle Regrette Son Amour Tendre" (1 text, 1 tune)
File: Pea430
===
NAME: Belle-a-Lee
DESCRIPTION: A steamboat chant with the refrain "Oh, Belle! Oh, Belle!": "Belle-a-Lee's got no time, Oh, Belle! oh Belle! Robert E. Lee's got railroad time...." "Wish I was in Mobile Bay... Rollin' Cotton by the day...."
AUTHOR: unknown
EARLIEST_DATE: 1924
KEYWORDS: river nonballad work floatingverses
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Botkin-MRFolklr, p. 592, [no title] (1 text)
CROSS_REFERENCES:
cf. "Stow'n' Sugar in de Hull Below" (floating lyrics)
cf. "Hieland Laddie" (floating lyrics)
NOTES: This uses lyrics from "Hieland Laddie," which is far better known, but the form appears different enough that I tentatively separate them. - RBW
File: BMRF592A
===
NAME: Belles of Renous, The
DESCRIPTION: "Stay home with your mother, don't cause her to fret, And do not mix up with the downriver set." The girls of Renous look down at "a man dressed in homespun" and prefer "a dude from the city." The girls of Dungaren are the best at a ball.
AUTHOR: Joe Smith (1872-1912)
EARLIEST_DATE: 1961 (Ives-NewBrunswick)
KEYWORDS: dancing party humorous nonballad clothes
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, pp. 164-167, "The Belles of Renous" (1 text, 1 tune)
Roud #1964
File: IvNB164
===
NAME: Bells are Ringing, The (Eight O'Clock Bells)
DESCRIPTION: "(Eight) o'clock bells are ringing, Mother let me out; My sweetheart is waiting For to take me out." "He's going to give me apples, He's going to give me pears, He's going to give me sixpence, And kisses on the stairs."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: courting food mother
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 86, "(Eight o'clock bells are ringing)" (1 text)
Roud #12986?
File: MSNR086
===
NAME: Bells of Shandon
DESCRIPTION: "With deep affection and recollection I often think of those Shandon bells." Those bells are compared to those at the Vatican, Notre Dame, and Moscow, and the bells "in St Sophio the Turkman gets"
AUTHOR: Rev Francis Sylvester Mahony (1804-1866)
EARLIEST_DATE: 1834 (_Fraser's Magazine_, according to Croker-PopularSongs)
KEYWORDS: lyric nonballad religious music
FOUND_IN: Ireland US(MW)
REFERENCES: (10 citations)
OCanainn, pp. 106-107, "The Bells of Shandon" (1 text, 1 tune)
O'Conor, pp. 24,60, "Bells of Shandon" (1 text, 1 tune)
Croker-PopularSongs, pp. 222-226, "The Bells of Shandon" (1 text)
Dean, pp. 65-66, "The Bells of Shandon" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, pp. 50-51, "The Bells of Shandon"
Charles Gavan Duffy, editor, The Ballad Poetry of Ireland (1845), pp. 242-243, "The Bells of Shandon"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 437-438, "The Shandon Bells" (1 text)
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 431-432, "The Bells of Shandon"
Charles Sullivan, ed., Ireland in Poetry, p. 42, "The Bells of Shandon" (1 text)
Walter de la Mare, _Come Hither_, revised edition, 1928; #224, "The Bells of Shandon" (1 text)
ST OCon024 (Partial)
Roud #9562
BROADSIDES:
Bodleian, Harding B 11(235), "The Bells of Shandon", W.S. Fortey (London), 1858-1885; also Harding B 11(234), 2806 b.11(162), "The Bells of Shandon"
CROSS_REFERENCES:
cf. "The Last Rose of Summer" (tune in Blackpool, OCanainn)
cf. "Slain le Maigh (Fairwell to the Maigue)" (tune, OCanainn)
NOTES: [See] _The Ballad Poetry of Ireland_ by Charles Gavan Duffy (Dublin, 1845), pp. 242-243, "The Bells of Shandon." - BS
This is among the most popular of Irish poems; _Granger's Index to Poetry_ lists fully a dozen anthologies containing the piece.
Francis Sylvester Mahony was a Jesuit priest born in Cork; he published much of his poetry under the name "Father Prout." He later left the church to work as a journalist and satirist.
Other works from his pen in this index include "The Town of Passage (IiI)." - RBW
File: OCon024
===
NAME: Beloved Land, The
DESCRIPTION: A young man on deck says "Farewell my beloved land; I'll see thee no more." He thinks of his youth and fighting "the tyrant" but now he is "prescribed as an exile"
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: grief exile farewell sea ship lament patriotic
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 352-353, "The Beloved Land" (1 text, 1 tune)
ST Pea352 (Partial)
Roud #6456
File: Pea352
===
NAME: Belt wi' Colours Three, The
DESCRIPTION: The singer overhears a woman lamenting her love, warning others not to love "until she know that she loved be." She lists the "gifts" she has gotten: a cap of lead, a mantle of sorrow, "a belt wi' colors three": shame, sorrow, and misery, etc.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love clothes betrayal
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 194, "The Belt wi' Colours Three" (1 text)
Roud #5534
File: Ord194
===
NAME: Ben Backstay
DESCRIPTION: "Ben Backstay was our boatswain, A very merry boy." The captain serves out double grog. Ben gets drunk and falls overboard. They throw ropes to him, but he can't return because a "shark had bit his head off." Ben's ghost warns against mixing liquor
AUTHOR: unknown
EARLIEST_DATE: 1948 (Shay)
KEYWORDS: sailor death humorous ghost drink
FOUND_IN: 
REFERENCES: (1 citation)
Shay-SeaSongs, pp. 98-101, "Ben Backstay" (1 text)
ST ShSea098 (Partial)
File: ShSea098
===
NAME: Ben Bolt
DESCRIPTION: "Oh! don't you remember sweet Alice, Ben Bolt, Sweet Alice, with hair so brown She wept with delight when you gave her a smile, And trembled with dear at your frown." But Alice now lies in the churchyard, and the mill where they courted is dried up
AUTHOR: Words: Thomas Dunn English
EARLIEST_DATE: 1843 (The New Mirror)
KEYWORDS: love courting death separation burial
FOUND_IN: US(MW)
REFERENCES: (4 citations)
Dean, pp. 31-32, "Ben Bolt" (1 text)
RJackson-19CPop, pp. 30-34, "Ben Bolt" (1 text, 1 tune)
Silber-FSWB, p. 252, "Ben Bolt" (1 text)
DT, BENBOLT
ST RJ19030 (Full)
Roud #2653
CROSS_REFERENCES:
cf. "Sam Holt" (tune & meter)
SAME_TUNE:
Answer to Ben Bolt (broadside LOCSheet, sm1854 741250, "Answer to Ben Bolt," W. C. Peters and Sons (Cincinnati), 1854 (tune)
NOTES: Originally published as a poem in _The New Mirror_ of September 2, 1843. Various tunes were offered; that by Nelson F. Kneass (made in 1848) proved the most enduring. It is possible that it was an adaptation of another tune.
T. D. English did not receive royalties for the popular editions of the song, and Spaeth (_A History of Popular Miusic in America_, p. 123) reports that he "came to resent [the song's] enormous popularity as compared with what he considered his more important efforts." Where have we heard *that* before? - RBW
File: RJ19030
===
NAME: Ben Breezer: see Dixie Brown [Laws D7] (File: LD07)
===
NAME: Ben Dewberry's Final Run
DESCRIPTION: Ben Dewberry tells his fireman never to fear, and that there are two more roads he wants to ride, and otherwise forecasts disaster. After passing over a trestle and switch, without warning the train derails and Dewberry is killed
AUTHOR: Rev. Andrew Jenkins
EARLIEST_DATE: 1927 (copyright)
LONG_DESCRIPTION: Ben Dewberry tells his fireman never to fear, and that there are two more roads he wants to ride, and to "put your head out the window, watch the drivers roll." It begins to rain; he predicts that they "may make Atlanta but we'll all be dead." After passing over a trestle and switch, without warning the train derails and Dewberry is killed
KEYWORDS: train death railroading work crash disaster wreck floatingverses worker
HISTORICAL_REFERENCES: Aug. 23, 1908: According to Norm Cohen [internet communication; the information is not in _Long Steel Rail_], Engineer Benjamin Franklin Dewberry killed when the Southern Railway's #38 crashes after young boys place a bolt on the tracks because they "wanted to see what a wreck would look like" 
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 158-162, "Ben Dewberry's Final Run" (1 text, 1 tune)
Roud #14015
RECORDINGS:
Frankie Marvin, "Ben Dewberry's Final Run" (Brunswick 153, 1928; Supertone 2055 [as The Texas Ranger], 1930) (Edison 52436, 1928; Edison 20002, 1929) (Banner 7179/Challenge 691/Conqueror 7164 [also issued as by Frank Nelson]/Domino 0253/Jewel 5351/Oriole 1297/Regal 8605 [all as Frankie Wallace], 1928)
Jimmie Rodgers, "Ben Dewberry's Final Run" (Victor 21245, 1928; Bluebird B-5482/Montgomery Ward M-4224, 1934)
Irene Sargent, "Ben Dewberry's Final Run" (AFS 13125 B17, n.d.)
Hank Snow, "Ben Dewberry's Final Run" (RCA Victor 20-4096, 1951; in album P-310; RCA Victor 47-4096, n.d.; in album WP-310)
Joe Steen, "Ben Dewberry's Final Run" (Champion 16258, 1931)
CROSS_REFERENCES:
cf. "Casey Jones (I)" [Laws G1], especially the subgroup "Kassie Jones" [Furry Lewis recording] (lyrics, structure)
cf. "Joseph Mica (Mikel) (The Wreck of the Six-Wheel Driver) (Been on the Choly So Long)" [Laws I16] (lyrics, structure)
NOTES: While clearly a composed song, Norm Cohen notes its strong affinity with older forms such as Furry Lewis's "Kassie Jones" blues-ballad and the "Joseph Mica/Milwaukee Blues/Jay Gould's Daughter" family of songs. Indeed, three of the five verses are shared with those songs. - PJS
Said verses being instruction to the fireman not to fear; the two more roads Dewberry would like to ride; the suggestion, "put your head out the windows, see the drivers roll"; and the prediction "we may make Atlanta but we'll all be dead." - RBW
File: RcBDFR
===
NAME: Ben Fisher
DESCRIPTION: "Ben Fisher had finished his day's hard work, And he sat at his cottage door; And his good wife Kate sat by his side, And the moonlight danced on the floor." They look back on their twelve years of marriage; they are not rich but are as happy as anyone
AUTHOR: unknown
EARLIEST_DATE: 1916 (Gardner/Chickering); reportedly published in 1859 in the first Beadle's Dime Song Book
KEYWORDS: marriage children farming
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 118, "Ben Fisher" (1 text)
ST GC118 (Partial)
Roud #3699
NOTES: Standard nineteenth-century treacle, with a bit of a temperance message ("Ben Fisher had never a pipe of clay, Nor never a dram drank he, So he loved at home with his wife to stay"). - RBW
File: GC118
===
NAME: Ben Hall
DESCRIPTION: The singer condemns the murder of Ben Hall. Hall is made an "outcast from society" when his wife sells his land. He refuses to shed blood, but is  finally ambushed and, abandoned by his comrades, is shot repeatedly
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: death homicide outlaw abuse betrayal infidelity wife police Australia
HISTORICAL_REFERENCES: May 5, 1865 - Ben Hall is ambushed and killed by police near Forbes, Australia
FOUND_IN: Australia
REFERENCES: (3 citations)
Meredith/Anderson, pp. 164-165, "Ben Hall" (1 text, 1 tune)
Manifold-PASB, pp. 62-63, "The Death of Ben Hall" (1 text, 1 tune)
DT, BENHALL*
Roud #3352
RECORDINGS:
John Greenway, "Ben Hall" (on JGreenway01)
CROSS_REFERENCES:
cf. "The Ballad of Ben Hall" (plot)
cf. "Streets of Forbes" (plot)
cf. "The Death of Ben Hall" (plot)
cf. "My Name is Ben Hall" (subject)
NOTES: Ben Hall is widely regarded as "the noblest of the bushrangers"; Harry Nunn, in _Bushrangers: A Pictorial History_ (Ure Smith Press, 1979, 1992), p. 21, includes him among the "'Gentleman' Bushrangers," and on page 113 reports that he was "the least violent and most tragic of the bushrangers." The story is that he was hounded from his home by the police, and only then turned to crime. Even as a bushranger, he attacked only the rich and never shed blood. George Boxall, _The Story of the Australian Bushrangers_, Swan Sonnenschein & Co, 1899 (I use the 1974 Penguin facsimile edition), p. 223, even tells a story of him arranging for the return of a victim's gun.
The truth is not quite so pretty. Hall was the child of convicts, born probably in 1837 (so Nunn, and Boxall, p. 251, says he was about 28 at the time of his death). His father is described as having a clean record. Nunn, p.113, reports that Ben himself "worked as a stockman in the Lachlan district as a youth and then took up a selection and, in 1856, married Bridget Walsh. They had one son, Harry."
Hall showed no signs of banditry until his wife ran off with another man. Nunn, p. 115, says that the police came after him on a minor charge and, while he was being held, found that his wife had run off with an ex-policeman. His property was burned and his stock strayed. 
From there his life took a turn for the worse; he sold off his land and eventually joined Frank Gardiner's outlaw band (see "Frank Gardiner," as well as the notes to "The Ballad of Ben Hall" for some other members of the gang); he was said to be part of the gang that committed the famous Eugowra Rocks robbery in 1862. Boxall, p. 217, reports that Gardiner may have been largely retired from the gang by the time Hall rose to prominence, but Hall and Johnny Gilbert (a Canadian who migrated to Australia in 1852 to seek gold, according to Nunn, p. 117) kept it active.
In the aftermath of the Eudowra affair, Hall with armed robbery but was acquitted for lack of evidence. The police continued to harry him, though. His leading exploit in this period was taking a high official hostage and releasing him in return for a 500 pound ransom (Nunn, p. 117).
Hall supposedly concluded that the life he was leading was too violent, and decided to leave Australia (Nunn, p. 119; Andrew and Nancy Learmonth _Encyclopedia of Australia_2nd edition, Warne & Co, 1973, article on Ben Hall, says that "Hall killed no one but was not able to prevent his gang from doing so"). Eventually Hall was ambushed and killed; at least fifteen and perhaps as many as thirty bullets were found in his body, which made him a hero to the locals who hated the police.
Dunn and Gilbert, like Hall, were associated with Frank Gardiner's outlaw band. John Gilbert brought the full force of the law down on the gang when he shot a policeman, and he died along with Johnny Dunn in 1866. Johnny O'Meally, also mentioned in the song, was a member of the gang killed in 1863. (Gardiner was eventually taken, but was paroled after seven years and allowed to emigrate to the U.S., where he opened a saloon and, it is said, was shot in a poker fight in 1903.)
"Sir Fred" is Sir Frederick Pottinger, a "monumentally inept" officer of the crown who bungled the whole case -- and eventually managed to accidentally kill himself! According to Boxall, p. 223, he once ran across the bushrangers he was supposed to be pursuing but failed to do anything about them. "Sir Frederick was called to Sydney to attend an inquiry, and resigned his position in the force. About a month later he died from the effects of a wound from a pistol, accidentally fired by himself."
To tell this song from the other Ben Hall songs, consider this first stanza:
Come all you young Australians, and everyone besides,
I'll sing to you a ditty that will fill you with surprise,
Concerning of a 'ranger bold, whose name it was Ben Hall,
But cruelly murdered was this day, which proved his downfall.
This is not the text found in Manifold (which begins "Come all you young Australians, and hear what did befall Concerning of a decent man whose name was bold Ben Hall"), but the tune (which wobbles oddly between Mixolydian and Dorian) puts it with John Greenway's version. - RBW
File: MA164
===
NAME: Benbraddon Brae
DESCRIPTION: The singer, going through Benbraddon hill, hears the sheepbells and the foxhunt. Stopping, he sees the boys and girls courting. He praises the beauty of the place, and recalls the parties among the fields and flowers
AUTHOR: unknown
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H572, pp. 159-160, "Benbraddon Brae" (1 text, 1 tune)
Roud #9215
File: HHH572
===
NAME: Beneath the Weeping Willow Tree: see Bury Me Beneath the Willow (File: R747)
===
NAME: Benjamin Bowmaneer
DESCRIPTION: Enraptured with martial spirit as England goes to war, a tailor makes a horse from his shear board, bridle bits from his scissors, and a spear from his needle (with which he spears a flea) and a bell from his thimble (to ring the flea's funeral knell).
AUTHOR: unknown
EARLIEST_DATE: 1959
KEYWORDS: war humorous nonsense bug
HISTORICAL_REFERENCES: 1437-1453 - The Hundred Years' War
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
Vaughan Williams/Lloyd, pp. 20-21, "Benjamin Bowmaneer" (1 text, 1 tune)
DT, BENBOWMR*
Roud #1514
CROSS_REFERENCES:
cf. "The Tailor and the Louse"
NOTES: We don't have "tailor" as a keyword, otherwise I'd have included it. Also, while everyone seems to think this song is either the usual humorous put-down of tailors or a hidden satire, the resemblance to the magical elements in such songs as "Scarborough Fair" makes me wonder whether we should also keyword it as "magic." I continue to get the feeling there's more to this song than meets the eye. -PJS
I have to agree, though I have no better explanation of what's going on than Paul does. The put-down of tailors is likely enough; the practitioners of the trade were considered singularly ineffective. We can see an instance of this, e.g., in Shakespeare's Henry IV, Part 2, Act III, scene 2, where Falstaff is interviewing potential soldiers. In lines 145-170, Falstaff interviews a tailor. His name? Francis Feeble. A double joke, obviously: "France is feeble," and the tailor is feeble too. And Falstaff justifies taking the fellow on the grounds that he might be useful during a retreat!
There is one interesting parallel here, though, to the Grimm fairy tale "The Brave Little Tailor" (note the occupation!). The tailor kills seven flies that are eating his jam, decides that makes him a hero, and sets out on a variety of adventures, in which he intimidates giants and men with his wits rather than his might.
This obviously is a variation on the same theme. And yet, from the references and general feeling, I think this song has something -- though I've no idea what -- to do with the convoluted politics of the Hundred Years' War, fought between England and France.
The war began when Edward III (1327-1377, and under English law the King of France) attacked the French -- if not to gain the throne, then at least to get clear title to the English lands in Aquitaine. The reign of Henry V (1413-1422) saw the English make a serious attempt to take over France, but everything fell apart in the reign of Henry VI (1422-1461), and all British possessions in France were lost.
During the whole time, though, there was constant diplomacy and maneuvering, much of which looked very silly from the outside.
By the way, it was the longbow which allowed the English -- often outnumbered three to one or more -- to keep the war going as long as it did. - RBW
File: VWL020
===
NAME: Benjamin Deane [Laws F32]
DESCRIPTION: Benjamin Deane, the singer, is successful in business but wants more. He turns to criminal activities on the side. When his wife leaves him, he shoots her in a jealous rage. Now he is in prison, warning others against his sort of behavior
AUTHOR: probably Joe Scott
EARLIEST_DATE: 1951 (Creighton-Maritime)
KEYWORDS: homicide jealousy prison
HISTORICAL_REFERENCES: 1898 - Benjamin F. Deane (born in New Brunswick in 1854) murders his wife in Berlin Falls, New Hampshire. Tried and convicted, he spent less than ten years in prison
FOUND_IN: US(NE) Canada(Mar)
REFERENCES: (5 citations)
Laws F32, "Benjamin Deane"
Creighton-Maritime, pp. 189-191, "Benjamin Dean" (1 text, 1 tune)
Ives-DullCare, pp. 89-91,241-242, "Benjamin Deane" (1 text, 1 tune)
Manny/Wilson 5, "Benjamin Deane" (1 text, 1 tune)
DT 686, BENJDEAN
Roud #2271
NOTES: Sandy Ives says "there need be no question that Joe Scott [Joseph W. Scott] wrote BENJAMIN DEANE" (internet correspondence, based on Ives's article in JAF 72, 1959). But Laws, though he quotes this information, does so in such a way as to imply he still has doubts. - RBW
File: LF32
===
NAME: Benjy Havens: see Benny Havens (File: R232)
===
NAME: Benny Havens
DESCRIPTION: The exploits of Benny (Benjie) Havens at West Point. After some time as a cadet and soldier, he turns to selling whiskey to his comrades. Chorus: "Oh! Benny Havens's, oh!  Oh!  Benny Havens's, oh! We'll sing our reminiscences of Benny Havens's, oh!"
AUTHOR: "Lt. O'Brien of the 8th Infantry"
EARLIEST_DATE: 1838
KEYWORDS: soldier  drink
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 232, "Benjy Havens" (1 text, 1 tune, both fragmentary)
Lomax-ABFS, pp. 540-543, "Benny Havens, Oh!" (1 text)
Darling-NAS, pp. 344-345, "Benny Havens, Oh!" (1 text)
DT, BENHAVEN*
Roud #7707
CROSS_REFERENCES:
cf. "The Wearing of the Green (I)" (tune)
NOTES: Benny Havens reportedly served in the American military in the War of 1812, then opened a small store near the "cadet hospital." By 1832, he was selling liquor, and was forced off the military reservation as a result. He proceeded to re-open just off the grounds, and established quite a clientele among the officers-to-be. - RBW
File: R232
===
NAME: Bent County Bachelor, The: see Starving to Death on a Government Claim (The Lane County Bachelor) (File: R186)
===
NAME: Bent Sae Brown, The [Child 71]
DESCRIPTION: Willie makes a boat of his coat and a sail of his shirt to visit Annie overnight.  When he leaves she warns that her three brothers lurk in the brown grass. They waylay him. He kills them. Her mother appeals to the king, who rules in favor of the lovers.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: trick love fight death family royalty brother
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Child 71, "The Bent Sae Brown" (1 text)
Bronson 71, brief comments only
Roud #3322
File: C071
===
NAME: Benton County, Arkansas
DESCRIPTION: The singer describes a life of surprises and mishaps since leaving (Benton County) at (18). The tavern offers a fine meal but a flea-infested bed. The listener is given advice on how to milk an old ewe. Etc. Uses the "Derry Down" tune
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: travel humorous bug food
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Randolph 345, "Benton County, Arkansas" (4 texts, 1 tune)
Randolph/Cohen, pp. 282-283, "Benton County, Arkansas" (1 text, 1 tune -- Randolph's 34A)
Roud #7624
NOTES: The various versions of this piece in Randolph are extensive, but hardly add up to a coherent story; "C" in particular looks like it might float. Cohen speculates that the first verse of the "A" text is a graft onto the song. I hope someone can find a fuller version. - RBW
File: R345
===
NAME: Bergere Fait du Fromage (The Shepherdess Makes Cheese)
DESCRIPTION: French. The shepherdess makes cheese from the milk of her white sheep. In anger she kills her kitten. She confesses to her father and, for penance she will embrace men: not priests, but especially men of war with beards.
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage sex nonsense animal shepherd
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 241-242, "Bergere Fait du Fromage" (1 text, 1 tune)
NOTES: In Peacock's version, there is no explanation for why the girl killed the kitten; perhaps it ate the cheese? - (BS, RBW)
File: Pea241
===
NAME: Bernard Riley
DESCRIPTION: "My name is Owen Riley, I have a son that sets me crazy; He come home every night singing blackguard songs." The boy goes out and fights, or comes home drunk and hits his sister, or pawns his father's pants. The father has no solution
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: father children drink
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 63-64, "Bernard Riley" (1 text)
Roud #5500
NOTES: This, being a standard complaint about the wildness of youth (though in this case it sounds pretty justified) sounds to me as if it might be a popular song from the early twentieth century, but I haven't found any references to it in any source, printed or online. - RBW
File: Dean063
===
NAME: Berryfields of Blair
DESCRIPTION: Singer describes migrant workers' descent on Blair in berry-picking time; there are city folks, miners, fisherfolk, and Travellers. Some are successful, some not; some work as a family, some alone. The singer praises all
AUTHOR: Belle Stewart
EARLIEST_DATE: 1955 (recorded from Belle Stewart)
LONG_DESCRIPTION: Singer describes migrant workers' descent on Blair in berry-picking time; there are city folks, miners, fisherfolk, and Travellers from all parts of Scotland. Some are successful, some not; some work as a family, some alone; "some men share and share alike wi' wives that's no their ain." The singer praises them all and blesses the hand that led him to the berryfields of Blair
KEYWORDS: travel farming harvest work nonballad worker Gypsy migrant
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Kennedy 339, "The Berryfields of Blair" (1 text, 1 tune)
Roud #2154
RECORDINGS:
Belle Stewart, "The Berry Fields O' Blair" (on Voice20) (on SCStewartsBlair01)
BROADSIDES:
cf. "Nicky Tams" (tune)
NOTES: Kennedy does not mention Belle Stewart's claim to have written this song -- but, in this instance, I see no reason to question it; this gives every evidence of being the work of a modern who is nonetheless steeped in traditional music -- and the dialect exactly fits Stewart's own. - RBW
Hall, notes to Voice20, re "The Berry Fields O' Blair": written in 1930. - BS
File: K339
===
NAME: Bess of Ballymoney
DESCRIPTION: The singer calls on the muses to inspire him in praise of "the star of Ballymoney." He sees her, falls in love, and asks her to marry. She is young and not ready to leave home. He takes her to a tavern. She agrees to leave home and friends and marry him
AUTHOR: unknown
EARLIEST_DATE: 1926 (Sam Henry collection)
KEYWORDS: love courting beauty drink marriage
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H133, p. 461, "Bess of Ballymoney" (1 text, 1 tune)
NOTES: In what is clearly a typographical accident, the note in Henry/Huntington/Herrmann list this as a version of Child #143. It's not; it's just another of those Irish songs about love at first sight -- in this case, perhaps aided by alcohol. - RBW
File: HHH133
===
NAME: Bessie Beauty: see Betsy Is a Beauty Fair (Johnny and Betsey; The Lancaster Maid) [Laws M20] (File: LM20)
===
NAME: Bessie of Ballington Brae [Laws P28]
DESCRIPTION: Bessie appears to her former lover as he lies sleeping, saying that she is dead and he has led her astray. He goes to her home and learns that she is indeed dead. He admits to the betrayal, says he intended to marry her, and stabs himself to death
AUTHOR: unknown
EARLIEST_DATE: before 1859 (broadside, Bodleian 2806 b.11(245)); before 1845 (broadside, Bodleian Harding B 11(677) if the broadside is this ballad; see notes)
KEYWORDS: ghost seduction death suicide betrayal
FOUND_IN: US(MW,NE) Canada(Mar) Ireland
REFERENCES: (7 citations)
Laws P28, "Bessie of Ballington Brae"
SHenry H73, pp. 412-413, "Ballindown Braes" (1 text, 1 tune)
McBride 3, "Ballintown Brae" (1 text, 1 tune)
Gardner/Chickering 31, "Jessie of Ballington Brae" (1 text, 1 tune)
Dean, pp. 44-45, "Ballentown Brae" (1 text)
Mackenzie 31, "Bessie of Ballington Brae" (1 text)
DT 596, BESSBAL
Roud #566
BROADSIDES:
Bodleian, 2806 b.11(245), "Answer to Betsy of Ballantown Bray," J.O. Bebbington (Manchester), 1855-1858; also 2806 c.15(155), 2806 b.9(233), "Answer to Ballindown Brae"
CROSS_REFERENCES:
cf. "Ballan Doune Braes" (prequel)
ALTERNATE_TITLES:
Bessie of Ballydubray
NOTES: Mackenzie's notes to "Bessie of Ballington Brae" include the first verse from a broadside that is "quite certainly" connected to his ballad.  Laws, having as an example, a broadside entitled "Answer to Betsy of Ballantown Bray" concludes that P28 is the sequel to Mackenzie's broadside.  That prequel is indexed here as "Ballan Doune Braes." The Bodleian broadsides noted here, which are examples of Laws P28, are likewise entitled "Answer to ...." - BS
File: LP28
===
NAME: Bessy Bell and Mary Gray [Child 201]
DESCRIPTION: "O Bessie Bell and Mary Gray, They war twa bonnie lasses; They biggit a bower on yon burn brae, And theekit it o'er wi' rashes." Despite these precautions, they die of the plague. They had hoped to be buried in Methven kirk yard, but this was not allowed
AUTHOR: unknown
EARLIEST_DATE: 1720 (Ramsay, according to Opie-Oxford2)
KEYWORDS: disease death burial
FOUND_IN: US(NE,SE) Britain(Scotland)
REFERENCES: (13 citations)
Child 201, "Bessy Bell and Mary Gray" (1 text)
Bronson 201, "Bessy Bell and Mary Gray" (7 versions)
BarryEckstormSmyth pp. 278-279, "Bessy Bell and Mary Gray" (1 fragment plus a printed version that may have been the source, 1 tune) {Bronson's #7}
JHCox 22, "Bessie Bell and Mary Gray" (2 texts, of only two verses; the first goes here but the second appears to be floating material)
Davis-Ballads 38, "Bessy Bell and Mary Gray" (4 text, of which only "A" contains more than the first stanza, and the extra stanza seems to be an intrusion)
Scarborough-SongCatcher, pp. 190-191, "Bessie Bell and Mary Gray" (1 fragment)
Opie-Oxford2 39, "Bessie Bell and Mary Gray" (3 texts)
Baring-Gould-MotherGoose #293, pp. 169-170, "(Bessy Bell and Mary Gray)"
Friedman, p. 302, "Bessy Bell and Mary Gray" (1 text)
OBB 176, "Bessie Bell and Mary Gray" (1 text)
Gummere, pp. 163+336, "Bessie Bell and Mary Gray" (1 text)
DT 201, BESSBELL* BESSBEL2* BESSBEL3*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; notes to #62 (no title) (1 text)
Roud #237
BROADSIDES:
NLScotland, Ry.III.a.10(114), "Bessy Bell and Mary Gray," unknown, after 1720
NOTES: This ballad is sometimes associated with a plague which struck Perth, Scotland in 1645. Few versions of this ballad, which is usually found only in fragmentary form, explain why the two women were denied burial in the town churchyard; homosexuality has been offered as a possible explanation. - PJS, RBW
Iona and Peter Opie write, "The local tradition (first written down c. 1773) about these two girls is that Mary Gray was the daughter of the Laird of Lednock and Bessy Bell of the Laird of Kinvaid, a place near by. They were both very handsome and an intimate friendship subsisted between them. While Bessy was on a visit to Mary the plague broke out at Perth (seven miles distant), and in order to escape it they built themselves a bower.... Here they lived for some time; but... they caught the infection from a young man who was in love with both of them and used to bring them provisions. They died in the bower, and since, according to the rule in case of plague, they could not be buried in a churchyard... they were interred in the Dranoch-haugh."
The NLScotland broadside consists solely of an ode to the two pretty young women, and is likely a rewrite; it is credited in the notes on the site (though not on the broadside itself that I can see) to Allan Ramsay (1686-1758). - RBW
File: C201
===
NAME: Best Little Doorboy, The
DESCRIPTION: "The workmen in the Rhondda are wonderful boys, They go to their work without any noise." The singer mentions the people found in the mines: Daniel the sawyer, "always so cross," "Old William, the Lampman," girls with holes in their stockings, etc.
AUTHOR: unknown
EARLIEST_DATE: 1954 (MacColl-Shuttle)
KEYWORDS: mining moniker
FOUND_IN: Britain
REFERENCES: (1 citation)
MacColl-Shuttle, p. 25, "The Best Little Doorboy" (1 text, 1 tune)
File: MacCS025
===
NAME: Best Old Feller in the World, The: see My Good Old Man (File: R426)
===
NAME: Betrayed Maiden, The: see Betsy Is a Beauty Fair (Johnny and Betsey; The Lancaster Maid) [Laws M20] (File: LM20)
===
NAME: Betsey Brown
DESCRIPTION: "There's a pretty little girl, she lives downtown, Her daddy is a butcher and his name is Brown." Having met pretty Betsey Brown in the street, the singer courts her, meets her parents, and plans to wed her (and enjoy her family's money....)
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Walter Morris)
KEYWORDS: love courting beauty family money
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 384, "Betsey Brown" (1 text, 1 tune)
MHenry-Appalachians, pp. 180-181, "Betty Brown" (1 text)
Roud #7618
RECORDINGS:
Walter Morris, "Betsey Brown" (Columbia 15079-D, 1926)
NOTES: Vernon Dalhart recorded a piece, "Pretty Little Dear," which conflates this with "I Had But Fifty Cents" and other material. But the Randolph text, at least, seems independent of the Dalhart version. - RBW
File: R384
===
NAME: Betsy: see Betsy Is a Beauty Fair (Johnny and Betsey; The Lancaster Maid) [Laws M20] (File: LM20)
===
NAME: Betsy B: see Betsy Is a Beauty Fair (Johnny and Betsey; The Lancaster Maid) [Laws M20] (File: LM20)
===
NAME: Betsy Baker
DESCRIPTION: The singer "never knew what it was to sigh / till I saw Betsy Baker." He tries to court her, but she consistently rejects him. He becomes sick with love, barely recovers, tries again to win her, and is once again rejected
AUTHOR: unknown
EARLIEST_DATE: 1829 (Scottish chapbook in the Harvard library)
KEYWORDS: love rejection
FOUND_IN: US(So) Canada(Mar) Britain
REFERENCES: (3 citations)
Randolph 117, "Betsy Baker" (2 texts, 1 tune)
Mackenzie 146, "Betsy Baker" (1 text)
JHJohnson, pp. 62-63, "Betsy Baker" (1 text, seemingly the same song but with a happy ending)
ST R117 (Full)
Roud #1288
BROADSIDES:
Bodleian, Harding B 11(257), "Betsy Baker," T. Birt (London), 1828-1829; also Harding B 17(24a), "Betsy Baker"; Firth b.25(508), Harding B 11(258), Harding B 25(176), Firth b.34(266), "Betsey Baker"
LOCSinging, as100980, "Betsey Baker," unknown, n.d.
SAME_TUNE:
The First World's Fair, or The National Exhibition (per broadside Murray, Mu23-y2:005, "The First World's Fair, or The National Exhibition" ("How wonderful it doth appear To people of each station"), unknown, 19C)
Push About the Jorum (per broadside Bodleian Harding B 17(24a))
File: R117
===
NAME: Betsy Bell
DESCRIPTION: "Oh my name is Betsy Bell, in the Overgate I dwell, Nae doubt you're wondring fit I'm daein' here, Well, I'm lookin' for a man... and anything in breek will dae wi' me." Betsy describes lads she has pursued without success; she'll keep trying despite age
AUTHOR: unknown
EARLIEST_DATE: 1971 (Stewart Family)
KEYWORDS: oldmaid courting rejection humorous
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
DT, BETSYBEL
Roud #5211
RECORDINGS:
Belle Stewart, "Betsy Bell" (on Voice10)
Belle, Sheila, and Cathie Stewart, "Betsy Bell" (on SCStewartsBlair01)
CROSS_REFERENCES:
cf. "The Old Maid's Song (I)" and references there
NOTES: It appears that this is primarily a possession of the Stewarts of Blair. Whether it was composed by someone in their family is not clear. - RBW
File: DTbetsyb
===
NAME: Betsy Brennan's Blue Hen
DESCRIPTION: The singer bought "my beautiful little blue hen" from the widow McKenny for a penny. It was swiped by "some dirty crawler." The song is a set of curses on "the villain" who stole the hen: "And may he have bunions As big as small onions"
AUTHOR: Johnny Burke
EARLIEST_DATE: 1927 (Doyle)
KEYWORDS: theft humorous chickens curse
FOUND_IN: Canada(Newf)
REFERENCES: (0 citations)
Roud #7289
RECORDINGS:
Omar Blondahl, "My Little Blue Hen" (on NFOBlondahl02, NFOBlondahl05)
CROSS_REFERENCES:
cf. "Nell Flaherty's Drake" (theme, many lines of text, and references there)
NOTES: NFOBlondahl02, NFOBlondahl05: This is a version of "Betsy Brennan's Blue Hen" attributed to Johnny Burke in _Old-Time Songs and Poetry of Newfoundland_ 4th ed (1966) p. 76, 5th ed (1978) p. 58 pub by Gerald S Doyle Ltd. [It's also in the 1927 edition - RBW]
Also see "Blue Hen" on the MacEdward Leach and Songs of Atlantic Canada site, copyright owner Memorial University of Newfoundland Folklore and Language Archive. That site refers to Roud #9053, "The Bonny Brown Hen," which shares the theme but is not the same song. 
Not related to Bodleian, Harding B 11(402), "The Bonny Brown Hen," Walker (Durham), n.d.
This may have been written by Johnny Burke, but, if so, he must have been singing "Nell Flaherty's Drake" while he was writing "Betsy Brennan's Blue Hen." - BS
File: RcBBBHen
===
NAME: Betsy from Pike: see Sweet Betsy from Pike [Laws B9] (File: LB09)
===
NAME: Betsy Gray
DESCRIPTION: Betsy Gray goes to Ballynahinch battlefield. She finds her wounded fiance Willie and brother George. A Yeoman sword cuts off her hand as she pleas for her brother's life. Another Yeoman shoots her. The bodies are found and they are buried in one grave.
AUTHOR: unknown
EARLIEST_DATE: 1925 (Hayward-Ulster)
KEYWORDS: rebellion battle burial death brother sister reunion
HISTORICAL_REFERENCES: Jun 13, 1798 - Battle of Ballynahinch (source: Moylan)
FOUND_IN: Ireland
REFERENCES: (2 citations)
Hayward-Ulster, pp. 93-95, "Betsy Gray" (1 text)
Moylan 82, "Betsy Gray" (1 text)
NOTES: Hayward-Ulster has Betsy fighting beside Wullie Boal and her brother George. "When adverse fate with victory crowned the loyal host upon that day, Poor George and Wullie joined the flight, and with them lovely Betsy Gray." Their fight, wounding, and death follows. - BS
For  the Battle of Ballynahinch, see especially the notes to "General Monroe." The battle was the last stand, or nearly, of the Ulster portion of the 1798 rebellion. The rebels had hardly fought; their lack of discipline caused them to collapse when pressed by the loyalist forces of General Nugent.
It appears this song is essentially accurate; Thomas Pakenham, in _The Year of Liberty_ (which generally downplays the worst behavior by British troops), p. 231, reports that "[no] one knew how many rebels had been killed, but it was assumed about four hundred. The bodies lay unburied in the deserted streets of Ballynahinch, like those at New Ross the week before, food for the local pigs. Other victims of the battle were taken away by night and buried by their relatives. Among them was a young girl called Betsy Gray, who was later to be famous for her part that day. She had fought beside her brother and lover, and they had stayed by her in the retreat, although they could have outridden their pursuers; all three were shot down by the yeomanry."
A. T. Q. Stewart, _The Summer Soldiers: The 1798 Rebellion in Antrim and Down_, Blackstaff Press, 1996, p. 227, reports that "A young woman called Elizabeth Gray, with her brother George and her fiance, Willie Boal, were aboyut to cross the country road when they were apparently seen by a vedette posted at the nearby crossroads. The scene of the encounter was a marshy hollow at Ballycreen, about two miles from Ballynahinch. Betsy Gray (to give her the name by which she is best remembered) had gone ahead of the men and was taken first. When George Gray and Boal went to her aid they were instantly shot down. Then a cavalryman called Jack Gill struck off the girl's gloved hand with his sabre, and Thomas Nelson 'of the parish of Annahilt, aided by James Little of the same place' shot her through the head.... Young Matthew Armstrong found the  mutilated bodies, and with the help of two neighbours carried them to a hollow on his property, and buried them there in a single grave, 'leaving those faithful Hearts of Down sleeping the sleep that knows no waking.'"
Much folklore arose as a result, including some versions in which Betsy became the beautiful commander of a force of rebels. Her story eventually inspired Wesley Greenhill Lyttle to write the popular (but not especially accurate) novel _Betsy Gray, or The Hearts of Down_ (1886). - RBW
File: Moyl082
===
NAME: Betsy Is a Beauty Fair (Johnny and Betsey; The Lancaster Maid) [Laws M20]
DESCRIPTION: The son of the landowner is in love with Betsy, a servant. His mother, who opposes the match, has the girl transported to Virginia. The boy dies for love; (Betsy is drowned at sea)
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Harding B 16(23a))
KEYWORDS: love separation exile death
FOUND_IN: US(Ap,MA,MW,NE,SE,So) Britain(Scotland,England(South)) Canada(Mar,Newf,Ont)
REFERENCES: (16 citations)
Laws M20, "Betsy Is a Beauty Fair (Johnny and Betsey; The Lancaster Maid)"
Randolph 48, "Betsey Is a Beauty Fair" (1 text, 1 tune)
Eddy 95, "Betsy" (1 text)
SharpAp 74, "Betsy" (1 text, 1 tune)
Gardner/Chickering 36, "Johnny and Betsy" (1 text, 1 tune)
Peacock, pp. 666-667, "Betsy, Betsy from London Fair" (1 text, 1 tune)
Creighton-NovaScotia 31, "Bessie Beauty" (1 text, 1 tune)
Creighton-SNewBrunswick 55, "Betsy the Waiting Maid" (1 text, 1 tune)
Lehr/Best 7, "Betsy Beauty" (1 text, 1 tune)
Flanders/Olney, pp. 9-11, "Betsey (Betsy, the Waiting Maid)" (1 text, 1 tune)
FSCatskills 57, "Betsy B" (1 text, 1 tune)
BrownII 70, "The Lancaster Maid" (1 text)
LPound-ABS, 26, pp. 66-68, "Johnny and Betsy" (1 text)
Huntington-Whalemen, pp. 201-203, "Fair Betsy" (1 text, 1 tune)
BBI, ZN46, "Alas! my dearest dear is gone"; ZN2523, "There was a maiden fair and clear/"
DT 434, JONBETSY BETSY FAIRBTSY*
Roud #156
RECORDINGS:
Harry Cox, "Betsy, the Servant Maid" (on HCox01) [mistitled 'A Week of Matrimony' on album jacket and label] 
BROADSIDES:
Bodleian, Harding B 16(23a), "The Betrayed Maiden," J. Pitts (London), 1819-1844
ALTERNATE_TITLES:
Betsey Evans
File: LM20
===
NAME: Betsy of Dramoor
DESCRIPTION: "As I walked out one evening, I roamed for recreation" and provided us with classical allusions. He sees a girl fairer than Diana or Helen of Troy. He begs her come away. She says she must wait until her declining parents die, but after that they marry
AUTHOR: unknown
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: love courting beauty father mother age
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 79, "Betsy of Dramoor" (1 text)
ST GC079 (Partial)
Roud #3667
BROADSIDES:
Murray, Mu23-y1:091, "Betsy of Drumore," James Lindsay (Glasgow), 19C
CROSS_REFERENCES:
cf. "Castleroe Mill" (theme)
cf. "We'd Better Bide a Wee" (theme)
NOTES: With references to Aurora, Flora, Phoebus, Boreas, Aeolus, Diana, Dido, Susannah, and Helen of Troy, the literary component in this song will be evident. Other than that, it sounds like a very Irish sort of piece (compare the cross-references). I suspect a literary rewrite of one or another aged-parents song. - RBW.
File: GC079
===
NAME: Betsy of Dromore: see Betsy of Dramoor (File: GC079)
===
NAME: Betsy of Dundee
DESCRIPTION: The singer returns from the wars. He "from nymph to nymph resorted" but falls in love with Betsey. Her father discovers them and threatens him with transportation. When Betsey threatens to leave with the singer her father agrees to their marriage.
AUTHOR: unknown
EARLIEST_DATE: before 1830 (broadside, Bodleian Harding B 25(178))
KEYWORDS: courting marriage father
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 8, "Betsy of Dundee" (1 text, 1 tune)
Roud #2791
BROADSIDES:
Bodleian, Harding B 25(178), "Betsy of Dundee ("You sailors of this nation, pray you give attention"), T. Birt (London), 1828-1829; also Johnson Ballads 161, Harding B 20(234), Harding B 11(3309), Harding B 17(24b), Firth c.26(45) [partly legible], Firth c.12(133), "Betsy of Dundee"; 2806 c.14(23), "Betsey of Dundee"
NLScotland, L.C.Fol.178.A.2(120), "Betsey of Dundee," unknown, c.1840 
NOTES: Broadside NLScotland L.C.Fol.178.A.2(120) commentary: "Whilst 'Betsey of Dundee' follows a common theme found in many early ballads, mainly that of love involving a returning or departing sailor, the end is something of a surprise. In most other cases, the young couple either elope and tragically die en route or the young suitor meets a grisly end at the hands of his sweetheart's father. Here, however, Betsey and the sailor appear to live happily ever after."
The broadside version -- specifically NLScotland L.C.Fol.178.A.2(120) -- is the basis for the description. Both the beginning and end are missing from Creighton-SNewBrunswick 8, leaving Creighton to conclude with reason, but incorrectly, "she probably went away with him, and was deserted." - BS
Creighton thought Angelo Dornan's version composite; she was probably right, but the broadsides show that the combination preceded Dornan. Looking at this, I can't help but think that it's a conflation of two pieces, one being perhaps "The Banks of Dundee (Undaunted Mary)" [Laws M25], the other something like "The Plains of Baltimore."  There may be a bit of "Betsy Is a Beauty Fair (Johnny and Betsey; The Lancaster Maid)" [Laws M20] in there, too.- RBW
File: CrSNB029
===
NAME: Betsy the Waiting Maid: see Betsy Is a Beauty Fair (Johnny and Betsey; The Lancaster Maid) [Laws M20] (File: LM20)
===
NAME: Betsy, Betsy from London Fair: see Betsy Is a Beauty Fair (Johnny and Betsey; The Lancaster Maid) [Laws M20] (File: LM20)
===
NAME: Better Bide a Wee: see We'd Better Bide a Wee (File: HHH598)
===
NAME: Better Get Your Ticket
DESCRIPTION: "Better git yo' ticket (x2), Train's a-comin', Lord-ee-ee, Lord-ee-ee! Um-um-um-um-um-um-um-um-um." "Hold your bonnet, Hold your shawl, Don't let go that waterfall, Shout, Sister Betty, Shout!"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: train religious
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 239, (no title) (1 short text)
NOTES: I suspect this is a variant on one of the "Gospel Train" songs, but the form is different enough and Scarborough's text so short that it's not possible to tell which one. So it gets a separate entry. - RBW
File: ScNF239B
===
NAME: Betty and Dupree: see Dupree [Laws I11] (File: LI11)
===
NAME: Betty Anne: see Shady Grove (File: SKE57)
===
NAME: Betty Brown (I)
DESCRIPTION: "Now, since he's gone, just let him go; I don't mean to cry. I'll let him know I can live without him if I try."  She accuses him of slander. She despises "hateful Betty Brown," whom he is visiting. But at last she admits being wrong and wishes him back
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: love courting betrayal rejection
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 148, "Betty Brown" (1 text)
ST Fus148 (Partial)
Roud #3689
NOTES: This starts out sounding much like "Farewell He" or something similar, but eventually converts to a lost love song. I wonder if it might not be composite. Compare "Harry Lumsdale's Courtship," which also features a girl resenting Betty Brown, who has stolen her man. - RBW
File: Fus148
===
NAME: Betty Brown (II): see Betsey Brown (File: R384)
===
NAME: Betty Fair Miss: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: Between Stanehive and Laurencekirk
DESCRIPTION: "Between Stanehive and Laurencekirk Last term I did fee." The singer gets along well with the master, and better with the serving girl, whom he courts. The master catches them in the stable. He blames the daughter, who wanted his attentions herself
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: farming courting servant children father
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 259-260, "Between Stanehive and Laurencekirk" (1 text)
Roud #5589
File: Ord259
===
NAME: Between the Forks and Carleton
DESCRIPTION: "Last Saturday night young William Tate Enrolled his scouts, he would not wait, But galloping up though he was late Between the Forks and Carleton." The soldiers report that "for the French we've made a shroud" and "Middeton had made them run"
AUTHOR: Billy Smith
EARLIEST_DATE: 1958
KEYWORDS: battle Canada
HISTORICAL_REFERENCES: May 12, 1885 - Battle of Batoche. Defeat of the Metis under Louis Riel
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 132-133, "Between the Forks and Carleton" (1 text, 1 tune)
Roud #4514
CROSS_REFERENCES:
cf. "Riel's Song" and references there (subject)
NOTES: Billy Smith (born c. 1870) was a youth living not far from Batoche at the time of the Metis uprising (for which see the notes to "Riel's Song"). The title of the song refers to the site of the Battle of Batoche, where General Middleton defeated the rebels when their ammunition ran out.
"The Forks" is not a river fork but a trail fork; one branch of the road led to Prince Albert (the closest major town to Batoche) and the other led to Fort Carleton.
The tune is said to be based on "Johnny Cope," though obviously somewhat worn down. - RBW
File: FMB132
===
NAME: Beulah Land
DESCRIPTION: "I've reached the land of corn and wine, And all its riches freely mine... Oh, Beulah Land, sweet Beulah Land... My heav'n, my home forevermore." The singer rejoices at being at home with the Savior
AUTHOR: Edgar Page and John R. Sweeney
EARLIEST_DATE: 
KEYWORDS: religious nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 365, "Beulah Land" (1 text)
Meredith/Covell/Brown, p. 264, "Beulah Land Mazurka" (1 tune)
Roud #4899
CROSS_REFERENCES:
cf. "Saskatchewan" (tune)
cf. "Dakota Land" (tune)
NOTES: The name "Beulah," used in Isaiah 62:4, means "married"; it isn't really an appropriate name for a country, but this is not evident from the King James Version.
In its own right, this probably doesn't qualify as a folk song, but it has inspired two folk parodies (all lumped by Roud), so I include it for reference purposes. It should not be confused with "Dwelling in Beulah Land," sung by Helen Schneyer. - RBW
File: FSWB365A
===
NAME: Beverly Maid and the Tinker, The (The Tinker Behind the Door)
DESCRIPTION: A tinker comes to sell a servant girl a pen. The gentleman being out, the tinker "got this maid behind the door and gently laid her on the floor." She gives him 20 guineas and invites him back. Soon his gold is gone and he has to do as he'd done before.
AUTHOR: unknown
EARLIEST_DATE: before 1830 (broadside, Bodleian Harding B 25(186))
KEYWORDS: sex bawdy servant tinker money
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Peacock, pp. 318-319, "The Tinker Behind the Door" (1 text, 1 tune)
DT, TINKCRT*
Roud #585
BROADSIDES:
Bodleian, Harding B 25(186), "Beverley Maid and the Tinker," T. Birt (London), 1828-1829; also Firth b.34(21), Harding B 11(1529), "[The] Beverley Maid, and the Tinker[!]"; Firth b.26(33), 2806 c.18(29), 2806 c.17(30), Firth b.34(24), Johnson Ballads 163, "The Beverly Maid and the Tinker"; Harding B 11(3317), "The Tinker and the Chambermaid"
Murray, Mu23-y1:090, "The Glasgow Maid and the Tinker," unknown, 19C
File: Pea318
===
NAME: Beware of Larry Gorman
DESCRIPTION: Larry Gorman tells of how people react to his coming: "And when they see me coming, Their eyes stick out like prongs, Sayin', 'Beware of Larry Gorman; He's the man that makes the songs." He describes teasing a housewife who fed him poorly
AUTHOR: Larry Gorman
EARLIEST_DATE: 1964
KEYWORDS: nonballad humorous
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Doerflinger, p. 258, "Beware of Larry Gorman" (1 text, 1 tune)
Manny/Wilson, p. 34, (no title) (fragment of text)
Roud #9422
NOTES: Apparently inspired by a woman who, without knowing who he was, fed Gorman weak tea and stale bread. Thus did Gorman gain revenge. - RBW
File: Doe258
===
NAME: Beware, Oh Take Care
DESCRIPTION: The young girls are warned about sporting men, who look handsome and speak well -- but have a deck of cards and a bottle hidden. "Beware, young ladies, they're fooling you; Trust them not, they're fooling you; Beware, young ladies... Beware, oh take care"
AUTHOR: unknown
EARLIEST_DATE: 1892 (Trifet's Budget of Music)
KEYWORDS: courting cards drink abandonment rake
FOUND_IN: US(So)
REFERENCES: (5 citations)
Randolph 381, "Beware, Oh Beware" (2 texts plus a quotation from Trifet, 2 tunes)
Randolph/Cohen, pp. 311-313, "Beware, Oh Beware" (1 text, 1 tune -- Randolph's 381B)
Cohen/Seeger/Wood, pp. 70-71, "Beware, Oh Take Care" (1 text, 1 tune)
Silber-FSWB, p. 167, "Beware, Oh, Take Care" (1 text)
DT, BEWARYG*
Roud #7619
RECORDINGS:
New Lost City Ramblers, "Beware, Oh Take Care" (on NLCR10); "Beware" (on NLCR12)
Blind Alfred Reed, "Beware" (Victor 23550, 1931; on TimesAint02)
CROSS_REFERENCES:
cf. "The Boys Won't Do to Trust" (theme)
ALTERNATE_TITLES:
Bold and Free
NOTES: Credited in the Digital Tradition to Blind Alfred Blake (which Paul Stamler points out should be "Blind Alfred Reed"), but -- since the piece has been in circulation since at least the 1880s -- it would appear that Reed, at most, retouched it into the "popular" form.
Laura Ingalls Wilder quotes a scrap of the song in _By the Shores of Silver Lake_ (chapter 6). If legitimate, that would push the date back even farther -- to 1879. - RBW
File: R381
===
NAME: Bewick and Graham [Child 211]
DESCRIPTION: Two prideful old men urge their sons, who are sworn blood-brothers, to a fight which results in their deaths.
AUTHOR: unknown
EARLIEST_DATE: 1803 (Scott)
KEYWORDS: pride youth death family
FOUND_IN: Britain(England(North))
REFERENCES: (6 citations)
Child 211, "Bewick and Graham" (1 text)
Bronson 211, "Bewick and Graham" (1 version)
 Stokoe/Reay, pp. 100-102, "The Bewick and the Graeme" (1 text, 1 tune) {Bronson's #1}
Leach, pp. 560-566, "Bewick and Graham" (1 text)
Gummere, pp. 176-184+343-344, "Bewick and Graham" (1 text)
HarvClass-EP1, pp. 121-128, "Bewick and Grahame" (1 text)
Roud #849
File: C211
===
NAME: Bewick and Grahame: see Bewick and Graham [Child 211] (File: C211)
===
NAME: Bewick and the Graeme, The: see Bewick and Graham [Child 211] (File: C211)
===
NAME: Bhean Iadach, A: see An Sgeir-Mhara (The Sea-Tangle, The Jealous Woman) (File: K003)
===
NAME: Bheir Me O
DESCRIPTION: Love lyric in Scots Gaelic: "Sad am I without thee." The singer calls (her?) lover "the music of my heart," hearing (his) voice in the calling of the seals, and finds herself turning back to his home
AUTHOR: unknown
EARLIEST_DATE: 1909 (Kennedy-Fraser)
KEYWORDS: love foreignlanguage nonballad
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: (2 citations)
Kennedy-Fraser I, pp. 52-54, "An Eriskay Love Lilt (Gradh Geal mo cridh)" (1 text+English translations, 1 tune)
DT, BHEIRMEO*
NOTES: Gordon Bok seems to imply that this song is traditional in his family -- but his text is straight out of Kennedy-Fraser. Don't ask me to explain. - RBW
File: DTnheirm
===
NAME: Bible A-B-C, The: see The Bible Alphabet (The Bible A-B-C) (File: Wa183)
===
NAME: Bible Alphabet, The (The Bible A-B-C)
DESCRIPTION: Typical Alphabet song, with Biblical references: "A is for Adam who was the first man, B is for Bethlehem where Jesus was born," etc.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Warner)
KEYWORDS: wordplay religious Bible nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 183, "The Bible A-B-C" (1 text)
Roud #16404
NOTES: The various scripture references:
"Adam, who was the first man": Genesis 1:27, 2:7, etc.
"Bethlehem, where Jesus was born": Matt. 2:1, Luke 2:1-4
"Cain who slayed his brother": Gen. 4:1, 8
"Dan'l who was cast in the lion's den": Daniel 6
"Elijah, who was taken up to heaven": Elijah's story occupies 1 Kings 17-19, 21, 2 Kings 1-2. His ascension occurs in 2 Kings 2:11.
" the flood that drownded the world": Gen. 6-8
"Goliath who was slain by David": 1 Samuel 17 (but cf. 2 Samuel 21:19)
"Hannah who gave her son Samuel to the Lord": 1 Samuel 2
"Isaac the son of Abraham": Gen. 17:15f.,21:1f., etc.
"Jacob who interpreted the dream": Probably a mixed reference. Jacob had a dream at Bethel in Gen. 28:11-22, but it was his son Joseph who made a reputation for interpreting dreams (Gen. 40-41)
"Korah who was swallowed up by the earth": Gen. 16
"Lazarus who Christ raised from the dead": John 11
"Methuselah who was the oldest man": Gen. 5:21-27
"Nazareth the home of Jesus": Matt. 2:23, Mark 1:9, Luke 2:2, etc.
"Olive the mount where Jesus prayed": Mark 14:26f., etc.
"Pharaoh who was drowned in the Red Sea": Cf. Exodus 14. Note that the Bible account does not say that Pharaoh was killed, though his army was ruined. Egyptian history gives no hint of a drowned Pharaoh.
"Queen of Sheba who visited Solomon": 1 Kings 10, etc.
"Rome where Paul was put in prison": Paul went to Rome after his non-trial in Jerusalem (Acts 25:12), but the Bible does not say he was imprisoned there (though he was imprisoned in many other places); he preached there "without let or hindrance" (i.e. freely)
"Sodom the city destroyed by fire": Gen. 18-19
"Tyre where Paul preached all night": Paul's visit to Tyre is mentioned in 21:3-6. There is no evidence that Paul preached there for such a long time, however; the reference is probably to Troas, where (Acts 20:6-12), where Paul (to put it bluntly) droned on so long that he put a boy named Eutychus to sleep and caused him to fall out a window.
"Uzzah who steered the Ark" - 2 Samuel 6:2-11. We might note that Uzzah tried to keep the Ark from falling off its cart, and God killed him for it.
"the vine, represents Christ": allusion to John 15:1
"Watchman on the wall of Zion": Probably a generic allusion; there is no explicit reference to a watchman on Zion's walls. The image of the watchman is probably most typical of Isaiah (21:6, 52:8, 56:10; also, though from a different Hebrew root, 21:11, 12, 62:6)
"X is for the cross of Christ": Not a true scriptural reference. Ironically, the first letter of "Christos" in Greek is chi, which looks like an X.
"the yoke of Christ": cf. Matt. 11:28-30, etc.
"Zion the home of the blessed": Numerous references starting with 2 Sam. 5:7; this appears to me to be another generic reference. - RBW
File: Wa183
===
NAME: Bible Story, The
DESCRIPTION: Humorous exploits based loosely on Bible stories. The creation and Noah's flood are described. A man in heaven rejoices; even though he drowned, he's free of his wife. Some versions of the song contain references to Freemasonry
AUTHOR: unknown
EARLIEST_DATE: 1769 (Journal from the _Nellie_)
KEYWORDS: Bible humorous
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 264-266, "The Bible Story" (1 text, 1 tune)
Roud #1179
CROSS_REFERENCES:
cf. "Walkin' in the Parlor"
cf. "Free Mason Song" (themes, lyrics)
NOTES: In terms of concept, this is so similar to "Walkin' in the Parlor" that I seriously considered calling them one song. But this piece is in triple time, to the Derry Down tune; I decided that was enough reason to keep them distinct.
It's not impossible that one song inspired the other. It's also possible that Huntington's version (the first I've seen) is conflate; the first verse (about a Freemason) doesn't even appear to have the same form as the others, which look like "Walkin' in the Parlor." For comparison, here are the first and fourth verses of the Huntington version:
But as she bewailed in sorrowful ditty,
The good man beheld and on her took pity.
Freemasons are so tender so he to the dame
Bestowed an apron to cover her shame.
...
Sure never was beheld so dreadful a sight
To see this old world in very sad plight
See her in the water all animals swimming
Men monkeys priests lawyers cats lap-dogs and women.
Roud lumps this item with the larger family we index as "Free Mason Song." There has been interchange of material, but the distinct nature of the forms makes me think the Masonic references here are incidental imports. - RBW
File: SWMS264
===
NAME: Biblical Cowboy, The: see The Cowboy's Soliloquy (File: FCW123)
===
NAME: Bicycle Built for Two (Daisy Bell)
DESCRIPTION: The singer describes his love for Daisy Bell. His poverty being what it is, he cannot offer a fancy wedding or carriage, but proposes they ride a "bicycle built for two." In the original, she accepts
AUTHOR: Harry Dacre
EARLIEST_DATE: 1892 (sheet music)
KEYWORDS: love marriage technology
FOUND_IN: 
REFERENCES: (5 citations)
Gilbert, p. 255, "(Daisy Bell)" (1 partial text)
Silber-FSWB, p. 247, "A Bicycle Built for Two (Daisy Bell)" (1 text)
Geller-Famous, pp. 100-102, "Daisy Bell" (1 text, 1 tune)
Fuld, pp. 188-189+, "Daisy Bell -- (A Bicycle Built for Two)"
DT, DAISYBEL* (DAISYBL2* -- containing many sundry parodies)
NOTES: Harry Dacre (formerly "Harry Decker," and probably born under the name "Frank Dean") was an Englishman who made a visit to the Americas in the 1890s. Among other things, he brought along a bicycle, upon which he was forced to pay duty. A friend remarked that it was well it had not been a bicycle built for two. Somehow that inspired this insipid song.
I thought it went without saying that the verse "Richard, Richard, here is your answer true, You're half crazy if you think that will do... But I'll be switched If I'll be hitched On a bicycle built for two" is a parody. But I've heard people sing it as part of the actual song. Such are the ways of tradition. - RBW
File: Gil255
===
NAME: Bicycle, The
DESCRIPTION: Singer bought a beautiful bicycle "I ran right in to an old, old woman, I nearly mangled a kid." A crowd destroyed his bicycle. The destruction is described, step by step. "I'm damned if I'll ride again"
AUTHOR: unknown
EARLIEST_DATE: 1984 (Munnelly/Deasy-Lenihan)
KEYWORDS: violence humorous nonballad technology injury
FOUND_IN: Ireland
REFERENCES: (1 citation)
Munnelly/Deasy-Lenihan 43, "The Bicycle" (1 text, 1 tune)
Roud #5233
RECORDINGS:
Tom Lenihan, "The Bicycle" (on IRTLenihan01)
CROSS_REFERENCES:
cf. "The Gol-Darned Wheel" (theme)
NOTES: Munnelly/Deasy-Lenihan: "March 2nd, 1984. 'I got it from my sister Mary that came home from America 45 years ago. She got it in America. That's where that came from, Tom. ... I never sung it no place because I didn't ever get much sense, you know, in the bloody thing." - BS
File: RcThBicy
===
NAME: Biddy Mulligan the Pride of the Coombe: see Mrs Mulligan, the Pride of the Coombe (File: OLoc230A)
===
NAME: Biddy Rooney
DESCRIPTION: "Biddy Rooney, you drive me looney ... where have you gone?" Anyone that finds her "may take her bag and baggage" It shouldn't be hard to find her: "As she goes walking ... she walks left handed with both feet"
AUTHOR: unknown
EARLIEST_DATE: 1955 (Creighton-Maritime)
KEYWORDS: courting humorous nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 127, "Biddy Rooney" (1 text, 1 tune)
Roud #2705
File: CrMa127
===
NAME: Big Ball's in Boston: see Roll on the Ground (Big Ball's in Town) (File: CSW200)
===
NAME: Big Ball's in Town: see Roll on the Ground (Big Ball's in Town) (File: CSW200)
===
NAME: Big Black Bull, The
DESCRIPTION: The big black bull comes down the mountain, spies a heifer, jumps the fence, jumps the heifer, then returns to the mountain.
AUTHOR: unknown
EARLIEST_DATE: 1954 (recording, Pete Seeger)
KEYWORDS: animal bawdy humorous
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Cray, pp. 195-198, "The Big Black Bull" (2 texts, 1 tune)
Roud #7612
RECORDINGS:
Pete Seeger, "The Little Black Bull" (on PeteSeeger09, PeteSeegerCD02)
CROSS_REFERENCES:
cf. "The Old Gray Mare (I) (The Old Gray Horse; The Little Black Bull)"
ALTERNATE_TITLES:
Houston
Sam Houston
The Old Black Bull
NOTES: This is related to the sea chanty, "A Long Time Ago." - EC [Known in this index as "The Old Gray Mare (I) (The Old Gray Horse; The Little Black Bull)" etc. Paul Stamler considers "The Old Gray Mare" group to be the "cleaned up" version of the bawdy song, and also notes that in some of the bawdy versions the bull "missed his mark and (phhfft) in the meadow." - RBW]
File: EM195
===
NAME: Big Boat's Up the Rivuh: see Alabama Bound (Waterbound II) (File: BMRF598)
===
NAME: Big Combine, The
DESCRIPTION: Singer describes the crew of "harvest stiffs" on the big combine (harvester) in Oregon, including Oscar (Nelson), an IWW member; the horse-puncher ("the things he tells the horses...I can't tell you") and the singer himself, who is head puncher. 
AUTHOR: Jock Coleman
EARLIEST_DATE: 1919 (composed); first printed 1923
KEYWORDS: bragging farming harvest labor-movement work moniker nonballad boss worker IWW migrant
FOUND_IN: US(NW)
REFERENCES: (0 citations)
RECORDINGS:
Art Thieme, "The Big Combine" (on Thieme03)
CROSS_REFERENCES:
cf. "Casey Jones (I)" [Laws G1] (tune) and references there
NOTES: The Pacific Northwest was the center of the IWW (Wobbly) movement in the early 20th century; migrant farmworkers and lumberjacks were its principal supporters. - PJS
File: RcTBgCom
===
NAME: Big Five-Gallon Jar, The
DESCRIPTION: Jack Jennings, a boarding-master, and his wife Caroline are expert at finding sailors. Should the supply ever dry up, they haul out their "big five-gallon jars" of liquor and use that to round up sailors.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: drink sailor shanghaiing
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Doerflinger, p. 111, "The Big Five-Gallon Jar" (1 text, 1 tune)
Smith/Hatt, pp. 16-17, "The Big Five Gallon Jar" (1 text)
Hugill, pp. 60-61, "Larry Marr," "The Five-Gallon Jar" (2 texts, 2 tunes) [AbrEd, pp. 56-57]
ST Doe111 (Partial)
Roud #9412
ALTERNATE_TITLES:
Sound the Jubilee
NOTES: According to Doerflinger, Jack Jennings was a real proprietor of a grog shop in Liverpool, Nova Scotia around 1890. - RBW
See a similar but [distinct] broadside, LOCSinging, sb20267b, "Larry Maher's Big Five-Gallon Jar," H. De Marsan (New York), 1861-1864. Maher operates out of New York City "But when you wake next morning, you'll be far outside the bar, Removed away to Liverpool"; the tune is "Irish Jaunting Car"
Broadside LOCSinging sb20267b: 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: Doe111
===
NAME: Big Gun Shearer, The
DESCRIPTION: "The big gun toiled with his heart and soul Shearing sheep to make a roll, Out in the backblocks far away, Then off to Sydney for a holiday." Once there, he gets drunk and chases the girls -- and soon finds himself broke and having to scrape for a living
AUTHOR: unknown
EARLIEST_DATE: before 1941 (Bill Bowyang's Bush Recitations, according to Paterson/Fahey/Seal)
KEYWORDS: sheep work drink poverty
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 140-141, "The Big-gun Shearer" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 305-308, "The Big Gun Shearer" (1 text)
CROSS_REFERENCES:
cf. "Jog Along Till Shearing" (plot)
File: FaE140
===
NAME: Big Jeest, The: see Little Brown Dog (File: VWL101)
===
NAME: Big Jim
DESCRIPTION: "Cold and chill is de winter wind, Big Jim's dead and gone." The singer regrets her man Jim, who is "good and kind to me," but is "a grinder." Jim is killed by another woman in a fight in a hop house; the singer hopes to join him soon
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: death homicide drugs love separation
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, pp. 111-112, "Big Jim" (1 text)
Roud #15549
File: LxA111
===
NAME: Big Jimmie Drummond: see The Choring Song (File: McCST097)
===
NAME: Big Kilmarnock Bonnet
DESCRIPTION: Jock quits plowing, puts on his hat, and goes to Glasgow. As a joke, Sandy Lane tells him to look up Katie Bain. He meets a girl who takes him to Katie. The girls roll him and get him drunk. He gets 60 days in jail for jumping into the Clyde.
AUTHOR: unknown
EARLIEST_DATE: 1936 (recorded by Willy Kemp and Curly McKay); 19C (broadside, NLScotland L.C.Fol.70(37b))
KEYWORDS: prison drink Scotland trick farming travel clothes
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (0 citations)
Roud #5861
RECORDINGS:
Willy Kemp and Curly McKay, "Wi' Ma Big Kilmarnock Bonnet" (on Voice05)
BROADSIDES:
NLScotland, L.C.Fol.70(37b), "Big Kilmarnock Bonnet," Poet's Box (Dundee), c.1890
NOTES: From the NLScotland commentary on broadside L.C.Fol.70(37b): "The 'Kilmarnock Bonnet' of the title is a famous piece of headgear, dating back at least to 1647, when the 'Kilmarnock Corporation of Bonnet Makers' was founded" - BS
File: RcBiGkBo
===
NAME: Big Maquoketa, The
DESCRIPTION: "We was boomin' down the old Miss'ip', One splugeous summer day, When the old man yells, 'Now let 'er rip! I see the Maquotekay!" The sailors wonder what Captain Jones drank: "What? Water? Yes, water. Dry up... you liar... Cause his innards was a-fire."
AUTHOR: unknown
EARLIEST_DATE: 1944
KEYWORDS: river sailor ship drink
FOUND_IN: US
REFERENCES: (1 citation)
Botkin-AmFolklr, p. 839, "(The Big Maquoteka)" (1 text, 1 tune)
File: BaF839
===
NAME: Big Rock Candy Mountain, The
DESCRIPTION: The hobo arrives and announces that he is heading for the Big Rock Candy Mountain. He describes its delights: Handouts growing on bushes, blind railroad bulls, jails made out of tin, barns full of hay, dogs with rubber teeth, "little streams of alcohol"
AUTHOR: Unknown; popularized by Harry "Haywire Mac" McClintock
EARLIEST_DATE: 1906 (version by Marshall Locke & Charles Tyner published)
KEYWORDS: hobo railroading dream food drink
FOUND_IN: US
REFERENCES: (8 citations)
Lomax-FSUSA 79, "The Big Rock Candy Mountain" (1 text, 1 tune)
Lomax- FSNA 221, "The Big Rock Candy Mountain" (1 text, 1 tune)
Botkin-AmFolklr, pp. 884-886, "The Big Rock Candy Mountains" (1 text, 1 tune)
Arnett, pp. 116-117, "Big Rock Candy Mountain" (1 text, 1 tune)
PSeeger-AFB, p. 66, "The Big Rock Candy Mountain" (1 text, 1 tune)
Greenway-AFP, pp. 203-204, "(The Big Rock Candy Mountain") (1 text)
Silber-FSWB, p. 61, "The Big Rock Candy Mountain" (1 text)
DT, BIGRKCND BIGROCK2 (BIGROCK3 -- bawdy parody)
Roud #6696
RECORDINGS:
Ben Butler, "Rock Candy Mountain" (Madison 1934, c. 1929)
Vernon Dalhart & Co., "The Big Rock Candy Mountains" (Edison 52472, 1929)
Jerry Ellis [pseud. for Jack Golding] "The Big Rock Candy Mountain" (Champion 15646, 1928; Supertone 9342 [as Weary Willie], 1929)
Frankie Marvin, "The Big Rock Candy Mountains" (Columbia 1753-D, 1929)
Harry "Mac" McClintock, "The Big Rock Candy Mountains" (Victor 21704, 1928; Montgomery Ward M-8121, 1939); "The Big Rock Candy Mountains" (AFS 10,506 A4, 1951, on LC61) (Decca 5689, 1939) (on McClintock01)
Goebel Reeves, "The Big Rock Candy Mountain" (Perfect 13099/Conqueror 8470, c. 1935) (MacGregor 851, n.d.)
Pete Seeger, "The Big Rock Candy Mountain" (on PeteSeeger17) (on PeteSeeger27)
Hobo Jack Turner [pseud. for Ernest Hare] "The Big Rock Candy Mountains" (Diva 2807-G/Velvet Tone 1807-V, 1929)
SAME_TUNE:
Fisher Hendley, "Answer to the Big Rock Candy Mountains" (Vocalion 02543, c. 1929/Regal Zonophone [Australia] G22174, n.d.)
Charley Blake, "The Big Rock Candy Mountain, No. 2" (Supertone 9556, 1929)
Bill Cox, "In the Big Rock Candy Mountains - No. 2" (Supertone 9556, 1929) [Note: Also issued as by Charley Blake, same record number]
Stuart Hamblen, "The Big Rock Candy Mountains - No. 2" (Victor V-40319, 1930)
File: LxU079
===
NAME: Big Sam
DESCRIPTION: Big Sam starts a job at the plant cutting seal fat. Tiring of that he starts skinning pelts. He has enough of that and works emptying a long boat until he's had enough of that. He decides at the end that "I'll work here no more, the work is too fast"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: commerce humorous worker
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 72, "Big Sam" (1 text, 1 tune)
ST LLab072 (Partial)
Roud #9982
File: LLab072
===
NAME: Big Ship Sailing, A
DESCRIPTION: "There's a big ship sailing on the illie-alley-oh...." "There's a big ship sailing, rocking on the sea...." "There's a big ship sailing, back again...."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: nonballad ship
FOUND_IN: Ireland
REFERENCES: (1 citation)
Silber-FSWB, p. 386, "A Big Ship Sailing" (1 text)
Roud #4827
ALTERNATE_TITLES:
The Alley-Alley-O
The Illie-Alley-O
File: FSWB386A
===
NAME: Bigerlow: see The Bigler's Crew [Laws D8] (File: LD08)
===