NAME: Carnlough Shore
DESCRIPTION: The singer describes a trip through Ireland. He stays then days with Jon McNeil, surrounded by kind people, then visits Pat McGavrock on Stony Hill. He says that, come the next summer, he will visit Stony Hill again
AUTHOR: unknown
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: rambling music
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H686, pp. 160-161, "Carnlough Shore" (1 text, 1 tune)
Roud #13458
NOTES: This sounds to me like a piece a rambling fiddler would make up to please his current host. - RBW
File: HHH686
===
NAME: Carol for Saint Stephen's Day, A: see Saint Stephen and Herod [Child 22] (File: C022)
===
NAME: Carol of the Cherry Tree: see The Cherry-Tree Carol [Child #54] (File: C054)
===
NAME: Carol of the Twelve Numbers, The: see Green Grow the Rushes-O (The Twelve Apostles, Come and I Will Sing You) (File: ShH97)
===
NAME: Carolina Crew, The: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Carolina Lady: see The Lady of Carlisle [Laws O25] (File: LO25)
===
NAME: Caroline and Her Young Sailor Bold (Young Sailor Bold II) [Laws N17]
DESCRIPTION: Wealthy Caroline loves a poor sailor. The sailor tries to discourage her, but she disguises herself and follows him to sea. She "proves true" even in a shipwreck. In time she returns home and gains her father's permission to marry her young man
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(4391)); found in 1840 in a journal from the Walter Scott
KEYWORDS: poverty sailor courting cross-dressing marriage wreck father
FOUND_IN: US(SE) Canada(Mar,Newf) Britain(Scotland) Ireland
REFERENCES: (9 citations)
Laws N17, "Caroline and Her Young Sailor Bold (Young Sailor Bold II)"
Copper-SoBreeze, pp. 196-198, "Caroline the Rich Merchant's Daughter" (1 text, 1 tune)
Huntington-Whalemen, pp. 103-105, "The Nobleman's Daughter" (1 text plus a portion of another, 1 tune)
BrownII 102, "A Rich Nobleman's Daughter" (1 text)
Peacock, pp. 329-330, "Caroline and Her Young Sailor Bold" (1 text, 1 tune)
Leach-Labrador 29, "Caroline and Her Young Sailor Bold" (1 text, 1 tune)
Creighton-NovaScotia 33, "Caroline and Her Young Sailor Bold" (1 text, 1 tune)
OLochlainn-More 39, "Caroline and Her Young Sailor Boy" (1 text, 1 tune)
DT 448, CAROSAIL
Roud #553
RECORDINGS:
Sarah Makem, "Caroline and her Young Sailor Bold" (on LastDays)
BROADSIDES:
Bodleian, Harding B 11(4391), "The Young Sailor Bold. Answer to the Gallant Hussar," J. Catnach (London), 1813-1838; also Harding B 16(44a), Firth c.12(241), Firth c.12(242), Harding B 11(542), 2806 c.15(182), Harding B 19(42), "Caroline and Her Young Sailor Bold[!]"; Harding B 20(204), Harding B 16(268a), Johnson Ballads 2987, "[The] Young Sailor Bold"
ALTERNATE_TITLES:
Young Sailor Bold
File: LN17
===
NAME: Caroline and Her Young Sailor Boy: see Caroline and Her Young Sailor Bold (Young Sailor Bold II) [Laws N17] (File: LN17)
===
NAME: Caroline of Edinborough Town [Laws P27]
DESCRIPTION: Caroline's parents do not approve of her suitor Henry, so the two of them run off to London to be married. It is not long before her husband grows sick of her, abuses her, and goes off to sea. After some wandering, she drowns herself in the sea
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(3065))
KEYWORDS: courting elopement abuse abandonment separation suicide
FOUND_IN: US(Ap,MA,MW,NE,SE,So) Britain(Scotland) Canada(Mar,Newf) Ireland
REFERENCES: (22 citations)
Laws P27, "Caroline of Edinburgh Town"  (Laws gives a broadside text on pp. 91-92 of ABFBB)
Randolph 50, "Caroline of Edinborough Town" (2 texts, 2 tunes)
Eddy 59, "Caroline of Edinburgh Town" (1 text)
Gardner/Chickering 13, "Caroline of Edinburg (sic.) Town" (1 text)
Dean, p. 53, "Caroline of Edinburg Town" (1 text)
Linscott, pp. 183-185, "Caroline of Edinboro Town" (1 text, 1 tune)
SharpAp 69, "Caroline of Edinboro' Town" (1 fragment, 1 tune)
Lehr/Best 16, "Caroline from Edinboro Town" (1 text, 1 tune)
Mackenzie 28, "Caroline of Edinboro Town" (1 text)
Creighton-Maritime, pp. 99-100, "Caroline of Edinborough Town" (1 text, 1 tune)
SHenry H148, pp. 411-412, "Blooming Caroline of Edinburgh Town" (1 text, 1 tune)
Morton-Maguire 28, pp. 70-71,115,167-168, "Blooming Caroline from Edinburgh Town" (1 text, 1 tune)
JHCox 112, "Caroline of Edinburgh Town" (1 text plus mention of 1 more)
JHCoxIIA, #19, pp. 81-82, "Fair Caroline" (1 text, 1 tune)
Huntington-Whalemen, pp. 137-141, "Lovely Caroline" (1 text plus portions of another, 1 tune)
BrownII 124, "Caroline of Edinburgh Town" (1 text plus 1 excerpt)
Chappell-FSRA 51, "Henry Was a High-Learnt Man" (1 text, in which "Edinborough" becomes "Winton Goldburg"!)
Hudson 31, pp. 143-145, "Edinburgh Town" (1 text)
Ord, pp. 186-187, "Blooming Caroline o' Edinburgh Town" (1 text)
MacSeegTrav 51, "Caroline of Edinburgh Town" (1 text, 1 tune)
Munnelly/Deasy-Lenihan 29, "Edinburgh Town" (1 text, 1 tune)
DT 342, CAROEDIN* CAROEDN2*
Roud #398
RECORDINGS:
Charles Ingenthron, "Caroline of Edinboro' Town" (AFS; on LC14)
Tom Lenihan, "Caroline of Edinburgh Town" (on IRClare01)
BROADSIDES:
Bodleian, Harding B 11(3065), "Poor Caroline of Edinburgh Town," J. Catnach (London), 1813-1838; also Harding B 11(3063), Harding B 16(207b), Harding B 11(3064), "Poor Caroline of Edinburgh Town"; Harding B 11(4395), Firth c.12(183), Harding B 11(1208), "Poor Caroline of Edinboro' Town"; Harding B 11(544), "Caroline o' Embro' Town"; Firth b.26(371), "Caroline of Edinboro' Town"; Firth c.26(276)[some lines illegible], Firth c.26(48), "Caroline of Edinbro' Town"; Johnson Ballads 2148a, "Carroline of Edinborough Town"
NLScotland, APS.3.96.25, "Carroline of Edinborough Town," P Brereton (Dublin), c.1865
CROSS_REFERENCES:
cf. "Crossing the Plains" (tune)
File: LP27
===
NAME: Caroline the Rich Merchant's Daughter: see Caroline and Her Young Sailor Bold (Young Sailor Bold II) [Laws N17] (File: LN17)
===
NAME: Carrickfergus
DESCRIPTION: "I wish I were in Carrickfergus, Only for nights in Ballygrand. I would swim over the deepest ocean... my love to find." "I wish to meet a handsome boatsman To ferry me over, my love to find." Since (she) is gone, the singer will drink, forget, (and die)
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: love separation drink
FOUND_IN: US Ireland Canada(Newf)
REFERENCES: (4 citations)
Sandburg, p. 323, "Fond Affection" (1 short text, perhaps derived from "Dear Companion (The Broken Heart; Go and Leave Me If You Wish To, Fond Affection)" but which in the absence of a tune reminds me strongly of this piece)
SHenry H641, p. 383, "Ripest of Apples" (1 text, 1 tune, a tiny fragment of two verses, one of which often occurs with this song while the other is associated primarily with "Wheel of Fortune." The tune is not "Carrickfergus")
Peacock, pp. 475-476, "Love is Lovely" (1 text, 1 tune, strongly composite, starting with a verse perhaps from "Peggy Gordon," then the chorus of "Waly Waly (The Water Is Wide)," two more which might be anything, and a conclusion from "Carrickfergus")
DT, CARRKFRG
NOTES: Frequently heard as an instrumental, but probably originally a song as the lyrics show little variation. - RBW
File: San323
===
NAME: Carrickmannon Lake
DESCRIPTION: Singer meets the "Venus of the north" at Carrickmannon's lake. He says, "Give me my way or else I'll stray." She tells him to depart. He would leave Killinchey for her sake and go to North America. He warns other young men to shun the lake.
AUTHOR: unknown
EARLIEST_DATE: 1932 (recorded by Richard Hayward)
KEYWORDS: courting rejection Ireland
FOUND_IN: Ireland
REFERENCES: (1 citation)
ADDITIONAL: Richard Hayward, Ireland Calling (Glasgow,n.d.), p. 17, "Carrickmannon Lake" (text, music and reference to Decca F-3125 recorded Aug 12, 1932)
Roud #5177
RECORDINGS:
Sarah Anne O'Neill, "Carrickmannon Lake" (on Voice04)
NOTES: Killinchey and Carrickmannon Lake are in County Down.
The date and master id (GB-4734-1) for Hayward's record is provided by Bill Dean-Myatt, MPhil. compiler of the Scottish National Discography. - BS
File: RcCarLak
===
NAME: Carried Water for the Elephant
DESCRIPTION: Singer has no money to see the circus; he's told that he can get in free if he carries water for the elephant. He does (although he can't fill it up), gets his ticket and sees the animals in the menagerie, who make appropriate noises
AUTHOR: Probably Leroy Carr
EARLIEST_DATE: 1930 (recording, Leroy Carr)
KEYWORDS: poverty work humorous animal
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
 Leroy Carr [& Earl "Scrapper" Blackwell], "Carried Water for the Elephant" (Vocalion 1593, 1931 [rec. 1930]; on CrowTold02)
File: RcCWfTE
===
NAME: Carrier's Song, The
DESCRIPTION: About the roads of Australia: "It's strange to know the once good tracks we can no longer trust, sir... Dust! Dust! Dust! Along the roads there's nothing there but dust, dust, dust." He calls for rain, and soon "nothing there but rain, rain, rain"
AUTHOR: unknown
EARLIEST_DATE: 1984
KEYWORDS: travel nonballad
FOUND_IN: Australia
REFERENCES: (1 citation)
Fahey-Eureka, pp. 104-105, "The Carrier's Song" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Bow Wow Wow" (tune) and references there
File: FaE104
===
NAME: Carries and Kye (Courting Among the Kye)
DESCRIPTION: The singer hears a lad and lass talking. He is courting her; she tries to hold him back, pointing out that she is still young and that she has no dowry. She offers to introduce him to another. He says he wants none but her; they marry.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting dowry marriage
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 37-39, "Courting Among the Kye" (1 text, 1 tune)
Roud #3785
File: Ord037
===
NAME: Carrigaline Goalers Defeated, The
DESCRIPTION: "For ages hold on record Kinalea with ecstacy ... defeating with the greatest bravery The goalers that were famed upon the banks of Onnabuoy" The crowd, predictions of the outcome and newspaper reports are described, but not the contest.
AUTHOR: unknown
EARLIEST_DATE: 1829 (Cork broadside, according to Croker-PopularSongs)
KEYWORDS: pride sports Ireland
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 155-158, "The Carrigaline Goalers Defeated" (1 text)
CROSS_REFERENCES:
cf. "The Roving Journeyman" (tune, according to Croker-PopularSongs)
cf. "Bold Thady Quill" (subject of hurling) and references there
cf. "The Victorious Goalers of Carrigaline and Kilmoney" (subject of hurling, plus these particular games)
NOTES: Croker-PopularSongs: "A reply to the preceding song ["The Victorious Goalers of Carrigaline and Kilmoney"], on the defeat of the aforesaid 'Victorious Goalers of Carrigaline and Kilmoney,' by a party belonging to Tracton, a neighboring district, which match appears to have been played in the ensuing spring [1829]." - BS 
File: CrPS155
===
NAME: Carrion Crow
DESCRIPTION: "A carrion crow (kangaroo) sat on an oak, To my inkum kiddy-cum kimeo, Watching a tailor mend a coat...." The tailor tries to shoot the crow, but misses and kills his old sow. The family mourns the dead animal
AUTHOR: unknown
EARLIEST_DATE: 1796 (Francis Grose papers)
KEYWORDS: animal bird death talltale nonsense hunting
FOUND_IN: US(Ap,MW,NE,SE,So) Canada(Mar)
REFERENCES: (11 citations)
Belden, pp. 270-271, "The Carrion Crow" (2 texts)
Brewster 62, "The Tailor and the Crow" (2 texts)
Creighton/Senior, pp. 244-246, "The Carrion Crow" (2 texts plus 1 fragment, 2 tunes)
Creighton-Maritime, p. 133, "The Carrion Crow" (1 text, 1 tune)
Mackenzie 156, "The Tailor and the Crow" (1 text);  "The Carrion Crow" (2 texts)
Linscott, pp. 185-186, "The Carrion Crow" (1 text, 1 tune)
SharpAp 222, "The Carrion Crow" (2 texts, 2 tunes)
Lomax-FSNA 72, "The Kangaroo" (1 text, 1 tune)
Opie-Oxford2 87, "A carrion crow sat on an oak" (2 texts)
Baring-Gould-MotherGoose #172, p. 127, "(A carrion crow sat on an oak)"
DT, CARCROW CARCROW2 KANGROO*
Roud #891
RECORDINGS:
Otis High, "Captain Karo" [referred to in notes as "Carrion Crow"] (HandMeDown1)
Margaret MacArthur, "Carrion Crow" (on MMacArthur01)
BROADSIDES:
Bodleian, Harding B 12(10), "Carrion Crow" ("As I went forth one May morning"), J. Pitts (London), 1802-1819 ; also 2806 c.18(55), "The Carrion Crow"
LOCSinging, as112630, "Sly Young Crow," L. Deming (Boston), 19C
NOTES: A rhyme of the time of Charles I reads, "Hie hoe the carryon crow for I have shot something too low I have quite missed my mark, & shot the poore sow to the harte Wyfe bring treakel in a spoone, or else the poore sowes harte wil downe."
Said piece is regarded as an allegory on Charles's reimposition of high church ritual (and consequent dismissal of Calvinist clergy). Not impossible, in those times -- but whether it inspired this song, or was inspired by it, is not clear. - RBW
File: LoF072
===
NAME: Carroll Ban
DESCRIPTION: Carroll is sentenced and hung in Wexford. He had "fought the Saxon foemen by Slaney's glancing wave" and now "the silent churchyard blossom blooms softly over him."
AUTHOR: John Keegan Casey (1846-1870)
EARLIEST_DATE: 1978 (Lehr/Best)
KEYWORDS: rebellion execution trial memorial patriotic Ireland
HISTORICAL_REFERENCES: 1798 - Wexford Rebellion
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 17, "Carroll Ban" (1 text, 1 tune)
NOTES: I do not know if "Carroll Ban" refers to an historic person. - BS
I believe it does, given the nature of John Keegan Casey's work (he also wrote "The Rising of the Moon"). But I can't find a 1798 hero named "Carroll." Perhaps it's a code name? - RBW
File: LeBe017
===
NAME: Carrowclare: see Killyclare (Carrowclare; The Maid of Carrowclare) (File: HHH298)
===
NAME: Carry Him To the Burying Ground (General Taylor, Walk Him Along Johnny)
DESCRIPTION: Pulling shanty. Internal chorus: "Walk him along, John, Carry him along... Carry him to the burying ground." Refrain: "Way-ay-ay you storm and blow (you Stormy)...." Some texts refer to General Taylor, others to Dan O'Connell or Old Stormy.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty burial battle floatingverses
FOUND_IN: Britain West Indies
REFERENCES: (3 citations)
Hugill, pp. 78-80, "Walk Me Along, Johnny" (1 text, 1 tune) [AbEb, pp. 72-73]
Sharp-EFC, XXXIII, pp.38-39, "General Taylor" (1 text, 1 tune)
DT, GENTAYLR
Roud #216
CROSS_REFERENCES:
cf. "Stormalong" (lyrics)
cf. "Dig My Grave With a Silver Spade" (lyrics)
cf. "Deep Blue Sea (II)" (lyrics)
cf. "Santy Anno" (lyrics)
ALTERNATE_TITLES:
Walk Him Along, John
NOTES: This is recognized much more by its tune than by its verses, which float freely. The most obvious source is "Stormalong" (which shares so much with some versions of this song that Roud lumps them), but there are also "silver spade" lyrics from "Dig My Grave With a Silver Spade" or "Deep Blue Sea (II)"; lyrics about General Taylor from "Santy Anno" or something similar, and one or another Daniel O'Connell song. There are probably others I haven't noticed. - RBW
File: Hugi078
===
NAME: Carry Me Back to Old Virginny
DESCRIPTION: "Carry me back to old Virginny, There's where the cotton and corn and tatoes grow." The former slave yearns to return to the old master and the old plantation, there to "wither and decay."
AUTHOR: James A. Bland
EARLIEST_DATE: 1878
KEYWORDS: Black(s) slave exile
FOUND_IN: US(SE)
REFERENCES: (3 citations)
RJackson-19CPop, pp. 43-46, "Carry Me Back to Old Virginny" (1 text, 1 tune)
Krythe 11, pp. 158-176, "Carry Me Back to Old Virginny" (1 text, 1 tune)
Fuld-WFM, pp. 164-165, "Carry Me Back to Old Virginny"
ST RJ19043 (Full)
Roud #15431
RECORDINGS:
Lucy Gates & the Columbia Stellar Quartet, "Carry Me Back to Old Virginny" (Columbia A6015, 1917)
Zack [Hurt] and Glenn [?], "Carry Me Back to Old Virginny" (OKeh 45212, 1928)
Harry McClaskey, "Carry Me Back to Old Virginny" (Gennett 4532, 1919)
Lester McFarland & Robert Gardner, "Carry Me Back to Old Virginny" (Brunswick 475, 1930)
CROSS_REFERENCES:
cf. "Way Down in Old Virginia" (theme)
NOTES: James A. Bland (1854-1911), one of the leading songwriters of the 1870s, was a university-educated Black (born in New York) who spent many years in England. That he stooped to produce such a piece of nostalgia for slavery says something about the commercial climate of the time (the piece was probably written in 1875 and was published in 1878).
Bland also wrote "[Oh, dem] Golden Slippers" and "In the Evening by the Moonlight."
Until very recently this was the state song of Virginia -- though the official title was changed to "Carry Me Back to Old Virginia." Apparently the people of the state could handle the idea of people yearning for slavery, but couldn't accept a slight mispronunciation. - RBW
File: RJ19043
===
NAME: Carryin' Sacks
DESCRIPTION: "I'm goin' up the river to carry them sacks (x3), I'll have your lap full of dollars when I get back." "I asked my sugar for a little kiss..." "You go back up the river and carry some sacks, (x3), You can get my kisses when the boat gets back"
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: work love separation money
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, pp. 29-30, "Carryin' Sacks" (1 text, 1 tune)
Roud #1005
NOTES: A ballad in miniature, though it really is more of a blues, and I suspect no two singers would do it quite the same way. - RBW
File: MWhee029
===
NAME: Cartin Wife, The: see The Wife of Usher's Well [Child 79] (File: C079)
===
NAME: Carve That Possum
DESCRIPTION: Concerning a possum hunt and the pleasures of eating the animal. Recipes may be offered, as may details of the hunt. The listener is urged to "Carve that possum" and/or "Carve it to the heart."
AUTHOR: Sam Lucas
EARLIEST_DATE: 1875 (sheet music published)
KEYWORDS: hunting food animal
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 276, "The Possum Song" (3 short texts, 2 tunes)
Randolph/Cohen, pp. 237-238, "The Possum Song" (1 text, 1 tune -- Randolph's )
Roud #7780
RECORDINGS:
Harry C. Browne w. Peerless Quartet, "Carve Dat Possum" (Columbia A-2590, 1918; rec. 1917)
Uncle Dave Macon and his Fruit Jar Drinkers, "Carve That Possum" (Vocalion 5151, 1927; on GoingDown)
CROSS_REFERENCES:
cf. "Sail Away, Ladies" (tune of the verse)
NOTES: Norm Cohen describes tune of this as "basically the spiritual 'Let My People Go.'" If he means the song I know by that title, I don't see the resemblance. - RBW
File: R276
===
NAME: Casadh an tSugain (The Twisting of the Rope)
DESCRIPTION: Gaelic. Singer is drunk. He complains that he had come to this place "full of love and hope But the hag she forced me out with the twisting of the rope." "How many fine girls waste for taste of man in bed ... But the hag she drove me out ..."
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: foreignlanguage seduction escape trick drink nonballad tasks
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, pp. 149-151, "Twisting of the Rope, The" (1 text)
NOTES: Translation is by Paddy Tunney, who includes the tale upon which the song is based. The story, which helps explain the song, may be summarized as follows: Singer asks for shelter on a rainy night but there are only two women in the house and he forces his way in. He claims he means no harm. The older woman asks him if he is able to twist a grass rope they need made. His pride hurt that his ability might be doubted, he agrees to twist the rope. As the rope grows too long to fit in the house, he must take it through the door and out into the street. The older woman slams the door in his face. - BS
File: TSF149
===
NAME: Casey Jones (I) [Laws G1]
DESCRIPTION: Casey Jones's train is late with the mail. He is pushing the train as fast as he can when he sees another train ahead. There is no time to stop. Casey tells his fireman to jump; he himself dies in the wreck
AUTHOR: Original text by Wallis/Wallace/Wash Saunders/Sanders (?); "Official" text copyrighted 1909 by Newton & Siebert
EARLIEST_DATE: 1909 (copyright)
KEYWORDS: death train wreck
HISTORICAL_REFERENCES: Apr 30, 1900 - Death of John Luther "Casey" Jones, of the Illinois Central Railroad, near Vaughan, Mississippi
FOUND_IN: US(Ap,MA,SE,So,SW)
REFERENCES: (19 citations)
Laws G1, "Casey Jones"
Cohen-LSRail, pp. 132-157, "Casey Jones" (4 fairly complete texts plus many tunes an the cover from the 1909 sheet music, 1 tune)
BrownII 216, "Casey Jones" (1 text plus mention of 1 more)
Hudson 87, pp. 214-215, "Casey Jones" (1 text, quite dissimilar to the popular version, focusing on the bad conditions and Casey's heroism)
Friedman, p. 309, "Casey Jones" (7 texts, mostly fragmentary)
Sandburg, pp. 366-368, "Casey Jones" (1 text, 1 tune)
Lomax-FSUSA 75, "Casey Jones" (1 text, 1 tune)
Lomax-FSNA 301, "Casey Jones" (2 texts, 2 tunes)
Lomax-ABFS, pp. 34-36, "Nachul-Born Easman" (1 text, 1 tune)
Scarborough-NegroFS, pp. 249-250, "Casey Jones" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 106-109, "Casey Jones" (1 text, 1 tune)
JHJohnson, pp. 90-92, "Casey Jones" (1 text)
Courlander-NFM, pp. 185-186, "(Casey Jones)" (1 text, 1 tune)
LPound-ABS, 59, pp. 133, "Casey Jones" (1 text)
JHCox 48, "Mack McDonald" (1 text, clearly "Casey Jones" even though the engineer's name has been changed)
Darling-NAS, pp. 209-213, "Casey Jones"; "Casey Jones"; "Kassie Jones" (3 text, with the first two being here"Joseph Mica" and the third being the full "Kassie Jones" text of Furry Lewis)
Geller-Famous, pp. 231-234, "Casey Jones" (1 text, 1 tune)
Fuld-WFM, p. 165+, "Casey Jones"
DT 633, CASEJONE
Roud #3247
RECORDINGS:
Arthur "Brother-in-Law" Armstrong, "Casey Jones" (AFS 3987 B4, 1940)
DeFord Bailey, "Casey Jones" (Victor 23336, 1932/Victor 23831, 1933; rec. 1928)
Al Bernard, "Casey Jones" (Brunswick 178, 1927/Supertone S-2044, 1930)
Fiddlin' John Carson, "Casey Jones" (OKeh 40038, 1924; rec. 1923)
Arthur Collins & chorus, "Casey Jones" (CYL: Indestructible 3163, 1910)
[Arthur] Collins & [Byron] Harlan "Casey Jones" (Columbia A907, 1910)
Elizabeth Cotten, "Casey Jones" (on Cotten03)
County Harmonizers, "Casey Jones" (Pathe Actuelle 020670, 1921) (Pathe 20670, 1921) [these are separate issues; the Actuelle is a lateral-cut record, while the other is vertical-cut]
Vernon Dalhart, "Casey Jones" (Oriole 454 [as Dick Morse], 1925) (Victor 20502, 1927; rec. 1925)
Jesse James, "Southern Casey Jones" (Decca 7213, 1936)
Fred Kirby & the WTB Briarhoppers "Casey Jones" (Sonora 3040, n.d. but post-World War II)
Wingy Manone & his orchestra, "Casey Jones (The Brave Engineer)" (Bluebird B-10266, 1939/Mongomery Ward M-8354, 1940)
John D. Mounce et al, "Casey Jones" (on MusOzarks01)
Billy Murray w. the American Quartet, "Casey Jones" (Victor 16843, 1910) (CYL: Edison 10499, 1911) (CYL: Edison [BA] 1550, 1912)  (CYL: Edison [A] 450, 1910)
Riley Puckett, "Casey Jones" (Columbia 113-D [as George Riley Puckett], 1924)
George Reneau, "Casey Jones" (Vocalion 14813, 1924)
Bob Skiles Four Old Timers, "Casey Jones" (OKeh 45225, 1928)
Pete Seeger , "Casey Jones" (on PeteSeeger13)
Gid Tanner & his Skillet Lickers, "Casey Jones" (Columbia 15237-D, 1928; rec. 1927)
Wilmer Watts & the Lonely Eagles, "Knocking Down Casey Jones" (Paramount 3210, 1930; on TimesAint02)
Fred Wilson, "Casey Jones" (Harmony 5118-H, 1930)
Jack & Tom Wilson, "Casey Jones" (Diva 2480-G, 1927)
CROSS_REFERENCES:
cf. "Joseph Mica (Mikel) (The Wreck of the Six-Wheel Driver) (Been on the Choly So Long)" [Laws I16]
cf. "Casey Jones (II)" (bawdy parody)
cf. "Casey Jones (IV)  (Casey Jones the Union Scab)"
cf. "Ben Dewberry's Final Run" (lyrics, theme)
cf. "J. C. Holmes Blue" (form, lyrics)
cf. "Steamboat Bill" (tune)
cf. "Duncan and Brady" [Laws I9] (lyrics)
cf. "Peggy Howatt" (tune)
cf. "The Big Combine" (tune)
cf. "E. P. Walker" (tune)
SAME_TUNE:
Casey Jones (IV) (Casey Jones the Union Scab) (File: FSWB102)
Come On You Scabs If You Want to Hear (Greenway-AFP, p. 138)
Casey Jones the Rooster (Pankake-PHCFSB, pp. 109-110)
The Big Combine (on Thieme03)
NOTES: John Luther Jones was brought up in Cayce, Kentucky (hence his nickname).
Joe Hill (pseud. for Joseph Hilstrom) wrote a parody of this song, entitled "Casey Jones the Union Scab," based on the Southern Pacific strike of 1911. -PJS
This piece shows the power of song: Mrs. Jones, who died in 1958 at the age of 92, spent half a century disclaiming the accusations of infidelity in the song. Fireman Simeon Webb lasted almost as long, dying in 1957 at age 83.
In reading Laws's notes to "Casey Jones" and "Joseph Mica" [Laws I16], it seems clear to me that there is no true distinction between the ballads. Laws files the more complete forms here, and the fragments and related pieces under "Joseph Mica." How does one decide which pieces to put where? I'm really not sure.
To make matters worse, Laws has garbled the entry and the information about Lomax and Sandburg. I did the best I could, but one should check "Joseph Mica" for additional versions.
Cohen offers a reasonable explanation for this: There was an existing train song, possibly "Jay Gould's Daughter," which Saunders adapted to apply to Casey Jones -- but it was a blues ballad, without a strong plot. The 1909 version converted this to a true ballad -- but, fragments being what they are, it's not really possible to distinguish the two.
Cohen also lists several alternate nominees for the title of the "original" Casey Jones.
Laws distinguishes "Jay Gould's Daughter" as a separate song (dI25); I think this distinction hopeless; it is just another worn down version, and should be filed with "Joseph Mica." - RBW
It should be noted that Furry Lewis' "Kassie Jones" is a fragmentary stream-of-consciousness incorporating a single verse from "Casey Jones" and many floating verses, including a couple from "On the Road Again". - PJS
Cohen (whose main text is the Lewis version) notes that Lewis recorded the song ten times, with none of the texts being entirely the same. - RBW
File: LG01
===
NAME: Casey Jones (II)
DESCRIPTION: In this bawdy parody of the familiar copyright song, Casey goes to a whorehouse and has sex with ninety-eight whores until his powers fail him. He takes a shot of whiskey, finishes the remaining two, and dies.
AUTHOR: unknown
EARLIEST_DATE: 1923
KEYWORDS: bawdy contest death
FOUND_IN: US(So,SW)
REFERENCES: (2 citations)
Cray, pp. 154-158, "Casey Jones" (2 texts, 1 tune)
Randolph-Legman I, pp. 471-476, "Casey Jones" (6 texts, 1 tune)
Roud #3247
CROSS_REFERENCES:
cf. "Casey Jones (I)" [Laws G1] (tune, characters) and references there
NOTES: Legman offers extensive notes and an early bawdy text of the ballad dating to 1923 in Randolph-Legman I. - EC
File: EM154
===
NAME: Casey Jones (III): see Joseph Mica (Mikel) (The Wreck of the Six-Wheel Driver) (Been on the Choly So Long) [Laws I16] (File: LI16)
===
NAME: Casey Jones (IV) (Casey Jones the Union Scab)
DESCRIPTION: Casey Jones keeps working when the rest of the workers strike. (Someone puts railroad ties across the track, and) Casey is killed. St. Peter hires him, but "Angels' Union # 23" sends him to Hell, where the Devil puts him to shoveling sulfur
AUTHOR: Words: Joe Hill
EARLIEST_DATE: c. 1911
LONG_DESCRIPTION: Casey Jones, an engineer on the Southern Pacific, keeps working when the rest of the workers go on strike. (Someone puts railroad ties across the track, and) Casey's engine derails, killing him. In heaven, St. Peter hires him to scab on the musicians, but "Angels' Union # 23" sends him to Hell, where the Devil puts him to shoveling sulfur -- "That's what you get for scabbing on the S. P. line"
KEYWORDS: strike violence train homicide death railroading labor-movement Hell scab worker Devil derivative
HISTORICAL_REFERENCES: 1911 - Southern Pacific workers strike
FOUND_IN: 
REFERENCES: (4 citations)
Greenway-AFP, p. 186, "Casey Jones, The Union Scab" (1 text)
Darling-NAS, pp. 376-377, "Casey Jones, the Union Scab" (1 text)
Silber-FSWB, p. 102, "Casey Jones (Union)" (1 text)
DT, UNCASJON*
RECORDINGS:
Harry "Mac" McClintock, "Casey Jones (The Union Scab)" (on McClintock01 - two versions) (on McClintock02)
Pete Seeger , "Casey Jones" (on PeteSeeger1, PeteSeeger48)
CROSS_REFERENCES:
cf. "Casey Jones (I)" [Laws G1] and references there (tune, characters) and references there
NOTES: For the life of Joe Hill, see "Joe Hill." - RBW
File: FSWB102
===
NAME: Casey's Whiskey
DESCRIPTION: Casey and the singer get drunk and meet policeman Flannigan. They invite him to have a drink. Although "drinking's against the law." Flannigan doesn't notice the bottle is empty. He takes Casey in but lets the singer go as too much of a handful.
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: drink humorous police
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 73, "Casey's Whiskey" (1 text, 1 tune)
ST CrNS073 (Partial)
Roud #1806
NOTES: This song is item dH51 in Laws's Appendix II. - BS
File: CrNS073
===
NAME: Cashel Green (I)
DESCRIPTION: The singer is out walking when he sees a pretty girl. He tells her she has ensnared his heart. She says that that's his problem; men are always using lines like that. He promises to be faithful. She agrees to marry him
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: love courting beauty marriage
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H647, p. 462, "Cashel Green (I)" (1 text, 1 tune)
Roud #9461
File: HHH647
===
NAME: Cashel Green (II)
DESCRIPTION: In 1878, landlord Campbell permits a race on Cashel Green. The race is won by the horse of McCloskey, "that youth of fifteen." The singer praises the horse and rider, describes the collection of bets, and wishes all well
AUTHOR: Francis Heaney ?
EARLIEST_DATE: 1926 (Sam Henry collection)
KEYWORDS: racing horse gambling
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H154, p. 33-34, "Cashel Green (II)" (1 text, 1 tune)
Roud #13353
File: HHH154
===
NAME: Cashmere Shawl, The
DESCRIPTION: A man criticizes a girl for ostentatiously wearing a cashmere shawl. She answers that she got it "by my hard earnings." Besides, he is dressed like a dandy himself. He says "with pride you are gone to the devil for wearing the cashmere shawl".
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: pride vanity clothes dialog
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 777-778, "The Cashmere Shawl" (1 text, 1 tune)
Roud #9942
File: Pea778
===
NAME: Casro, Manishi-O
DESCRIPTION: Travellers' cant. Singer asks a girl to come with him and takes his bagpipes out. After three or four years she has borne him four children; he brags of woman and children. She too brags; they can visit the public house and have money because of his pipes
AUTHOR: unknown
EARLIEST_DATE: 1960 (recorded from Davie Stewart)
LONG_DESCRIPTION: Travellers' cant. Singer, riding through town, spies a girl. He asks her to go away with him and takes his bagpipes out; after glowering once at him, she goes. First they bed down in a barn, then in a Travellers' camp. After three or four years she has borne him four children; he calls all travellers and hawkers to look at him, for now he goes to town and plays his pipes, and has a woman and children. She brags about him in turn; she goes with him to the public house, and has money from his playing the pipes
KEYWORDS: pride courting love bragging travel music foreignlanguage children family lover Gypsy
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Kennedy 341, "Casro, Manishi-O" (1 text, 1 tune)
Roud #2156
NOTES: The title translates as "Greetings, woman-o." - PJS
File: K341
===
NAME: Cassville Prisoner, The
DESCRIPTION: "To old Cassville they did me take, But did not chain me to an iron stake, The faults they swore was more than one, To send me on to Jefferson. Jefferson didn't bother my mind, It was leavin' you behind, To run around with other boys...."
AUTHOR: unknown
EARLIEST_DATE: 1921 (Randolph)
KEYWORDS: prison crime separation
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 147, "The Cassville Prisoner" (1 text, 1 tune)
Roud #5485
NOTES: "Jefferson" refers to Jefferson City, the long-time home of the Missouri State Penitentiary. - RBW
File: R147
===
NAME: Castaways, The: see The Silk Merchant's Daughter [Laws N10] (File: LN10)
===
NAME: Castle by the Sea, The: see Lady Isabel and the Elf Knight [Child 4] (File: C004)
===
NAME: Castle Gardens (I)
DESCRIPTION: The singer, "convicted and... forced to go," leaves Ireland for America. He yearns for Ireland "where the dear little shamrock grows." He would return for his sweetheart, but she dies (of grief?) and is buried by the singer's father
AUTHOR: unknown
EARLIEST_DATE: 1954
KEYWORDS: emigration transportation death Ireland
FOUND_IN: Australia
REFERENCES: (2 citations)
Tunney-SongsThunder, pp. 81-82, "Where the Green Shamrock Grows" (1 text)
Meredith/Anderson, pp. 54, 149-150, "Castle Gardens" (1 text plus a fragment, 1 tune)
Roud #16061
CROSS_REFERENCES:
cf. "The Apprentice Boy" [Laws M12] (theme)
NOTES: Meredith and Anderson connect this with "Covent Gardens" (properly "The Apprentice Boy," Laws M12), but the plot (at least of their first version), although it has some similarities, is distinct. - RBW
Both Tunney-SongsThunder and Meredith/Anderson pp. 149-150 have the singer "evicted" by a landlord for owed back rent, rather than "convicted" as in Meredith/Anderson p. 54. While Meredith/Anderson p. 54 might lead you to believe that it is the singer's sweetheart that died and was buried by his father's side, Meredith/Anderson pp. 149-150 hints and Tunney-SongsThunder confirms that it is the singer's mother that died and was so buried.
Tunney-SongsThunder includes the lines .".. the wind is blowing fair Full sail for Castlegarden"; in both Meredith/Anderson versions the line is "We're/I'm bound for Castle Gardens...." Castle Garden, before and again "Castle Clinton" at The Battery in New York, was entry point for immigrants between 1845 and 1890 [see, for example, "Castle Garden, New York" transcribed from _The Illustrated American_ of March 1, 1890 at Norway-Heritage site]. One problem with using "Castle Garden" for dating is that the name may have remained synonymous with "entry point for New York" long after the building became the New York Aquarium. In my own family I heard about "Kesselgarten" sixty years after it closed although my grandfather arrived in New York in 1903.
For a similar Castle Garden(s) reference see the notes to "Good bye Mursheen Durkin." - BS
File: MA054
===
NAME: Castle Hyde
DESCRIPTION: By Blackwater side the singer admires Castle Hyde's charming meadows, warbling thrushes, sporting lambkins, fine horses; foxes "play and hide," wild animals "skip and play," and trout and salmon rove. Whereever he rides he finds no equal to Castle Hyde.
AUTHOR: unknown
EARLIEST_DATE: 1947 (Hoagland), with lyrics dating to the nineteenth century at least
KEYWORDS: nonballad lyric animal travel
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-SongsThunder, p. 67, "Castlehyde" (1 fragment)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 254-255, "Castlehyde"
BROADSIDES:
Bodleian, Harding B 11(3740), "Castle Hyde" ("As I rode out on a summer's morning"), J. Catnach (London), 1813-1838; also Harding B 11(3739, Johnson Ballads 283[many illegible words], Firth c.26(96), Firth c.21(11), Firth b.25(486)[some illegible words], Harding B 11(323), Harding B 11(552), 2806 c.18(60), "Castle Hyde"
CROSS_REFERENCES:
cf. "The Last Rose of Summer" (tune, per Hoagland)
cf. "Groves of Blarney" (tune and theme, per Hoagland)
cf. "The Groves of Blarney" (theme: extravagant praise of Cork) and references there
NOTES: Tunney-SongsThunder is a fragment; broadside Bodleian Harding B 11(3740) is the basis for the description.
The Tunney-SongsThunder fragment is verse 5 of Hoagland [two lines of which are not in the Bodleian broadsides]. Hoagland's comment on "Castlehyde": "This song is commonly regarded as a type of the absurd English songs composed by some of the Irish peasant bards who knew English only imperfectly.... In burlesque imitation of this song, Richard Alfred Milliken of Cork composed the famous 'Groves of Blarney'; this song -- working as a sort of microbe -- gave origin to a number of imitations of the same general character." On p. 362 "Milliken at a party declared he could write a piece of absurdity that would surpass 'Castle Hyde'.... The Groves of Blarney was the result and Millikin became famous for it."
Castle Hyde is near River Blackwater in County Cork.
Croker has the beginning of the story. "An itinerant poet, with the view of being paid for his trouble, composed a song in praise (as he doubtless intended it) of Castle Hyde, the beautiful seat of the Hyde family on the river Blackwater; but, instead of the expected remuneration, the poor poet was driven from the gate by order of the then proprietor, who from the absurdity of the thing, conceived that it could be only meant as mockery; and, in fact, a more nonsensical composition could scarcely escape the pen of a maniac." (source: Thomas Crofton Croker, _Popular Songs of Ireland_ (London, 1886), p. 137) - BS
File: TST067
===
NAME: Castle of Dromore, The (Caislean Droim an Oir)
DESCRIPTION: "October winds lament around the Castle of Dromore, But peace is in her lofty halls...." The mother comforts her child: none cannot threaten them, and Mary is watching. She bids the child "take time to thrive" before moving on to adult tasks
AUTHOR: unknown
EARLIEST_DATE: 1931 (recorded by Richard Hayward)
KEYWORDS: lullaby nonballad children foreignlanguage
FOUND_IN: Ireland
REFERENCES: (3 citations)
Scott-BoA, pp. 154-155, "The Castle of Dromore (Caislean Droim an Oir)" (2 texts (1 English, 1 Irish Gaelic), 1 tune)
DT, CASTDROM
ADDITIONAL: Richard Hayward, Ireland Calling (Glasgow,n.d.), p. 5, "The Castle of Dromore" (text, music and reference to Decca F-2266 recorded Feb 6, 1931)
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Castle of Dromore" (on IRClancyMakem02)
NOTES: This song has always suggested a political subtext to me. -PJS
Really?
This song exists in both English and Irish versions; both have been claimed to be original. - RBW
The date and master id (GB-2647-1/2) for Hayward's record is provided by Bill Dean-Myatt, MPhil. compiler of the Scottish National Discography. - BS
File: SBoA154
===
NAME: Castlepollard Massacre, The
DESCRIPTION: Castlepollard fair was peaceful "until the Peelers were brought out to raise a riot there ... their chief he bade them fire." The "murderers" were sent to jail but freed after "a sham trial"
AUTHOR: unknown
EARLIEST_DATE: 1831 (_Dublin Evening Mail_,August 8, 1831, according to Zimmermann)
KEYWORDS: violence death Ireland political police
HISTORICAL_REFERENCES: May 21, 1831 - "Seventeen people were killed by the police at Castlepollard ... in one of the bloodiest affrays of the Tithe War. An inquest followed but the policemen were finally acquitted of the charge of murder." (source: Zimmermann)
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 40, "A New Song Called the Castlepollard Massacre" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Battle of Carrickshock" (subject: The Tithe War) and references there
cf. "Dicky in the Yeomen" (subject: Castlepollard)
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 p. 18: "In the early 1830's a veritable state of insurrection prevailed in Leinster and Munster, when the military and the police were called in to assist in collecting the tithes or seizing and auctioning the cattle or crops of those who refused to pay."
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.)
Castlepollard is in County Westmeath, about 50 miles northwest of Dublin. - BS
There was certainly a tendency for police to fire on crowds in Ireland. But I checked six histories without finding an account of this particular tragedy, at least under this title. One suspects more was going on than the song reveals. - RBW
File: Zimm040
===
NAME: Castlereagh River, The
DESCRIPTION: "I'm travelling down the Castlereigh, and I'm a stationhand...." The singer mentions all the stops he's made, and all his reasons for leaving (non-union Chinese workers, an arrogant boss, etc.). He advises, "So shift, boys, shift...."
AUTHOR: claimed by A.B. "Banjo" Paterson
EARLIEST_DATE: 1892 (The _Bulletin_)
KEYWORDS: Australia work travel
FOUND_IN: Australia
REFERENCES: (5 citations)
Meredith/Anderson, pp. 45-46, 83-84, "The Old Jig-Jog"; p. 57, "Travelling Down the Castlereagh; pp. 210-211, "A Bushman's Song" (4 texts, 4 tunes)
Fahey-Eureka, pp. 132-133, "Travelling Down the Castlereigh" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 290-293, "A Bushman's Song" (1 text)
Manifold-PASB, pp. 158-159, "Travelling Down the Castlereigh" (1 text, 1 tune)
DT, CSTLREAG
Roud #8399
RECORDINGS:
John Greenway, "The Castlereagh River" (on JGreenway01)
NOTES: Paterson's title for this was "A Bushman's Song" -- but it is perhaps noteworthy that few traditional singers knew it by that title.... Joe Cashmere, when he supplied a version of the song to John Meredith, believed he learned it before Paterson published the song. But, as Paterson/Fahey/Seal note, it's hard to prove it predated Paterson. - RBW
File: MA045
===
NAME: Castleroe Mill
DESCRIPTION: The singer meets a girl on Lammas Day. He tells her that he has saved up enough to emigrate to Canada, and asks if she will go with him. She cannot leave; her parents are "on the decline." He departs but hopes he can return to her
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: love courting rejection father mother emigration age
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H22b, p. 361, "Castleroe Mill" (1 text, 1 tune)
Roud #4719
CROSS_REFERENCES:
cf. "We'd Better Bide a Wee" (theme)
cf. "Betsy of Dramoor" (theme)
File: HHH022b
===
NAME: Castles in the Air: see English Miner, The (The Coolgardie Miner, Castles in the Air) (File: MA115)
===
NAME: Castration of the Strawberry Roan, The
DESCRIPTION: The roan's owner, tired of it siring equally stubborn offspring, decides to put an end to the matter by gelding the beast. They rope it down, and a cowboy commences the operation. Before it can be completed, the roan bites off the owner's own equipment
AUTHOR: probably Curley Fletcher
EARLIEST_DATE: 1964 (Legman, _The Horn Book_, cites the Sons of the Pioneers recording)
KEYWORDS: horse humorous bawdy injury derivative
FOUND_IN: US
REFERENCES: (1 citation)
Logsdon 13, pp. 86-96, "The Castration of the Strawberry Roan" (3 texts, of which "A" is this, 1 tune)
Roud #10089
RECORDINGS:
Anonymous [Sons of the Pioneers], "Strawberry Roan" (no label, number 204-A, n.d. but probably late 1940s)
CROSS_REFERENCES:
cf. "The Strawberry Roan" [Laws B18] (tune, character of the Roan)
ALTERNATE_TITLES:
The Emasculation of the Strawberry Roan
NOTES: The story of this song apparently begins in a fit of pique.
According to Logsdon, Curley Fletcher wrote the original "Strawberry Roan" as a poem, to which a melody was later added. But Fletcher the chorus/bridge, which was the work of Fred Howard and Nat Vincent. So he produced this extremely scatological parody to get back at them.
How traditional it is is an open question. The Sons of the Pioneers recorded it, anonymously, and Baxter Black sang Logsdon a variant on that. Legman, on p. 404 of _The Horn Book_, considers it one of the few genuine songs on a "private party" 78. But I suspect the Sons of the Pioneers recording is the source for nearly all of the few versions collected.
Logsdon's entry on this song includes two other Strawberrry Roan variants that could not be sung in polite society. One was simply a more detailed saga of riding the roan; the other is about a visit to a whorehouse and is basically "Kathusalem (Kafoozelum) (II)" adapted to cowboy circumstances. These two might be traditional, but until I find additional collections, I'm merely going to note them.
File: Logs013
===
NAME: Cat Came Back, The
DESCRIPTION: (Old Mister Johnson) makes many attempts to rid himself of his cat -- blowing it up, shipping it away, etc. But in every instance "The cat came back the very next day... They thought he was a goner, but the kitty came back...."
AUTHOR: probably Henry S. Miller
EARLIEST_DATE: 1924 (recording, Fiddlin' John Carson); the Miller text is dated 1893
KEYWORDS: animal separation return humorous
FOUND_IN: US(So)
REFERENCES: (5 citations)
Randolph 444, "The Cat Came Back" (1 text, 1 tune)
Randolph/Cohen, pp. 350-352, "The Cat Came Back" (1 text, 1 tune -- Randolph's 444)
Spaeth-ReadWeep, p. 147, "The Cat Came Back" (fragmentary text, partial tune)
Silber-FSWB, p. 400, "The Cat Came Back" (1 text)
DT, CATBACK CATBACK2
Roud #5063
RECORDINGS:
Yodeling Slim Clark, "The Cat Came Back" (Continental 8063, n.d.)
Fiddlin' John Carson, "And The Cat Came Back" (Okeh 40119, 1924)
Riley Puckett, "The Cat Came Back" (Columbia 15656-D, 1931; rec. 1930) (Decca 5442, 1937)
Fiddlin' Doc Roberts, "And The Cat Came Back" (instrumental) (Challenge 307, 1927; Silvertone 8179, 1928)
NOTES: Spaeth, in _A History of Popular Music in America_, says that Henry S. Miller's version of this song was popular in 1893; presumably it was written about that time. - RBW
File: R444
===
NAME: Cat Came Fiddling Out of a Barn, A: see The Fly and the Bumblebee (Fiddle-Dee-Dee) (File: Lins196)
===
NAME: Cat's Eye
DESCRIPTION: "I was going up the hill, I met a girl on a bicycle, Run her into the garden wall, Smashed her tire and broke her fall," and more rhymes like that. The chorus likens Jim to a cat eating fish-bones, scratching, on the fence at night, a "cat's eye"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: humorous nonballad nonsense animal food
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 108, "Cat's Eye" (1 text, 1 tune)
ST LLab108 (Partial)
Roud #9972
File: LLab108
===
NAME: Cat's Got the Measles and the Dog's Got Whooping Cough, The
DESCRIPTION: Floating verses; "Cat's got the measles and the dog's got whooping cough, doggone/Doggone a man let a woman be his boss, doggone my time" "I ain't good looking... but my main occupation's takin' women from their monkey men...."
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Walter Smith)
LONG_DESCRIPTION: Floating verses; "Cat's got the measles and the dog's got whooping cough, doggone/Doggone a man let a woman be his boss, doggone my time" "I ain't good looking and my teeth don't shine like pearls, doggone..." "...but my main occupation's takin' women from their monkey men, doggone my time"
KEYWORDS: sex bragging floatingverses nonballad
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Papa Charlie Jackson, "The Cat's Got the Measles" (Paramount 12259, 1925)
New Lost City Ramblers, "The Cat's Got the Measles and the Dog's Got Whooping Cough" (NLCR14, NLCRCD2)
Walter "Kid" Smith, "The Cat's Got the Measles and the Dog's Got Whooping Cough" (Gennett 6825/Supertone 9407 [as by Jerry Jordon], 1929)
NOTES: Other than the similarity in title, this song has nothing in common with "Sow Took the Measles", not even enough for a cross-reference. - PJS
File: RcCGTMDG
===
NAME: Catalpa, The: see The Fenian's Escape (The Catalpa) (File: FaE056)
===
NAME: Catch of the Season
DESCRIPTION: "Now we are facing a wonderful future, Gone are the winters we've always endured": unemployment insurance for fishermen. After 20 weeks of rated hauls, "sit back and do nothing for the rest of the year"
AUTHOR: unknown
EARLIEST_DATE: 1959 (NFOBlondahl02, NFOBlondahl03, NFOBlondahl05)
KEYWORDS: fishing unemployment political humorous nonballad
HISTORICAL_REFERENCES: 1957 - Canada extends unemployment insurance to fishers (see notes)
FOUND_IN: Canada(Newf)
REFERENCES: (0 citations)
RECORDINGS:
Omar Blondahl, "Catch of the Season" (on NFOBlondahl02)
CROSS_REFERENCES:
cf. "Unemployment Insurance" (theme)
NOTES: Source of Historical Reference: _History of Newfoundland and Labrador Summary Chronology of Events_ by Dr. Melvin Baker (Royal Commission on Renewing and Strengthening Our Place in Canada, March 2003), available as bakerchronology.pdf as a research paper at the Newfoundland and Labrador government site of the Royal Commission on Renewing and Strengthening Our Place in Canada
Blondahl02, NFOBlondahl03, and NFOBlondahl05 have no liner notes confirming that this song was collected in Newfoundland. Nevertheless, this seems so much in the Newfoundland style that I am "finding" it there.
There is no entry for "Catch of the Season" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
File: RcTCOTSe
===
NAME: Catfish, The (Banjo Sam)
DESCRIPTION: "Catfish, catfish, goin' up stream, Catfish, catfish, where you been? I grabbed that catfish by the snout, I pulled that catfish inside out, Yo-ho! Banjo Sam." Other verses also tall tales, usually involving animals, e.g. the terrapin and the toad
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: animal nonsense talltale floatingverses fishing humorous music
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 182, "The Catfish" (1 text plus 3 fragments)
SharpAp 251, "The Jackfish" (1 text, 1 tune)
Scarborough-NegroFS, p. 98, (no title) (1 single-stanza text, regarding the terrapin and the toad, which could be from this or almost anything else); also p. 199, (no title) (1 fragment, probably from this though it's too short to tell)
Roud #7010
RECORDINGS:
Poplin Family, "Catfish" (on Poplin01)
CROSS_REFERENCES:
cf. "Turkey in the Straw" (floating lyrics)
cf. "Sweet Heaven" (floating lyrics)
cf. "Jack Was Every Inch a Sailor" (fish story)
NOTES: This is complicated, because every one of Brown's verses is associated with "Turkey in the Straw." But the three texts all lack that chorus, and "A" has a "banjo Sam" chorus line of its own. And apparently all had a different tune. When in doubt, we split. - RBW
For some reason, this song makes me think of "Whoa Back Buck," but not quite enough for a cross-reference. It almost certainly derives from minstrel sources, and shouldn't be confused with the popular "Catfish Blues." - PJS
File: Vr3182
===
NAME: Catherine Berringer
DESCRIPTION: Broadside account of a murder: "Muse breathe the Dirge o'er Delia's tomb...." "She from the man she once did love... received the fatal cup... And drunk the poison up." "O Bernard t'was a barbarous deed." The girl hopes others will mourn her
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: homicide poison
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 36-37, "An Eulogy on the Death of MISS CATHERINE BERRINGER who was poisoned by her lover" (1 text, excerpted)
NOTES: Don't ask me why the girl is named Catherine but called Delia (and the poem uses the name "Delia" at least twice). Whatever the girl's real name, it's at least as dreadful as the quoted sections -- and pretty definitely not traditional. - RBW
File: Burt036
===
NAME: Catherine Etait Fille (Catherine was a Girl)
DESCRIPTION: French. Catherine is the king's daughter. Her mother is a Christian but her father is not. Her father finds her praying. She says that she prays to God, but he does not. He kills her with his sabre. Catherine is in heaven, but her father is not.
AUTHOR: unknown
EARLIEST_DATE: 1949 (Creighton-Maritime)
KEYWORDS: foreignlanguage homicide religious father royalty questions violence crime death discrimination Hell
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, pp. 154-155, "Catherine Etait Fille" (1 text, 1 tune)
RECORDINGS:
Laura McNeil, "Catherine Etait Fille" (on MRHCreighton)
NOTES: The description is based on the translation in the notes to MRHCreighton. - BS
There are a number of early Christian legends about this sort of martyrdom. (Interesting that the name "Katherine" is from Greek "katharos," "pure.") This one doesn't ring any bells as written, though. - RBW
File: CrMa154
===
NAME: Cathie and Me
DESCRIPTION: "The sun kissed the brow of lovely Ben Ledi And wrapt it in raiment of rainbowlike hue" as the singer strolls with Cathie. They enjoy the charms of nature, and he thanks the fates that brought them together
AUTHOR: Walter Towers
EARLIEST_DATE: 1930 (Ord); reportedly published by Towers in 1885
KEYWORDS: love nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 59-60, "Cathie and Me" (1 text, 1 tune)
Roud #5570
File: Ord059
===
NAME: Cats on the Rooftops
DESCRIPTION: Stanzas on how various animals (people, military stuffed shirts, politicians) "revel in the joys of fornication"
AUTHOR: unknown
EARLIEST_DATE: 1950
KEYWORDS: sex animal soldier bawdy nonballad
FOUND_IN: US(SW) Canada Britain
REFERENCES: (2 citations)
Cray, pp. 368-372, "Cats on the Rooftops" (3 texts, 1 tune)
DT, CATSROOF* CATROOF2*
Roud #10258
CROSS_REFERENCES:
cf. "John Peel" (tune)
File: EM368
===
NAME: Cattie Sits in the Kiln Ring, The
DESCRIPTION: "The cattie sat in the kiln-ring, Spinning, spinning, And by cam a little wee mousie, Running, running."  Cat and mouse converse about their activities: The cat spinning a sark for its kit; the mouse cleaning and thieving. (The cat eats the mouse)
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: animal clothes food money
FOUND_IN: 
REFERENCES: (2 citations)
Montgomerie-ScottishNR 195, "(The cattie sat in the kiln-ring)" (1 text)
DT, CATSPIN
File: MSNR195
===
NAME: Catting the Anchor
DESCRIPTION: Shanty. Moderate 3/4 tempo. "Pull one and all. Hoy, hoy. Cherry men! On the cat fall! Hoy, hoy. Cherry men! Answer the call! Hoy, hoy! Cherry men! Hoy. Hau-lee. Hoy! Hoy! Oh cherry men!"
AUTHOR: unknown
EARLIEST_DATE: 1917 (Robinson in _The Bellman_)
KEYWORDS: shanty worksong
FOUND_IN: Britain
REFERENCES: (1 citation)
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919)."Catting the Anchor" is in Part 2, 7/21/1917.
File: RobCatAn
===
NAME: Cattle Call
DESCRIPTION: The singer describes his life while "singing [his] cattle call": "When the new day is dawning I wake up a-yawning, Drinkin my coffee strong." "Each day I do ride o'er a range far and waide... I don't mind the weather, my heart's like a feather...."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: cowboy work
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 111, "Cattle Call" (1 text, 1 tune)
Roud #11089
File: FCW111
===
NAME: Cattleman's Prayer, The
DESCRIPTION: "Now, O Lord, please lend Thine ear, The prayer of the cattleman to hear." He prays, "Won't you bless our cattle range," and asks for good weather, adequate forage, safety from fires, good prices, and many offspring for the cattle
AUTHOR: unknown
EARLIEST_DATE: 1885 (Socorro [N.M.] Bullion)
KEYWORDS: cowboy religious nonballad animal
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 126, "The Cattleman's Prayer" (1 text, 1 tune)
Ohrlin-HBT 51, "The Cowman's Prayer" (1 text, 1 tune)
Roud #5101
RECORDINGS:
Carl T. Sprague, "Cowman's Prayer" (Victor 21402, 1928)
File: FCW126
===
NAME: Cauldrife Wooer, The: see The Brisk Young Lad (File: FVS294)
===
NAME: Cavalilly Man, The
DESCRIPTION: "As from Newcastle I did pass, I heard a blythe and bonny lass That in the Scottish army was, Say, 'Prithee let me gang with thee, man.'" She begs her Cavalier to let her come with him
AUTHOR: unknown
EARLIEST_DATE: 1670 (The Dancing Master)
KEYWORDS: love separation
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Chappell/Wooldridge II, pp. 22-27, "Cavalilly Man" (1 tune, partial text)
CROSS_REFERENCES:
cf. "The Banks of the Nile (Men's Clothing I'll Put On II)" [Laws N9] (plot) and references there
SAME_TUNE:
Hi-ho, my heart it is light/The Well-shaped West-Country Lass (BBI ZN1153)
Hie hoe, pray what shall I do/Roger, the West Country Lad (BBI ZN1154)
From the tap in the guts of the honourable stump/A Litany from Geneva (BBI ZN936)
NOTES: The text in Chappell/Woolridge is incomplete, so it is impossible to tell if this is actually a cross-dressing song along the lines of "The Banks of the Nile." The plot, however, is obviously similar.
The reference to a "Cavalilly" (i.e. a Cavalier) is clearly a reference to the Cavaliers, supporters of Charles I in the English Civil War of the 1640s.
This is another song which cannot be shown to exist in tradition. Its use for several broadsides, however, argues for its presence here. - RBW
File: ChWII026
===
NAME: Cavan Buck, The
DESCRIPTION: Going to Lord Farnham's to join a July 12 Orange walk, Walker's buck has a fight with MacNamee's bulldog. The buck asks for mercy. He would even dress in green. The goat is let go but the dog follows and kills him. MacNamee wishes for more such dogs.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
LONG_DESCRIPTION: July 12 Walker's buck is dressed in purple robes, given "a word and a sign," and sent to Lord Farnham's to join the Orange walk. On the way he meets MacNamee's bulldog and explains his mission. The dog, claiming to be sent by Sarsfield, challenges him but the buck won't fight because he might ruin his finery. The dog attacks anyway. The buck asks for mercy. He would even dress in green. The bulldog doubts the goat's sincerity but releases him. The goat runs home to Walker. He tells his story and, despite Walker's urging, runs away (probably forgetting his oath to dress in green). The dog follows and kills him. MacNamee says if he had fifty more dogs "just half as well inclined as he, I'll give you my oath in Cavan town, an Orange walk you ne'er would see"
KEYWORDS: fight death humorous political talltale
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 38, "The Cavan Buck" (1 text, 1 tune)
Roud #2882
CROSS_REFERENCES:
cf. "The Peeler and the Goat" (tune, according to Morton-Ulster)
NOTES: The Orange Walk on July 12 celebrates the victory by William of Orange at the Boyne in 1690. Orangemen dress in their colors, sing Orange songs, and march. As can be imagined, the "other side" was often offended.
The choice of a buck to represent the Orange is standard. Having an [English] bulldog represent the other side seems a strange use of a symbol; apparently even the goat was taken in until told that the bulldog, in this case, represented Sarsfield: the primary hero on the other side of the Battle of the Boyne. [For the career of Sarsfield, see the notes to "After Aughrim's Great Disaster." - RBW]
Morton-Ulster: "Many attempts have been made to stop the marches in the past, especially at times of strained relations in the community. The 1820s constituted such a time. The mention of Lord Farnham would suggest that this song comes from that period. Farnham was a staunch and convinced Protestant." - BS

File: MorU038
===
NAME: Cave Love Has Gained the Day: see Go In and Out the Window (File: R538)
===
NAME: Cavehill Diamond (I), The
DESCRIPTION: "In Ireland's ancient days" when Belfast was small Mary herded sheep on Lagan side. Prince Dermoid hunted deer on Cave Hill. He loved Mary whose eyes were brighter than the Diamond. She asked that he bring her the diamond. Trying, he fell to his death.
AUTHOR: Robert Hanna (source: Leyden)
EARLIEST_DATE: c.1890-1918 (J Nicholson ballad sheet, according to Leyden)
KEYWORDS: courting request death royalty
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 4, "The Cavehill Diamond" (1 text, 1 tune)
Roud #3579
CROSS_REFERENCES:
cf. "The Cavehill Diamond (II) (subject of the Cavehill Diamond)
cf. "Belfast Mountains (The Diamonds of Derry)" (subject of the Cavehill Diamond)
cf. "Belfast Town" (subject of the Cavehill Diamond)
NOTES: See "Belfast Mountains (The Diamonds of Derry)" for the background for the Cavehill Diamond.
Leyden: "[Hanna] was obviously inspired by the much older ballad 'Belfast Town', from which he plagiarized the second and third verses." - BS
File: Leyd004
===
NAME: Cavehill Diamond (II), The
DESCRIPTION: There was a feud between Magennis and O'Neill. Princess Ellen, Red Hugh O'Neill's daughter, loved Magennis. She disappeared when she was to wed old Earl James. After three years Magennis went to consult a holy hermit living on Cave Hill. It was Ellen.
AUTHOR: unknown
EARLIEST_DATE: c.1890-1918 (J Nicholson ballad sheet, according to Leyden)
KEYWORDS: courting feud reunion separation disguise royalty
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 5, "The Cavehill Diamond" (1 text)
CROSS_REFERENCES:
cf. "The Cavehill Diamond (I) (subject of the Cavehill Diamond)
cf. "Belfast Mountains (The Diamonds of Derry)" (subject of the Cavehill Diamond)
cf. "Belfast Town" (subject of the Cavehill Diamond)
NOTES: The Diamond, though in the title, is never mentioned in the text; I suppose we are to take Princess Ellen as the diamond of the title. See "Belfast Mountains (The Diamonds of Derry)" for the background for the Cavehill Diamond. - BS
For Red Hugh O'Neill, see the notes to "O'Donnell Aboo (The Clanconnell War Song)." This seems to be the only song linking the O'Neills to the Cavehill Diamond. - RBW
File: Leyd005
===
NAME: Cavenagh Hill
DESCRIPTION: "I'm bidding adieu to old Ireland." The singer recalls "childhood days that I spent Around dear old Cavenagh Hill," hunting fields, poteen and the football team from Scotshouse town. Years have passed. He has news that a huntsman, McCabe, has died.
AUTHOR: unknown
EARLIEST_DATE: 1980 (IRHardySons)
KEYWORDS: emigration farewell death hunting sports drink Ireland nonballad
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #17896
RECORDINGS:
James Halpin, "Cavenagh Hill" (on IRHardySons)
NOTES: Notes to IRHardySons: "This might not be a Fermanagh song; the village of Scotshouse is just over the Monaghan border on the R212, south of Clones." - BS
File: rcCavaHi
===
NAME: Caviar Comes from Virgin Sturgeon
DESCRIPTION: This quatrain ballad extols the virtues of caviar as an aphrodisiac; reports that the singer's parents were a lighthouse keeper and a mermaid; and details the sex lives of various denizens of the deep
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: bawdy humorous animal
FOUND_IN: Australia Canada Britain(England) US(MW,So,SW)
REFERENCES: (4 citations)
Cray, pp. 240-243, "Caviar Comes from the Virgin Sturgeon" (3 texts, 1 tune)
JHJohnson, pp. 124-126, "The Ballad of The Virgin Sturgeon" (1 text)
Silber-FSWB, p. 157, "The Virgin Sturgeon" (1 text)
DT, VRGNSTRG* VRGNSTR2* VRGNSTR3*
Roud #10131
RECORDINGS:
Anonymous singers, "The Keeper of the Eddystone Light" (on Unexp1)
Charley Drew, "Caviar Comes from Virgin Sturgeon" (Party 6A/Musicraft Party 6A/Gala 2101, n.d. but probably 1939-1940)
CROSS_REFERENCES:
cf. "Reuben and Rachel" (tune)
cf. "The Keeper of the Eddystone Light" (theme)
NOTES: While the recording on "The Unexpurgated Folk Songs of Men" is [listed as] "Eddystone Light," it's mostly this song. Of course, they overlap so heavily that the distinction is fishy. - PJS
File: EM240
===
NAME: Cawsand Bay
DESCRIPTION: A ship is preparing to depart when a lady hails the ship. She demands the release of (Henry Grady), one of the sailors. The Captain objects, but she offers his discharge. The two depart and live happily ever after
AUTHOR: unknown
EARLIEST_DATE: 1920 (Oxford Book of Ballads)
KEYWORDS: love sea freedom reunion ship
FOUND_IN: 
REFERENCES: (2 citations)
OBB 168, "Cawsand Bay" (1 text)
C. H. Firth, _Publications of the Navy Records Society_ , 1907, p. 328,"Cawsand Bay" (1 text)
ST OBB168 (Partial)
Roud #2107
CROSS_REFERENCES:
cf. "The Jolly Plowboy (Little Plowing Boy; The Simple Plowboy)" [Laws M24]
File: OBB168
===
NAME: Caze Love Has Gained the Day: see Go In and Out the Window (File: R538)
===
NAME: Cease Rude Boreas: see The Tempest (Cease Rude Boreas) (File: SWMS070)
===
NAME: Cecil Gone in the Time of Storm
DESCRIPTION: In 1933, young Cecil sails to Mastic Point; he vanishes. After eight days they search. Cecil's mother finds the boat but not him; singer says Cecil's been drowned, and the mother falls on the ground in agony, asking God to make peace with his soul
AUTHOR: unknown
EARLIEST_DATE: 1958 (recording, Frederick McQueen & group)
LONG_DESCRIPTION: In 1933, young Cecil decides to sail to Mastic Point; he gets in the boat and sets off, but vanishes. After eight days his family and friends search; his uncle says he made it as far as Nicholas Town, but he hasn't been seen since. Singer meets Cecil's mother, who says she's found the boat but not him; singer says Cecil's been drowned, and the mother falls on the ground in agony, asking God to make peace with his soul
KEYWORDS: grief travel death drowning mourning sea ship disaster storm wreck family mother
FOUND_IN: Bahamas
REFERENCES: (0 citations)
RECORDINGS:
Frederick McQueen & group, "Cecil Gone in the Time of Storm" (on MuBahamas2)
NOTES: Although Frederick McQueen certainly shaped the song into its most-sung form, Samuel Charters notes that there is evidence Willie Bullard from Long East Cay was singing the song in the 1930s. As a result, I've left the author field "Unknown." - PJS
File: RcCGITOS
===
NAME: Cedar Grove, The [Laws D18]
DESCRIPTION: The "Cedar Grove" sails from London to America. She runs aground off Canso because the helmsman cannot violate discipline. The captain, two crew members, and a passenger are lost, and the ship sinks
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: sea wreck death
HISTORICAL_REFERENCES: Nov 20, 1882 - Wreck of the Cedar Grove off Saint Andrew's Island near Canso, Nova Scotia. She was on her way from London to Halifax
FOUND_IN: Canada(Mar)
REFERENCES: (6 citations)
Laws D18, "The Cedar Grove"
Doerflinger, pp. 186-187, "The Loss of the Cedar Grove" (1 text, 1 tune)
Mackenzie 89, "The Cedar Grove" (1 text)
Ives-NewBrunswick, pp. 136-139, "The Cedar Grove" (1 text, 1 tune)
Manny/Wilson 9, "The Cedar Grove" (1 text, 1 tune)
DT 687, CEDARGRV
Roud #1959
CROSS_REFERENCES:
cf. "The Maid of Timahoe" (tune)
cf. "The Loss of the Albion" [Laws D2]
NOTES: Naval discipline dictated that the helmsman could not speak or be spoken to. Normally this was a good idea -- it prevented distractions -- but here it proved disastrous. (For a similar mix-up, see, of all things, Lewis Carroll's _The Hunting of the Snark_.)
Doerflinger considers this to be derived from "The Loss of the Albion." - RBW
Manny/Wilson: "The song is said to have been written by James A Dillon, author of the Rescue of the E A Horton." - BS
I have a note (which was included in prior editions of the Index) stating that the song is by Captain Cale Maitland. I can't find my source for this statement, so I have removed the name from the Author field, but presumably I had some reason for putting it there, so I am leaving the author unknown. - RBW
File: LD18
===
NAME: Cedar Swamp
DESCRIPTION: "Way low down in the cedar swamp, Waters deep and muddy, There I met a pretty little miss...." The singer builds a home for the girl, who is "a honey"; "Makes me work all through the week, And get stove-wood on Sunday."
AUTHOR: unknown
EARLIEST_DATE: 1940 (copyright, Jean Ritchie/Geordie Music)
KEYWORDS: work playparty
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Ritchie-Southern, p. 76, "Cedar Swamp" (1 text, 1 tune)
ST RiSo076 (Partial)
Roud #7408
NOTES: I rather suspect this is derived from "Fly Around, My Pretty Little Miss" or one of its myriad relatives, but the lyrics are different, and the tune, while it could be related, is a few notes shorter in the chorus, so I am splitting them without hesitation. - RBW
File: RiSo076
===
NAME: Celebrated Working Man, The: see In the Bar-Room (The Celebrated Working-Man) (File: RcITBRCW)
===
NAME: Cetch in the Creel, The: see The Keach i the Creel [Child 281] (File: C281)
===
NAME: Chahcoal Man
DESCRIPTION: A street cry? "O-o-o-oh, lil' man, Go get yo' pan, Tell-a yo' mam Hyeh come de chahcoal man-n-n. Chahcoal!"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: work commerce nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Sandburg, p. 459, "Chahcoal Man" (1 short text, 1 tune)
File: San459
===
NAME: Chain Gang Special: see Buddy Won't You Roll Down the Line (File: ADR98)
===
NAME: Chamber Lye
DESCRIPTION: In the original text -- the song was updated to the first world war -- a Confederate agent asks the ladies of Montgomery, Alabama, to save their night water, so that saltpeter necessary for the manufacture of gunpowder might be extracted.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: scatological bawdy Civilwar derivative
FOUND_IN: US(So,SW)
REFERENCES: (2 citations)
Randolph-Legman II, pp. 659-662, "Chamber Lye" (1 text)
Cray, The Erotic Muse (1st edition ), pp. 140-141, 17, "Chamber Lye" (1 text)
Roud #8391
CROSS_REFERENCES:
cf. "O Tannenbaum (Oh Christmas Tree)" (tune) and references there
ALTERNATE_TITLES:
John Harloson's Saltpeter
NOTES: Said to date from 1864 and a request made in either Selma or Montgomery, Alabama.
By the later portion of the 20th Century, this ballad had apparently fallen out of oral currency. - EC
In earlier editions of the Index, I questioned the truth of this report, simply because Union troops were so late in reaching central Alabama. But the request need not have been local to that area. Saltpeter (needed to make black powder) was not available in many parts of the south, and Isaac M. St. John (1827-1880), chief of the Mining and Nitre Bureau, did appeal to southern women to save the contents of their chamber pots.
Saltpeter had always been a useful product. Even in ancient times, it was used by fullers and dyers; it helped fix colors, and also helped create some otherwise hard-to-achieve hues.
It appears that saltpeter in ancient times was not a precise term. It seems to have been used most often for potassium nitrate, KNO3, but other nitrates such as sodium nitrate (NaNO3, sometimes called "Chile saltpeter" or "caliche") were sometimes used before chemistry became more precise. For many purposes, the difference between nitrate types was rather minor; it was the nitrate that gave the "bang" -- and also contained the nitrogen which made waste materials a good fertilizer. (Note that ammonium nitrate, NH4NO3, which might have been considered a saltpeter by the ancients, is still used as a fertilizer and as the basis for explosives! Sodium nitrate does not make as good a gunpowder as potassium nitrate, since it is more likely to absorb water and degrade, but the two are relatively easy to convert; Bown, p. 148)
But natural saltpeter was rare. Early on, it was discovered that it could be manufactured from animal wastes. Mammal urine contain urea (CO(NH2)2), and bird droppings contain uric acid (C5H4N4O3), both of which could be reacted with alkalis to produce saltpeter. The usual method was to place the droppings on an alkaline soil and then going through various purifying steps (see Stephen R. Bown, _A Most Damnable Invention: Dynamite, Nitrates, and the Making of the Modern World_, Dunne, 2005, pp. 28-33).
As early as Roman times, then, we see dyers collecting their own urine, plus whatever others wanted to donate. This was adequate for cloth manufacture, but it left no excess.
And then the demand skyrocketed. The reason is simple: Black powder (gunpowder) consists of sulfur, charcoal (carbon), and saltpeter.
From the start, saltpeter was the largest component; Roger Bacon's formula in the thirteenth century was five parts charcoal, five parts sulfur, seven parts saltpeter (so John Emsley, _Nature's Building Blocks: An A-Z Guide to the Elements_, corrected edition, Oxford, 2003, p. 412). But it was quickly found that more saltpeter was better; Charles Henry Ashdown, _European Arms & Armor_ (I use the 1995 Barnes & Noble edition, which appears to be a reprint though no information is given on the original publication), p. 361, says that "Schwartz, a German Frank, perfected it about a century [after Bacon]." This would mean that Edward IV, for instance, would use the more modern formulation -- and, indeed, when he invaded France in the 1470s, we find that he had need to carry with him "hundreds of shot of stone, barrels of gunpowder, sulphur, brimstone, saltpetre" (see Elizabth Jenkins, _The Princes in the Tower_, Coward McCann, & Geoghan, 1978, p. 104). It's not clear why sulfur is mentioned twice and charcoal not at all (perhaps the English expected to make the charcoal on the spot?), but it is clear that no one expected local supplies of saltpeter or sulfur to be adequate.
By the time the use of gunpowder was widespread, the saltpeter made up two-thirds to three-quarters of the total, yet it was the hardest component to find and to purify. With limited natural supplies. saltpeter had to be manufactured on a large scale.
Which meant -- let's face it -- that a lot of waste had to be gathered and processed. According to Bown, pp. 33-34, it was Charles I of England who in 1626 made what was apparently the earliest proclamation ordering people to collect the contents of their chamber pots. (It almost makes you wonder if that's why they rebelled against him.) The result was the institution of the "saltpetermen" or "petermen" (Bown, pp. 36-38) -- people whose intrusive behavior hardly endeared them to the population. It's interesting to note that, in later usage, the word "peterman" came to mean a thief.
Bown, p. 47, goes so far as to argue that France lost the Seven Years' War in part due to saltpeter shortage. I have not seen this claim advanced in any of the usual histories of the period, however.
After a time the dirty business was exported, mostly to India (Bown, p. 40), where there were lots and lots of people -- which meant both lots of human waste and lots of unemployed people to process it. Later, an even more concentrated source was found in the bat and bird guano found in Latin America (Floyd L. Darrow, _The Story of Chemistry_, Chautauqua Press, 1928, p. 216, says that Chilean saltpeter began to be exported in 1830; see also "Tommy's Gone to Hilo"). Bown, p. 149, implies that caliche was in use even before that, being used to make gunpowder during the Napoleonic Wars. It wasn't until the twentieth century that the Haber process made it possible to extract atmospheric nitrogen. Until then, a country had to either import nitrates or make them.
A nation at war burned through its supplies quickly. During the Napoleonic Wars, Britain is said to have imported 20,000 tons of saltpeter a year (Bown, p. 48).
The Confederacy probably needed even more. The standard charge of a Civil War rifle musket was 60 grains, or 4 grams. So that's 3 grams of saltpeter. A typical infantryman carried 40 rounds when going into battle -- 120 grams. (He would often fire far more rounds than that, to be sure.) Let's say that there were 75,000 Confederate soldiers at Gettysburg (which is about right). The typical soldier probably fired about 65 rounds. So that's 75,000 soldiers times 65 rounds times 3 grams, or 14,625,000 grams. 14,625 kilograms. 15 tons of saltpeter just for the *infantrymen* in one single battle. Artillery, which took much larger charges, would have required even more.
And the Confederacy spent the entire war under Union blockade. Importing by land was impossible; whatever they had had to come in by sea. Initially blockade runners could bring in some. But the blockade tightened as the war progressed. By 1863, the blockade was pretty tight. That left domestic manufacture as the only source of saltpeter. Hence the collection of slops from Confederate bedrooms -- and hence this song.
Incidentally, even the replacement of gunpowder with smokeless powders did not eliminate the need for nitrates. Nitroglycerin and its successors required nitric acid, and this too was derived from saltpeter and its relatives. Cordite, for instance, the propellant in British firearms, consisted of nitroglycerin and guncotton (both of which required nitrates to manufacture) plus vaseline. During World War I, therefore, nitrates once again became an issue -- Germany had the Haber process, but the Entente powers were still using Chilean saltpeter, according to Darrow, p. 215.
(As a matter of fact, some historians, cited by Bown, p. 218, speculate that Germany did not dare start World War I until the Haber process guaranteed their nitrate supply. I grant that, until 1914, the Germans hadn't pushed diplomatic crises so hard -- but World War I came about largely because of the ineptitude of Wilhelm II of Germany and Franz Joseph of Austria, and what are the odds that either of them made such calculations?)
(Haber's work would earn him the Nobel Prize in chemistry, and it was surely deserved. The award had to be given almost in secret, however, because he had spent the bulk of the Great War working on poison gas. He was not someone you would want to know; his role in gas warfare actually led his first wife to commit suicide -- Bown, p. 226.)
There was a brief time after the Battle of Coronel when Graf Spee's German fleet had driven the English away from Chile.Britain moved instantly to crush Graf Spee's fleet (which they would do at the Battle of the Falkland Islands). Most histories of World War I viewed this as an issue of prestige, but Darrow, p. 216, argues that the saltpeter was needed for the war effort, and Bown, p. 192, thinks this was a reason for the swift British response, though he admits there is no evidence for this. Bown, p. 198, argues that the infamous "shell shortage" of 1915 was also due to nitrate bottlenecks, though most histories simply assert "manufacturing difficulties." My guess is, British factories had enough nitrates for the amount of shell they actually were able to provide but would not have had enough to make all the weapons the generals wanted -- note that, according to Bown, p. 200, nitrate exports from Chile increased 50% during the War even though Germany was completely cut off from the market. At one time, according to Bown, p. 201, there was a 300% price premium during the war.
Even in the period after the Great War, Darrow (p. 229) notes that the United States maintained a Fixed Nitrogen Research Laboratory. As late as the 1920s, Chile was still supplying almost a third of the world's nitrates (Darrow, p. 230), though refinements of the Haber process were rapidly making more available, and new research also allowed nitrogen to be extracted from coal as it was converted to coke. It wasn't until 1926 (according to the numbers in Darrow, p. 233) that the nitrate business really began to decline -- the stocks of the companies fell by more than 50% in that year. - RBW
File: RL659
===
NAME: Champagne Charlie
DESCRIPTION: "I've seen a deal of gaiety throughout my noisy life; With all my grand accomplishments I ne'er could get a wife... For Champagne Charlie is my name (x2), Good for any game at night my boys." The singer details his drunken life
AUTHOR: Music by Alfred Lee/Words by Lee and/or George Leybourne
EARLIEST_DATE: 1864
KEYWORDS: drink nonballad courting
FOUND_IN: US
REFERENCES: (2 citations)
RJackson-19CPop, pp. 47-52, "Champagne Charlie" (1 text, 1 tune)
Gilbert, pp. 60-61, "Champaign Charlie" (1 text)
RECORDINGS:
Blind [Arthur] Blake, "Champaign [sic] Charlie Is My Name" (Paramount 13137/Crown 3357, 1932; on BefBlues3)
NOTES: This is one of several songs developed as vehicles for George Leybourne (real name: Joe Saunders; c. 1842-1884), a singer and actor who made a living spoofing the life of upper-class British society. As "Heavy Swell," Leybourne exaggerated the hard-drinking, hard-gambling life of the young London dandy -- but only slightly.
Of all the songs Leybourne used, this was the most popular. It is, however, questionable whether he actually had a hand in the lyrics; many believe that they, like the tune, come from Alfred Lee. In America, it also received two new texts, one by H.J. Whymark and another by George Cooper. - RBW
File: RJ19047
===
NAME: Champion He Was a Dandy
DESCRIPTION: Michael McCarthy bets that his twenty-pound bulldog Champion can beat all comers. He matches him with a black-and-tan terrier to fight in a ring in the bog. The terrier kills the bulldog. McCarthy kicks the terrier into the bog for revenge
AUTHOR: unknown
EARLIEST_DATE: 1960s (recording, Jack Elliotr)
KEYWORDS: fight death gambling dog
FOUND_IN: Britain(England(North))
REFERENCES: (0 citations)
Roud #12934
RECORDINGS:
Jack Elliott, "Champion He Was a Dandy" (on Voice18)
File: RcChHWaD
===
NAME: Champion of Court Hill, The: see The Champion of Coute Hill (File: LeBe018)
===
NAME: Champion of Coute Hill, The
DESCRIPTION: William White meets Kate and convinces her to "try our skill" on Coute Hill. Though "manys a time he said to me 'No one I love but thee'," he marries Belle Madel, leaving her "ruined right, by William White, the champion of Coute Hill"
AUTHOR: unknown
EARLIEST_DATE: 1961 (Manny/Wilson)
KEYWORDS: infidelity marriage sex lover
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (2 citations)
Lehr/Best 18, "The Champion of Court Hill" (1 text, 1 tune)
Manny/Wilson 75, "In Smiling June the Roses Bloom" (1 text, 1 tune)
ST LeBe018 (Partial)
Roud #7066 and 9209
NOTES: Is this "Coute Hill" or "Court Hill"? From Last Name Meanings site re "Coote": (origin: Local) Welsh Coed, a wood; Cor. Br., Coit and Cut. Coot-hill or Coit-hayle, the wood on the river." OLochlainn 67 and some -- but not all -- broadsides for "Nell Flaherty's Drake"/"Nell Flagherty's Drake" begin "My name it is Nell, quite candid I tell, I live near Cootehill I'll never deny..." (source: Bodleian Catalog; for example, see shelfmarks Firth b.27(148), Harding B 26(461), Harding B 15(216b); a Clonmell counter-example is Bodleian shelfmark 2806 b.11(218), and O'Conor p. 14 makes it "a cool hill"). - BS
Of course, there is always the possibility that someone just made a typographical error on a survey map somewhere.... - RVW
File: LeBe018
===
NAME: Chance McGear
DESCRIPTION: Young Chance McGear, against his parents' advice, becomes a logger. While he and his partner are loading logs, one swings around and strikes him in the head, killing him. The logging company sends his body back to his parents.
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering logger work death family
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 60, "Chance McGear" (1 text)
Roud #4054
CROSS_REFERENCES:
cf. "Harry Dunn (The Hanging Limb)" [Laws C14]
cf. "Boy Killed by a Falling Tree in Hartford" (plot)
cf. "The Substitute (plot)
NOTES: This song is item dC32 in Laws's Appendix II. - RBW
File: Be060
===
NAME: Chandler's Wife, The
DESCRIPTION: (The tailor's boy) goes to the chandler's shop; he hears a "knock, knock, knock" overhead. He surprises the chandler's wife with the apprentice boy. Men should either watch their wives or give them so much (knock, knock, knock) that they want no more
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Warde Ford)
LONG_DESCRIPTION: (The tailor's boy) goes to the chandler's shop; finding no one there, he hears the sounds of sex (a "knock, knock, knock") overhead. Running upstairs, he surprises the chandler's wife with the apprentice boy. She offers the interloper sex whenever he's so inclined. The moral is drawn that men should either lock their wives up, tie them down, or give them so much (knock, knock, knock) that they want no more
KEYWORDS: sex adultery infidelity promise bawdy humorous apprentice
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Silber-FSWB, p. 157, "The Chandler's Wife" (1 text)
DT, CHNDWIFE* CHNDWIF2
RECORDINGS:
Warde Ford, "The Tailor Boy" (AFS 4204 A1, 1939; in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "The Farm Servant (Rap-Tap-Tap)" (plot)
cf. "The Jolly Barber Lad" (theme)
cf. "The Coachman's Whip" (theme)
cf. "The Lincolnshire Poacher" (tune)
ALTERNATE_TITLES:
The Tailor's Boy
NOTES: I'm astonished to not find this in the Index -- I could have sworn it was there. - PJS
Yes, but aren't you glad that *you* got to write the description? :-)
I am surprised that it's not in Cray. There are similar plots, of course, but nothing I recognize as the same song. - RBW
File: FSWB1567A
===
NAME: Change Islands Song
DESCRIPTION: Describes the work of the men from Change Islands as they move up north along the coast. Activities include fishing, hunting seals, and canning berries -- but there is a scarcity of everything this time. Only the fishing improves a little later. 
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: work hunting fishing hardtimes
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Greenleaf/Mansfield 124, "Change Islands Song" (1 text, 1 tune)
Doyle2, p. 61, "Change Islands Song" (1 text, 1 tune)
Blondahl, pp. 93-95, "The Change Islands Song" (1 text, 1 tune)
Roud #6343
CROSS_REFERENCES:
cf. "The Merman (Pretty Fair Maid with a Tail)" [Laws K24] (tune)
NOTES: Change Islands is near Fogo Island on the east coast in Hamilton Sound. Most of their excursions seem to be to the very northern tip of the island and "across the Strait" which would be Labrador. Many personal names are mentioned in the song to make it more authentic. - SH
File: Doy61
===
NAME: Changing Berth
DESCRIPTION: Fury sails for the Brewery at one o'clock. The mate is drunk so the frightened nipper has to steer. After nine hours they land, thankful to have avoided "the cowld Torrid Zone Or the deserts of Nova Zimbley." They jump to the bank and walk home
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: river commerce ordeal humorous sailor
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 51A, "Changing Berth" (1 text, 1 tune)
Roud #9779
CROSS_REFERENCES:
cf. "The E-ri-e" (theme) and references there
File: OlcM051A
===
NAME: Chanson d'un Soldat (Song of a Soldier)
DESCRIPTION:  French. The singer, a soldier, deserts for love of a brunette; in the process of deserting, he kills his captain. He is captured by his comrades; before they shoot him, he confesses his love for the brunette, and asks them not to tell his mother
AUTHOR: unknown
EARLIEST_DATE: 1956 (recording, Mrs. Louis Amirault, on NovaScotia1)
KEYWORDS: love army desertion crime execution homicide punishment death foreignlanguage lover mother soldier rejection
FOUND_IN: Canada(Mar)
REFERENCES: (0 citations)
RECORDINGS:
Mrs. Louis Amirault, "Chanson d'un Soldat" (on NovaScotia1)
File: RcChduSo
===
NAME: Chanson de L'Annee du Coup
DESCRIPTION: French. The governor asks the messenger what is the news. He reports a disaster, territory taken and people slain. The governor warns the people to prepare to flee
AUTHOR: J. B Trudeau
EARLIEST_DATE: 1845 (St. Louis Weekly Reveille)
KEYWORDS: foreignlanguage battle death warning Indians(Am.)
HISTORICAL_REFERENCES: May 1780 - Indians attack the trading post at St. Louis (founded 1764 and occupied by the Spanish 1771). Thirty inhabitants are killed. 
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 519-520, "Chanson de L'Annee du Coup" (1 text)
NOTES: Acording to Belden's notes, the Indians who attacked St. Louis did so at the instigation of the British -- but with French Canadian support. The people blamed the Spanish commander. This seems awfully complicated for an event of 1780, and such hints as I can find in the histories don't mention the fact -- but that's not proof. - RBW
File: Beld519
===
NAME: Chanson de la Grenouillere ("Song of Frog Plain," Falcon's Song)
DESCRIPTION: French: "Voulez-vous ecouter chanter Une chanson de verite?" Describes the Metis defense of their land against the English. Singer Pierre Falcon tells how the Metis defeated and pursued the English invaders
AUTHOR: Pierre Falcon
EARLIEST_DATE: 1939
KEYWORDS: Canada battle foreignlanguage
HISTORICAL_REFERENCES: June 19, 1816 - Battle of Seven Oaks. Some 70 Metis horsemen under Cuthbert Grant encounter 28 Hudson's Bay Company men under Governor Semple on Frog Plain. Only six of Semple's men survive
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 121-123, "Falcon's Song" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Riel's Song" and references there (subject)
NOTES: The Metis (French-Indian half-breeds; they called themselves Bois-Brules) had a difficult time in Canada, as neither English nor Indians, nor even the Voyageurs, had much use for them.
The Metis for a time gave as good as they got. When, in 1811, Lord Selkirk tried to establish a colony (mostly Scots who had lost their homes to sheep farms) on the Red River, the Metis constantly harassed the colony, and burned it more than once.
The Battle of Seven Oaks marked the climax of their efforts. Pierre Falcon (born 1793) was reported to be one of the Metis involved in the attack, and to have composed the song that very night. Whatever its origins, it became a Metis anthem, and was sung during Louis Riel's 1870 uprising (for which cf. "Riel's Song"). - RBW
File: FMB121
===
NAME: Chanson de Louis Riel (Riel's Song II)
DESCRIPTION: "C'est au champ de bataille, j'ai fait ecrir' douleurs. On couche sur la paille, ca fait fremir les coeurs."  Riel's letter from prison describes his grief and pain and asks friends and family pray for him and the country he fought for
AUTHOR: unknown
EARLIEST_DATE: 1963 (recording, Joseph Gaspard Jeannotte)
LONG_DESCRIPTION: The singer, on the battlefield, cries in pain; he gets a letter from his mother but has no pen or ink to reply. He dips his penknife into his own blood and writes to her; she falls on her knees weeping. He tells her that since everyone has to die someday, he prefers to die as a brave
KEYWORDS: Canada war prison execution foreignlanguage grief army battle fight rebellion violence separation death family mother Indians(Am.)
HISTORICAL_REFERENCES: 1870 - Louis Riel's first uprising
1884 - Riel's second uprising/Northwest Rebellion
1885 - Riel hanged
FOUND_IN: Canada(West)
REFERENCES: (1 citation)
Fowke/MacMillan 8, "Chanson de Louis Riel" (1 French and 1 English text, 1 tune)
RECORDINGS:
Joseph Gaspard Jeannotte, "Chanson de Riel" (on Saskatch01)
CROSS_REFERENCES:
cf. "Riel's Song" and references there (subject)
NOTES: From Fowke/MacMillan - "Louis Riel, the leader of the Metis in both the Red River Rebellion in 1870 and the Northwest Rebellion in 1885, was taken prisoner when his followers were defeated at Batoche on 12 May 1885. He was tried, sentenced to death, and hanged in Regina jail on 16 November 1885. Since then his career has inspired books, plays, and an opera and the Saskatchewan Metis still talk and sing of him.
Mrs. Cass-Beggs got this song from Joseph Gaspard Jeannotte, an old Metis living at Lebret, Saskatchewan. He said that Riel had composed it while in jail, which may well be true for he is known to have written other poems and songs. It appeared first in Mrs. Cass-Beggs' _Eight Songs of Saskatchewan_ (Toronto, 1963). English words by Barbara Cass-Beggs."
Though attributed to Riel, the song has no reference to him, the Metis, or to the rebellion. It is written in the form of a letter from a prisoner to his mother as he is facing execution. - SL
Although the subject is similar, and both songs are attributed to Riel himself, the plot of this one is utterly different from that of "Riel's Song." You should look at that one too, though -- and see RBW's extensive notes there. - PJS
File: FowM008
===
NAME: Chanson sur le Desastre de Baie Ste-Anne (Song on the Baie Ste-Anne Disaster)
DESCRIPTION: French. The fishermen of Baie Ste-Anne and Escuminac go out expecting to return but the sudden storm takes 35 lives. Hearers are told to be prepared to meet God suddenly. Life is like a large ocean and each day we go toward eternity as in a light boat.
AUTHOR: Jerry Hebert of Lagaceville (Manny/Wilson)
EARLIEST_DATE: 1959 (Manny/Wilson)
KEYWORDS: foreignlanguage fishing sea ship storm wreck death religious warning
HISTORICAL_REFERENCES: June 19, 1959 - 22 salmon boats and 35 crewmen from Escuminac lost in a storm (Manny/Wilson)
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 17b, "Chanson sur le Desastre de Baie Ste-Anne" (1 text, 1 tune)
NOTES: Manny/Wilson: "Baie Ste-Anne is the French-speaking settlement south of Escuminac." A source for information about the disaster is _The Ecuminac Disaster_ by Roy Saunders. - BS
The Escuminac tragedy was one of those defining moments for its community. Manny/Wilson report that performers sang no fewer than five songs about it at the 1959 Miramichi Folk Festival, and another in 1960 -- one, in fact, a tribute to the area by one of the drowned men. Of these six, they reported three, including this one. - RBW
File: MaWi017b
===
NAME: Chant of the Coal Quay, The
DESCRIPTION: "The Coal Quay market in my native town O! that's the dwelling where 'tis easy telling If your sense of smelling is not up to snuff." There are second-hand bookstands, organ monkeys, "animals in congregation," and other assorted riff-raff
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: humorous nonballad animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 84B, "The Chant of the Coal Quay" (1 text, 1 tune)
File: OLcM084B
===
NAME: Chanty Song (I): see So It's Pass (File: CrNS056)
===
NAME: Chanty Song (II): see The Powder Monkey (Soon We'll Be in England Town) (File: CrNS057)
===
NAME: Chapeau Boys
DESCRIPTION: "I'm a jolly good fellow, Pat Gregg is my name. I come from Chapeau, that village of fame." The singer and others hire out "to go up the Black River... for to cut the hay." Most of the song describes the trip to and from the farm
AUTHOR: Patrick Gregg
EARLIEST_DATE: 1957 (Fowke); probably composed c. 1875
LONG_DESCRIPTION: Men from Chapeau hire out to Caldwell Farm for haying; they travel by boat, then on foot, stopping to play fiddle on the way. They walk 16 miles to Reddy's, 46 to the Caldwell; they arrive exhausted. Singer praises the food at the Caldwell; after haying, they pack up and head for the woods to fell the pine. The singer hopes for a good drive and arrival home, but ends the song and prepares to roll into bed
KEYWORDS: travel work food farming lumbering dancing fiddle logger worker
FOUND_IN: Canada(Mar,Ont,Que)
REFERENCES: (2 citations)
Fowke-Lumbering #14, "The Chapeau Boys" (1 text plus some excerpts, 1 tune)
Ives-NewBrunswick, pp. 80-82, "The Chapeau Boys" (1 text, 1 tune)
ST FowL14 (Partial)
Roud #1885
RECORDINGS:
O. J. Abbott, "The Chapeau Boys" (on Lumber01)
CROSS_REFERENCES:
cf. "Building a Slide" (lyrics)
NOTES: Chapeau is located on Allumette Island in the Ottawa River just north of Pembroke. Fowke estimates the song comes from the 1890s, but without documentation I won't make that the official earliest date. - PJS
Particularly since Fowke elswehere estimates the date as c. 1869! - RBW
Ives-NewBrunswick: "Chapeau ... is about a hundred miles up the Ottawa River valley, and, according to the best information available, one Pat Gregg made the song up early in the 1880s." - BS
File: FowL14
===
NAME: Charge at Fredricksburg, The: see The Last Fierce Charge [Laws A17] (File: LA17)
===
NAME: Charge the Can Cheerily
DESCRIPTION: "Now coil up your nonsense 'bout England's great Navy, And take in your slack about oak-hearted Tars, For frigates as stout, and as gallant crews have we." The singer boasts of the successes of the War of 1812
AUTHOR: unknown
EARLIEST_DATE: 1948 (Shay), apparently from a broadside
KEYWORDS: navy bragging ship battle
HISTORICAL_REFERENCES: Aug 19, 1812 - the 44-gun U.S.S. Constitution defeats and captures the 38-gun H.M.S. Guerriere in the north Atlantic
Oct 25, 1812 - the 44-gun U. S. S. United States, commanded by Stephen Decatur, defeats the 38-gun H. M. S. Macedonian in the mid-Atlantic
Dec 29, 1812 - U. S. S. Constitution defeats the 38-gun H. M. S. Java off Bahia, Brazil
Feb 24, 1813 - U. S. S. Hornet defeats H. M. S. Peacock
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Shay-SeaSongs, pp. 167-169, "Charge the Can Cheerily" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Ye Parliament of England (I)" (theme, ships)
NOTES: This is about as accurate as the German claim to have won the Battle of Jutland based on tonnage sunk: It's true -- and completely ignores the broader facts. The American frigates of the _United States_ class (which included among others the _Constitution)_ were much stronger and heavier (and more expensive) than the standard British 38-gun frigate. Thus they won most of the ship-to-ship battles they fought. (Most, but not all; Donald R. Hickey, _The War of 1812_, p. 216, notes how the _President_ ran aground and lost her speed, and not even Spephen Decatur could save her from the _Endymion_, the _Pomone_, and the _Tenedos_, which captured her on January 15, 1815. Hickey, p. 217, also notes the defeat of three smaller American ships -- _Frolic_, _Syren_, and _Rattlesnake_ -- and the disappearance, for unknown reasons, of the _Wasp_).
Good as the American frigates were, they were not ships of the line, and survived the war only by fleeing when a major British battleship came in sight (or failed to flee and were defeated, as in the case of the _Wasp_ in another context). By the end of the War of 1812, nearly every American ship was blockaded in port (John K. Mahon, _The War of 1812_, Da Capo, 1972, p. 122, gives a catalog). They had hurt the British about as much as a stinging fly -- and, if the war had kept on, the British (with Napoleon safely on Saint Helena) would doubtless have turned and swatted them.
The Americans could perhaps console themselves with the fact that they made the British merchant fleet miserable; Hickey, p. 218, notes that their privateers caused a spike in insurance rates for ships sailing between Britain and Ireland; according to one paper at the time, the rates were three times higher than during the Napoleonic Wars!
The song itself quotes "of Lawrence the spirit, 'Disdaining to strike while a stick is left standing.'" The dying captain James Lawrence said, "Don't give up the ship!" Why did he say it? Because H. M. S. _Shannon_ was blowing Lawrence's _Chesapeake_ to fragments -- something the poet fails to note. (For details, see the various "Chesapeake and Shannon" songs, especially "The Chesapeake and the Shannon (I)"  [Laws J20]. For additional background on the naval aspects of the War of 1812, see also "The Constitution and the Guerriere" [Laws A6].)
Among the people mentioned in the song:
Dacres - James R. Dacres (1788-1853), commander of the _Guerriere_.
Carden - John Surman Carden, commander of the _Macedonian_.
Hull - Isaac Hull, commander of the _Constitution_ in the fight against the _Guerriere_
Decatur - Perhaps the greatest American naval hero of the early part of the century; he commanded the  _United States_ against the _Macedonian._ 
Jones - John Paul Jones, America's first significant naval captain, dead 20 years by the time of the War of 1812.
Lawrence - James Lawrence, who commanded the _Hornet_ when she beat the _Peacock_, but then led the _Chesapeake_ to destruction against the _Shannon_.
Bainbridge: Evidently the poet couldn't think of any other naval heroes, so he stuck in a disaster. William Bainbridge (1774-1833) had his ship _Resolution_ captured during the Quasi-war with France. He also commanded the _Philadelphia_ when she was captured by the Barbary Pirates. He at least proved his courage in the War of 1812, being commander of the _Constitution_ when she beat the _Java_; he was twice wounded in that action -- but the ship had been badly handled and suffered far more damage than in its other battles and had to return to port for repairs. Even that was sort of an accident, though; according to Hickey, p. 216, he had tried to trade the _Constitution_ for the _President_ in 1814, even offering $5000 for the right to command the latter ship. Lucky for him Captain John Rogers turned him down. - RBW
File: ShaSS167
===
NAME: Charge to Keep, A
DESCRIPTION: "A charge to keep I have, a God to glorify, A never-dying soul to save, And fit it for the sky. Arm me with jealous care, As in thy sight to live, Thy servant, Lord, prepare, A strict account to give. To serve the present age, My calling to fulfill...."
AUTHOR: Words: Charles Wesley
EARLIEST_DATE: 1851 (Songs of Zion)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 522, "A Charge to Keep" (1 fragment)
Roud #11817
NOTES: This, like many shape note hymns, appears with a bewildering variety of tunes. William Walker apparently printed it to "Carolina." "Songs of Zion" put it to "Kentucky." And in the Sacred Harp, it is called by the text-title "A Charge to Keep"; it's said to have a tune by Paine Denson. - RBW
File: Br3522
===
NAME: Charity Seed, The/We Never Died in the Winter Yet
DESCRIPTION: The singer hears two people discussing "Wealthy people and their greed" and farmers with good crops "all applying for the charity seed." In good times, food is plentiful, but the bad brought "great distress"; now Gladstone will repair the matter
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: food poverty hardtimes money farming
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H766, p. 43, "The Charity Seed/We Never Died in the Winter Yet" (1 text, 1 tune)
Roud #13357
NOTES: This is a curious song, seeming to refer to the potato famines-- but with other references arguing for a later date (perhaps 1869). The famines of 1845-1851 saw the British government try, ineptly and with insufficient commitment, to supply relief -- but the results were not sufficient to the problem. (For details, see the notes to "Over There (I - The Praties They Grow Small)".)
Frankly, given the technology of the time, the British probably could not have saved all the people who starved -- but they certainly could have done more, and done it more efficiently. The blame for this, however, did not fall on Disraeli, but on Sir Robert Peel (Disraeli opposed Peel's measures, but did not become Prime Minister until 1868).
Disraeli served as Prime Minister twice: 1868 and 1874-1880, and was twice replaced by Gladstone, who served 1868-1874, 1880-1885 (plus 1886 and 1892-1894).
The best date for this song in its current form is thus 1869, when the newly-elected Gladstone put a final end to the corn laws (the original law, passed 1815, had forbid imports of grain except in conditions of extreme famine; modified slightly in 1828, Peel had managed to get the rates reduced in 1846, in response to the famine, but a slight duty remained until Gladstone ended it).
Incidentally, dying in winter (or spring) was a genuine problem for those dependent on the potato, since they had effectively no other food. Although most peasants had enough land to grow a year's worth of food, the potatoes would often rot by the end of that time. - RBW
File: HHH766
===
NAME: Charles Augustus (or Gustavus) Anderson [Laws D19]
DESCRIPTION: Anderson, the singer, is about to be hanged. He had had a good childhood, but went away to sea on the "Saladin." There he joined in a conspiracy with one Fielding; they murdered the ship's captain and others. Now he must pay the price
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: sea execution mutiny
HISTORICAL_REFERENCES: 1844 - The Saladin mutiny
FOUND_IN: Canada(Mar,Newf) US(NE)
REFERENCES: (9 citations)
Laws D19, "Charles Augustus (or Gustavus) Anderson"
Doerflinger, pp. 290-293, "Charles Gustavus Anderson" (2 texts, 1 tune)
Greenleaf/Mansfield 158, "Fielding" (1 text)
Peacock, pp. 867-868, "Charles Augustus Anderson" (1 text, 1 tune)
Creighton-NovaScotia 109, "Charles G Anderson" (1 text, 1 tune)
Creighton-Maritime, pp. 196-197, "Saladin Mutiny" (1 text, 1 tune)
Mackenzie 113, "Charles Augustus Anderson" (1 text, 1 tune)
Ives-DullCare, pp. 197-198,243, "Charles Gustavus Anderson" (1 text, 1 tune)
DT 352, SLDNMTY2*
Roud #646
CROSS_REFERENCES:
cf. "George Jones" [Laws D20] (subject)
cf. "Saladin's Crew" (subject)
ALTERNATE_TITLES:
Charles Gustavus Anderson
NOTES: The story of the Saladin mutiny is roughly as follows: The pirate Fielding, taken aboard the _Saladin_ out of charity,  convinces part of the crew to mutiny against Captain "Sandy" Mackenzie. (Mackenzie seems to have been a harsh officer, but the Fieldings -- a father and son -- probably hoped to capture the money stored on the ship.) Mackenzie and five others are killed, and the conspirators, realizing that they might be next, turn against the Fieldings and throw them overboard. The ship, left without an experienced navigator, is wrecked off Halifax; the remaining conspirators are executed.
Most sources date the mutiny to 1844; Laws says 1843, but I'm guessing this is one of the many typos in his song list.
The four men executed were Charles Anderson, George Jones, John Hazelton, and William Trevaskiss. Three of the four  have ballads about them. This one, about Aderson, is the most popular; George Jones is also well-known; "Saladin's Crew," about Hazelton, was found only by Helen Creighton.
Creighton quotes an account from the 1924 _Acadian Recorder_ that seems to imply that all three songs were written by a "Mr. Forhan" who saw the mutineers hanged when he was six years old. - RBW
File: LD19
===
NAME: Charles G Anderson: see Charles Augustus (or Gustavus) Anderson [Laws D19] (File: LD19)
===
NAME: Charles Gibbs
DESCRIPTION: The pirate admits, "No pity have I ever shown, Lord, who would pity me, But here I lie and long to die." He tells of his adventures with his "bloody knife."
AUTHOR: unknown
EARLIEST_DATE: 1933 (collected from Charles Tillett)
KEYWORDS: pirate prison
HISTORICAL_REFERENCES: 1831 - Death of Charles Gibbs
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Chappell-FSRA 28, "Charles Gibbs" (1 fragment)
Roud #16892
NOTES: A native of Rhode Island, Charles Gibbs served in the War of 1812, then turned Argentine privateer and, eventually, pirate. He quickly became notorious for his brutality, and serious efforts were made to capture him. An attempt in 1821 failed, but he was taken and hanged in 1831. If the stories of his torture and rape of those he captured are true, the punishment probably was deserved. - RBW
File: CFRA028
===
NAME: Charles Giteau: see Charles Guiteau [Laws E11] (File: LE11)
===
NAME: Charles Guiteau [Laws E11]
DESCRIPTION: Charles Guiteau, having assassinated President Garfield, is unable to escape the law. His insanity defense is rejected, and he is sentenced to die.
AUTHOR: unknown
EARLIEST_DATE: 1907 (Belden)
KEYWORDS: homicide execution gallows-confession madness
HISTORICAL_REFERENCES: July 2, 1881 - James A. Garfield is shot by Charles Guiteau, who thought Garfield owed him a patronage job. Garfield had been president for less than four months
Sept 19, 1881 - Death of Garfield
June 30, 1882 - Hanging of Charles Guiteau
FOUND_IN: US(Ap,MW,So,SE)
REFERENCES: (18 citations)
Laws E11, "Charles Guiteau"
Belden, pp. 412-413, "Charles Guiteau" (1 text)
Randolph 134, "Charles Guiteau" (2 texts plus 3 excerpts or fragments, 3 tunes)
Eddy 128, "Charles Guiteau, or, The Murder of James A. Garfield" (1 text)
BrownII 249, "Charles Guiteau" (4 texts, 3 fragments, plus 1 excerpt and mention of 3 more)
Chappell-FSRA 111, "Charles Guiteau" (1 fragment, 1 tune)
Hudson 101, pp. 238-239, "Charles Guiteau" (1 text plus mention of 3 more)
Friedman, p. 230, "Charles Guiteau" (1 text)
McNeil-SFB1, pp. 56-59, "Charles Guiteau" (2 texts, 2 tunes)
Combs/Wilgus 58, pp. 186-187, "Charles J. Guiteau" (1 text)
Lomax-FSNA 142, "Charles Guiteau" (1 text, 1 tune, claiming to be a transcription of the earliest recorded version by Kelley Harrell -- but in fact the text has been slightly modified)
LPound-ABS, 65, pp. 146-148, "Charles Guiteau or James A. Garfield" (1 text, joined with "The Murder of F. C. Benwell")
Burt, pp. 226-227, "(Charles Guiteau)" (1 text plus a fragment, 1 tune)
Darling-NAS, pp. 192-193, "Charles Guiteau" (1 text plus a fragment of "James Rodgers")
Asch/Dunson/Raim, p. 48 "Charles Giteau" (sic) (1 text, 1 tune)
Silber-FSWB, p. 290, "Charles Guiteau" (1 text)
cf. Gardner/Chickering, p. 478, "Charles Guitea" (source notes only)
DT 623, CGUITEAU*
ST LE11 (Full)
Roud #444
RECORDINGS:
Loman D. Cansler, "Charles Guiteau" (on Cansler1)
Kelly Harrell, "Charles Giteau" (Victor 20797B, 1927; on KHarrell02, AAFM1)
Roscoe Holcomb, "Charles Guitau" [instrumental version] (on Holcomb1)
Wilmer Watts, "Charles Guiteaw" (Paramount 3232)
CROSS_REFERENCES:
cf. "The Murder of F. C. Benwell" [Laws E26] (tune & meter)
cf. "Jack Rogers" (form and meter)
cf. "Gustave Ohr" (meter)
cf. "George Mann" (meter)
cf. "Ewing Brooks" [Laws E12] (tune & meter)
cf. "The Fair at Turloughmore" (floating lyrics)
cf. "Big Jimmie Drummond" (lyrics)
cf. "Mister Garfield" (subject)
NOTES: The song probably derives from "The Lamentation of James Rodgers" (executed Nov. 12, 1858) or one of its kin (e.g. "My Name it is John T. Williams") - PJS, RBW
File: LE11
===
NAME: Charles Gustavus Anderson: see Charles Augustus (or Gustavus) Anderson [Laws D19] (File: LD19)
===
NAME: Charles J. Guiteau: see Charles Guiteau [Laws E11] (File: LE11)
===
NAME: Charleston Gals
DESCRIPTION: Floating verses: The terrapin and the toad, the overworked old horse whose owner will tan its hide if it dies, dancing with the girl with the hole in her stocking. Chorus: "Hibo, for Charleston gals, Charleston gals are the gals for me."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen, Ware, Garrison)
KEYWORDS: animal death dancing floatingverses
FOUND_IN: US
REFERENCES: (2 citations)
Scarborough-NegroFS, pp. 162-163, "" (1 text, 1 tune)
Botkin-AmFolklr, pp. 905-906, "Charleston Gals" (1 text, 1 tune)
ST ScaNF162 (Full)
Roud #12046
CROSS_REFERENCES:
cf. "Old Virginny Never Tire" (style)
NOTES: This, like "Old Virginny Never Tire" and similar songs, is a pure collection of floating verses with its own chorus. It's hard to know what to do with such things; for the moment, we're splitting them on the basis of the chorus. - RBW
File: ScaNF162
===
NAME: Charley Bell
DESCRIPTION: "If you ever go to lumbering woods, Please take my advice": don't work for Charley Bell. His spruce is rotten, his road is too crooked to be steered, his food squeals when bitten, and you get eaten alive by lice from Charley.
AUTHOR: Patrick Murphy
EARLIEST_DATE: 1950 (Manny/Wilson)
KEYWORDS: warning lumbering ordeal humorous nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 10, "Charley Bell" (1 text, 1 tune)
ST MaWi010 (Partial)
Roud #9201
NOTES: And he's ugly, too.
(No, amazingly enough, the song doesn't say that. Author Patrick Murphy is said to have been a circus performer. His act must have been interesting, to say the least.) - RBW
File: MaWi010
===
NAME: Charley Brooks: see The Two Letters (Charlie Brooks; Nellie Dare) (File: R735)
===
NAME: Charley Hill's Old Slope [Laws G8]
DESCRIPTION: Nine miners are riding a car out of the mine when the chain breaks. The car falls back into the mine, and all nine are killed
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: mining disaster death
HISTORICAL_REFERENCES: 1865 - The mine car accident
FOUND_IN: US(MA)
REFERENCES: (2 citations)
Laws G8, "Charley Hill's Old Slope"
DT 785, OLDSLOPE
Roud #3251
File: LG08
===
NAME: Charley Snyder: see Joseph Mica (Mikel) (The Wreck of the Six-Wheel Driver) (Been on the Choly So Long) [Laws I16] (File: LI16)
===
NAME: Charley, He's a Good Old Man: see Weevily Wheat (File: R520)
===
NAME: Charley's Escape: see Geordie [Child 209] (File: C209)
===
NAME: Charlie: see Weevily Wheat (File: R520)
===
NAME: Charlie and Mary: see The Sailor and His Bride [Laws K10] (File: LK10)
===
NAME: Charlie Hurley
DESCRIPTION: "Foremost of all in the battle's red lightning with the boys from West Cork was this man from Barr Lia." While wounded and surrounded Hurley continued to fight. "Soon his cruel rivals were lying at his feet." He died the same day as the Crossbarry ambush.
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: rebellion battle death Ireland patriotic IRA
HISTORICAL_REFERENCES: March 19, 1921 - Nationalist victory at Crossbarry
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 32-33, "The Ballad of Charlie Hurley" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Piper of Crossbarry" (subject: Irish Civil War) and references there
cf. "The Bold Black and Tan" (subject: Irish Civil War) and references there

NOTES: OCanainn: "Charlie Hurley is one of the great heroes of West Cork. He was a Commandant in Tom Barry's famous Flying Column (1919-1921) and noted for his bravery." - BS
For Crossbarry, and for the beloved terrorist Tom Barry, see the notes to "The Piper of Crossbarry." - RBW
File: OCan032
===
NAME: Charlie Is My Darling
DESCRIPTION: Charlie comes to town; he spies a lass. He runs up the stairs; she opens the door, and he sets her on his knee. The rest is left to imagination. Chorus: "Charlie he's my darling, my darling, my darling/Charlie he's my darling, the young Chevalier"
AUTHOR: unknown
EARLIEST_DATE: 1821 (Hogg)
KEYWORDS: courting army soldier Jacobites seduction
HISTORICAL_REFERENCES: 1745-1746 - The '45 Rebellion, led by Bonnie Prince Charlie
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Silber-FSWB, p. 140, "Charlie Is My Darling" (1 text)
DT, CHARDARL*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #195, "Charlie He's My Darling" (1 text)
Roud #5510
CROSS_REFERENCES:
cf. "Shane Crossagh" (floating lyrics)
NOTES: This is a mess; the song sounds like a fragmentary remnant of a Jacobite song (there is a final verse, "We daurna gang a-milking/For Charlie and his men") but the political content is virtually gone, and we're left with a song of seduction, and a bowdlerized one at that. - PJS
It's also rather slanderous; although most of the single women of Scotland (and more than a few of the married ones) swooned after Bonnie Prince Charlie (1720-1788), his behavior was generally above reproach.
It is reliably reported that Charlie left only one illegitimate child -- Charlotte (1753-1789), by Clementina Walkinshaw, with whom he lived for several years. Walkinshaw seems to have been the great love of his life; he did not marry until 1772, and this marriage was dissolved. It is possible that Charlie was nearly sterile, as his marriage produced no children, but it seems more likely that his wife Louisa was infertile, as she had no children despite repeated proofs of adultery.
The Digital Tradition version of this song is much more political than the common text, and lacks the sexual element; I wish I knew more about its origin.
Long after this song was collected, William Allingham (1824-1889; for his history, see the notes to "Lovely Mary Donnelly") wrote his poem "The Fairies" ("Up the airy mountain, Down the rushy glen, We daren't go a-hunting For fear of little men..."). That that verse and this song are related seems undeniable -- though the nature of the link is unclear. For Allingham's complete poem, see Kathleen Hoagland, editor, _One Thousand Years of Irish Poetry_ (New York, 1947), pp. 509-510, "The Fairies"; Walter de la Mare, _Come Hither_, revised edition, 1928; #133, "The Fairies"; or Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 82-84, "The Fairies (A Child's Song)." - RBW
File: FSWB140A
===
NAME: Charlie Jack's Dream
DESCRIPTION: The singer, asleep in Philadelphia, dreams of Glen Ullin church. The McLaughlins are preaching, and Irish heroes such as the Parnells and Dan O'Connell are present. His wife shakes him awake, and he realizes he is far from the old home
AUTHOR: unknown
EARLIEST_DATE: 1939 (Sam Henry collection)
KEYWORDS: homesickness patriotic dream
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H799, p. 221, "Charlie Jack's Dream" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
cf. "The Bold Tenant Farmer" (subject of Charles Stewart Parnell) and references there
NOTES: I must assume that the several clergymen mentioned here are local figures; I cannot find any clear historical references to any of them. The political figures are another matter. They include:
The Parnell Family - Charles Stewart Parnell (1845-1891) was leader of the Land League from 1879, and supported Home Rule for Ireland for the rest of his life. Imprisoned in 1881, he became an Irish hero, and from 1885-1890 he held the balance of power in the English parliament, but found himself distrusted by both sides and, eventually, discredited by a personal indiscretion (see "We Won't Let Our Leader Run Down").
Dan O'Connell - Daniel O'Connell (1775-1847), a crusader for tenant freedom, for whom see Erin's Green Shore [Laws Q27]
Brian Boru - an odd name in the list; Brian Boru was King of Clare from 976, and died in battle against the Vikings at Clontarf in 1014. Held up as an Irish hero, he was never actually King of Ireland, and did not fight against the Anglo-Normans, who invaded centuries after his death.
The Redmonds -- The date of the song here becomes important. I am guessing that it is a reference to John Redmond (1856-1918), who managed in 1900 to recreate Parnell's Irish coalition and restore the Home Rule campaign in the British parliament.
The O'Sullivans -- perhaps Sheamus O'Sullivan, a minor poet who wrote in support of Parnell, and/or Sean O'Sullivan, a minor leader in the 1916 Rising. - RBW
File: HHH799
===
NAME: Charlie Mackie
DESCRIPTION: "There was a farmer on Isladale, Possessions he had mony. He had an only daughter fair...." The girl Annie falls in love with her father's servant Charlie Mackie. The father dismisses Charlie. She grows sick, is sent to the sea, and finds Charlie
AUTHOR: unknown
EARLIEST_DATE: 1908 (Ord)
KEYWORDS: love courting servant separation reunion disease
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 452-454, "Charlie Mackie" (1 text)
Roud #5621
CROSS_REFERENCES:
cf. "Andrew Lammie" [Child 233] (lyrics, form, themes)
NOTES: This shares not only a general theme but a metrical form and even quite a few words with "Andrew Lammie," though this is a much feebler thing. There can be no question that the two songs are related. All evidence points to "Andrew Lammie" as the elder song; it is stronger, it employs fewer cliches; it omits the sea cure. Nonetheless the references in Ord and Grieg make it clear that "Charlie Mackie" is traditional in its own right. - RBW
File: Ord452
===
NAME: Charlie MacPherson [Child 234]
DESCRIPTION: MacPherson comes to (Kinaldie) to wed Helen. Arriving, he is told that she has gone to wed at Whitehouse. MacPherson sets out for Whitehouse, but finding her apparently truly married, he wishes her well.
AUTHOR: unknown
EARLIEST_DATE: 1800
KEYWORDS: courting marriage separation
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Child 234, "Charlie MacPherson" (2 texts)
Roud #3881
NOTES: This ballad is lost except for the two fragments in Child, and leaves many questions. Throughout the ballad, one expects MacPherson to abduct the girl (as in "Katherine Jaffray"); why else go to all that effort? Yet there is no indication of this happening; all ends quietly. If we had a truly complete text, it might be much more interesting. - RBW
File: C234
===
NAME: Charlie Mopps
DESCRIPTION: "A long time ago... all they had to drink was nothing but cups of tea." Then came Charlie Mopps, who invented beer. This brought him great praise and even a ticket into heaven. "Lord bless Charlie Mopps, the man who invented beer!"
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: drink talltale
FOUND_IN: Australia
REFERENCES: (1 citation)
Fahey-Eureka, pp. 150-151, "Charlie Mopps" (1 text, 1 tune)
Roud #10678
NOTES: The amount of truth in this song is, to put it mildly, limited. - RBW
File: FaE150
===
NAME: Charlie over the Ocean
DESCRIPTION: "Charlie over the ocean (x3), Charlie over the sea." "Charlie caught a (blackbird/blackfish)  (x2), Can't catch me."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, children of East York School)
KEYWORDS: playparty
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, pp. 159-160, "(Charlie Over the Ocean)" (1 text)
Roud #729
RECORDINGS:
Children of East York School, "Charlie Over the Ocean" (on NFMAla6m RingGames1)
NOTES: Both the reference to "Charlie over the ocean" and the mention of a blackbird hint at a Jacobite background -- but the keyword is "hint." This clearly has been long forgotten in the American tradition (though Roud links it to several Bonnie Prince Charlie songs). - RBW
File: CNFM159
===
NAME: Charlie Quantrell
DESCRIPTION: A story of Charlie Quantrell, the Kansas highwayman who raided Nebraska and Missouri (during the Civil War). He is held up as a noble robber who stole from the rich and gave to the poor. The plot follows "Brennan on the Moor," on which the song is based
AUTHOR: unknown
EARLIEST_DATE: 1938
KEYWORDS: outlaw trial punishment execution
HISTORICAL_REFERENCES: Aug 21, 1863 - Quantrill's Raiders destroy Lawrence, Kansas, killing about 150 men.
May 10, 1865 - Quantrill is mortally wounded on his way to Washington (where he hoped to stir up trouble by assassination). He dies 20 days later.
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-FSNA 179, "Charlie Quantrell" (1 text, 1 tune)
Ohrlin-HBT 26, "Charlie Quantrell, Oh" (1 text, 1 tune)
Roud #476
CROSS_REFERENCES:
cf. "Brennan on the Moor" [Laws L7] (tune & meter, theme, floating lyrics)
cf. "Quantrell" (subject)
cf. "The Call of Quantrell" (subject)
NOTES: This pretty picture of William Clarke Quantrill (1837-1865), also known as "Charlie (Hart)" or "Billy" Quantrill,  is even more deceptive than the typical outlaw ballad.
Quantrill (this is the spelling used in the official records) was born July 31, 1837, in Canal Dover, Ohio, son of Thomas Henry and Caroline Clarke Quantrill (see Paul I. Wellman, _A Dynasty of Western Outlaws_, Bonanza, 1961, p. 26). He seems to have been somewhat strange-looking but in an attractive way; Wellman, p. 22, quotes an 1872 description: "Quantrell might be likened to a blond Apollo of the prairies. His eyes were very blue, soft and winning. Looking at his face, one might say there is the face of a student."
If he was a student, his degree must have been in violence. His public career actually began life as a jayhawker in an anti-Slavery force; this was when he first used the name "Charley Hart." But Wellman tartly remarks that he was happy to liberate other property while allegedly devoting his efforts to liberating slaves. Wellman, p. 27, observes, "By 1860 Quantrill had become a confirmed bandit, thief, and murderer, yet as a criminal he might have remained relatively obscure... had not the dislocations of the Civil War enabled him to capitalize on the inflamed emotions of the period and win his page in history -- deserved or not -- as the arch-ogre of the border."
Wellman, pp. 28-29, tells a legend about how Quantrill during one of these raids was called upon to attack the family of a girl he was involved with, and betrayed the raiders. Whether true or not, he clearly saw more opportunity on the Confederate side of the Civil War -- and came up with a tall tale about being from Maryland and having headed west where he survived some sort of massacre (see William A. Settle, Jr., _Jesse James Was His Name_, p. 19; Wellman, pp. 29-30).
Perhaps one can best measure the amount of legend in all this by noting that Quantrill's horse at this time was allegedly named "Black Bess" (Wellman, p. 29). And, yes, Black Bess was exceptionally fast (Wellman, p. 31)
Having officially changed positions, he became a pro-Confederate terrorist (having fought at Wilson's Creek -- Wellman,p. 31 -- he was commissioned Captain C.S.A. in August 1862) whose raiders brought fear and pillage to Nebraska and any other Union area that looked vulnerable.
Although there were many other guerrilla bands in Missouri and Kansas at this time, and Bloody Bill Anderson in fact commanded what we might call Quantrill's Raiders for much of the war, it was Quantrill who developed their terrorist tactics. As a result, an order was issued that they were to be killed without trial if caught in an act of terrorism (Wellman, p. 35).
Murder without trial is probably never justified, but it must be admitted that that was just what Quantrill's raiders did to Lawrence, Kansas -- admittedly a Unionist stronghold, but still, they were civilians. And Quantrill shot them down without checking their characters (Wellman, p. 39ffff.)
Different sources cite different casualty totals, usually between 150 and 200. James M. McPherson, in _Battle Cry of Freedom: The Civil War Era_ (part of the _Oxford History of the United States_), Oxford, 1988, p. 786, credits them with killing 182 men and burning 185 buildings. McPherson reports that Quantrill told his men to "Kill every male and burn every house."
Ironically, Quantrill's men missed the pro-Union extremist and sometimes Senator James Lane, the #1 target. (Wellman, p. 46, notes that Lane would respond by inducing the authorities to issue General Order #11, which caused the forced evacuation of four counties of Missouri -- the worst official act of the war in its effect on the civilian population.) This order much inflamed anti-Union sentiment, causing the locals to support Quantrill's men, such as the James Brothers, after the war (Wellman, p. 48) -- even though, as McPherson notes (p. 785), Quantill "attracted to his gang some of the most psychopathic killers in American history."
To give the Confederacy credit, Quantrill apparently travelled to Richmond at one point to seek a colonel's commission, and was turned down cold (Wellman, p. 38). McPherson, p. 785, states that he was given a captain's commission "and thereafter claimed to be a colonel."
Massacre though it was, the attack on Lawrence apparently had some propaganda value; it came in the period after Gettysurg and Vicksburg, when the Union forces were feeling triumphant, and reminded them that there was a lot more fighting still to come (see Allan Nevins, _The War for the Union: The Organized War 1863-1864_ [volume VII of _The Ordeal of the Union_], Scribner's, 1971, p. 180).
In 1864, Quantrill and his gang headed for Texas -- where a regular officer tried to arrest Quantrill. The outlaw escaped (Wellman, p. 51), but his informal army started to break up after that (Wellman, p. 52).
Union attempts to suppress the guerillas largely failed -- but, in the end, their own side ruined them. In late 1864, the former Missouri governor Sterling Price invaded Missouri from Arkansas. He used the guerillas as scouts and raiders -- and, being forced to attack fixed positions, were defeated and their formations broken up. (Price ended up back in Arkansas, having lost half his command.) Bloody Bill Anderson was killed. Quantrill lived, but headed off east with a few followers (supposedly on a quixotic plot to kill Lincoln; McPherson, pp,  787-788). getting himself killed in the process. Wellman, p. 61, claims that the commander of the cavalry troop that killed him was himself a Confederate deserter.
Wellman, pp. 62-63, tells two stories about his legacy which may or may not be true, but which surely illustrate his legend. According to one, he left a legacy of $2000 to his old flame Kate Clarke, which she used to establish a house of prostitution. According to the other, his mother eventually found his body, had it brought home to Ohio -- and then disposed of the property on which he was buried. As Wellman puts it, she "sold her son's bones as curios." (In fairness, the mother of Jesse James did something similar -- but she merely sold stones she scattered over his grave. She kept the corpse itself safe.)
After the war was over, a number of Quantrill's followers (including the James Brothers) took off on their own -- but in fact used the techniques they learned from Quantrill. (This, in fact, is the whole theme of Wellman's book -- how there was a continuous linkage of outlaws stretching all the way from Quantrill to Pretty Boy Floyd three-quarters of a century later.)
To tell this song from other Quantrell pieces, consider this first stanza:
Young people, listen unto me, a story I will tell.
His name was Charlie Quantrell, in Kansas he did dwell.
'Twas on the Kansas plains that he made his wild career,
Then many a wealthy nobleman before him stood with fear.
This, obviously, derives from "Brennan on the Moor," and Roud lumps them (!). - RBW
File: LoF179
===
NAME: Charlie Rutledge
DESCRIPTION: "Another jolly cowboy has gone to meet his fate. We hope he'll find a resting place inside the Golden Gate." Charlie Rutledge is the third man to die on the XIT range. One of the cattle tries to escape, Charlie heads it off; in the confusion, Charlie dies
AUTHOR: Words: D. J. O'Malley
EARLIEST_DATE: 1891 (Miles City, Montana Stock Grower's Journal)
KEYWORDS: death cowboy horse
FOUND_IN: US(SW)
REFERENCES: (2 citations)
Logsdon 1, pp. 27-31, "Charlie Rutledge" (1 text, 1 tune)
DT, CHRLRTLG*
Roud #8024
ALTERNATE_TITLES:
Charlie Rutlage
ACowboy's Death
NOTES: D. J. O'Malley is also credited with "The Horse Wrangler (The Tenderfoot)" [Laws B27], which also appeared in the Miles Ciry journal in the 1890s. - RBW
File: Logs001
===
NAME: Charlie You Can't Lose-A Me: see You Cain't Lose-A Me, Cholly (File: LoF264)
===
NAME: Charlie, O Charlie (Pitgair)
DESCRIPTION: The farm owner prepares for a trip, instructing Charlie in how to run the farm in his absence, e.g. "To the loosin' ye'll put Shaw, Ye'll pit Sandison to ca'." He gives orders to the workers also, including Missy Pope, who will "sit in the parlor neuk."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: farming travel humorous
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 216-217, "Oh Charlie, O Charlie" (1 text, 1 tune)
Roud #2584
NOTES: The best-known recording of this is probably Ewan MacColl's, on "Popular Scottish Songs," learned from John Mearns of Fyvie. MacColl speaks of the "thread of tender irony which runs through it," but ironically, MacColl failed completely to understand the song. It is line-by-line parallel to Ord's text, but what MacColl sings (or, at least, what is transcribed in the Folkways booklet) is frequently nonsense -- though Ord's transcription makes clear sense. - RBW
File: Ord216
===
NAME: Charlie, Won't You Rock the Cradle: see What'll I Do with the Baby-O (File: R565)
===
NAME: Charlie's Neat: see Weevily Wheat (File: R520)
===
NAME: Charlie's Sweet: see Weevily Wheat (File: R520)
===
NAME: Charlotte the Harlot (I)
DESCRIPTION: When a rattlesnake slips into the vagina of Charlotte the Harlot, "the pride of the prairie," her cowboy boyfriend draws his pistol, shoots at the snake, but kills Charlotte instead.  Her funeral procession is forty miles long.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Austin E. Fife collection)
KEYWORDS: bawdy funeral humorous animal whore
FOUND_IN: Australia Britain(England) US(SW)
REFERENCES: (3 citations)
Cray, pp. 162-169, "Charlotte the Harlot I" (1 text, 1 tune)
Logsdon, pp. xviii-xix, "Charlotte the Harlot" (1 text)
DT, CHARLTT
Roud #4839
CROSS_REFERENCES:
cf. "Charlotte the Harlot II, III, IV"
cf. "The Sewing Machine"
NOTES: According to Walker D. Wyman, _Wisconsin Folklore_, Univeristy of Wisconsin extension (?), 1979, p. 3, a graveyard in the infamous town of Tombstone, Arizona, has a grave marker which reads
Here lies the body of good old Charlotte,
Born a virgin, died a harlot,
For 14 years she kept her virginity
Which is quite unusual in this vicinity.
Wyman suspects it's a fake to attract tourists. - RBW
File: EM162
===
NAME: Charlotte the Harlot (II)
DESCRIPTION: Not a ballad at all, this song is a paean to Charlotte's promiscuity.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy nonballad whore
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Cray, p. 169, "Charlotte the Harlot II" (1 text)
Roud #4839
CROSS_REFERENCES:
cf. "Charlotte the Harlot I, III, IV"
cf. "The Sewing Machine"
File: EM169
===
NAME: Charlotte the Harlot (III)
DESCRIPTION: Charlotte, or Lupe, is now the singer's "Mexican whore."  The song celebrates her sexual career from cradle to grave.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous whore
FOUND_IN: US(Ap,MW,SW)
REFERENCES: (2 citations)
Cray, pp. 169-171, "Charlotte the Harlot III" (1 text, 1 tune)
Randolph-Legman I, pp. 523-524, "Charlotte the Harlot" (3 texts, 1 tune)
Roud #4839
CROSS_REFERENCES:
cf. "Charlotte the Harlot I, II, IV"
cf. "The Sewing Machine"
cf. "Down in the Valley" (tune) and references there
ALTERNATE_TITLES:
Lupe
File: EM169B
===
NAME: Charlotte the Harlot (IV)
DESCRIPTION: In this formula song, Charlotte wears differently colored clothing in each stanza. 
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy clothes humorous whore
FOUND_IN: Australia Britain(England) US(SW)
REFERENCES: (1 citation)
Cray, pp. 171-173, "Charlotte the Harlot IV" (1 texts, 1 tune)
Roud #4839
CROSS_REFERENCES:
cf. "Charlotte the Harlot I, II, III"
cf. "The Sewing Machine"
File: EM171
===
NAME: Charlotte, the Frozen Girl: see Young Charlotte (Fair Charlotte) [Laws G17] (File: LG17)
===
NAME: Charming Beauty Bright [Laws M3]
DESCRIPTION: The singer and a girl are in love. When her parents learn of it, they lock her away from him. At last he goes away and serves in the army for seven years, hoping to forget. When he returns home, he learns that she has died for love; he goes mad or nearly
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown); +1907 (JAFL20)
KEYWORDS: love separation family father mother death
FOUND_IN: US(Ap,MW,NE,SE,So) Britain(England)
REFERENCES: (19 citations)
Laws G21, "The Silver Dagger"
Creighton-SNewBrunswick 57, "Come All Good People" (1 text, 1 tune)
Belden, pp. 123-126, "The Silver Dagger" (2 texts plus 1 excerpt and references to 5 more, 1 tune)
Randolph 139, "The Silver Dagger" (6 texts, 2 tunes)
Randolph/Cohen, pp. 161-163, "The Silver Dagger" (1 text, 1 tune -- Randolph's 139A)
Eddy 102, "The Green Fields and Meadows" (2 texts, 2 tunes)
Gardner/Chickering 23, "The Silver Dagger" (1 text)
BrownII 72, "The Silver Dagger" (1 text plus mention of 2 more)
Hudson 64, pp. 188-189, "The Silver Dagger" (1 text)
Brewster 38, "The Silver Dagger" (2 texts plus mention of 2 more, 1 tune)
Leach, pp. 730-731, "The Silver Dagger" (1 text)
LPound-ABS, 52, pp. 121-122, "Silver Dagger"; pp. 123-124, "Silver Dagger" (2 texts)
JHCox 109, "The Silver Dagger" (2 texts plus mention of 1 more)
Fuson, pp. 71-72, "Come All Ye Fair and Tender Ladies" (1 text, with the "Fair and Tender Ladies" first line but otherwise clearly this song)
SharpAp 165, "The Silver Dagger" (1 text plus a fragment, 2 tunes, but the "A" text being "The Silver Dagger (I)" [Laws G21] but the "B" fragment probably belonging here)
Scarborough-SongCatcher, p. 42, "(The Bloody Dagger)" (1 short text, omitting the suicides)
Darling-NAS, pp. 221-222, "Young Men and Maids" (1 text)
DT 639, SILVDAG2*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 202-203, "(The Young Lovers)" (1 text)
Roud #405
RECORDINGS:
Pearl Jacobs Borusky, "Once I Courted a Charming Beauty Bright (Lover's Lament)" (AFS, 1940; on LC55)
Ollie Gilbert, "Once I Courted a Lady Beauty Bright" (on LomaxCD1707)
Lisha Shelton, "Don't You Remember" (on OldLove)
File: LM03
===
NAME: Charming Belfast Lass, The
DESCRIPTION: "Passing down by York Street mill" the singer meets Mary Brown, "charming Belfast Lass." She agrees go with him "to yon rural plain." "Our talk of love was all sincere As on the flowery banks we lay." The next day they go to church and are married.
AUTHOR: unknown
EARLIEST_DATE: 1825 (according to Leyden)
KEYWORDS: courting marriage sex
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 24, "The Charming Belfast Lass" (1 text, 1 tune)
File: Leyd024
===
NAME: Charming Betsey: see Coming Round the Mountain (II -- Charming Betsey) (File: R436)
===
NAME: Charming Blue-eyed Mary
DESCRIPTION: Jimmy meets Mary, "got the will of" her, and gives her a diamond ring as a token. He returns from sea after eight months as a captain. He proposes. She accepts.
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: marriage ring sex reunion separation lover
FOUND_IN: Canada(Newf) Ireland
REFERENCES: (3 citations)
Lehr/Best 19, "Charming Blue-eyed Mary" (1 text, 1 tune)
SHenry H785, p. 399, 'My Darling Blue-Eyed Mary" (1 text, 1 tune)

RECORDINGS:
Mary Delaney, "Charming Blue Eyed Mary" (on IRTravellers01)
BROADSIDES:
Bodleian, Harding B 11(3354), "Blue Ey'd Mary" ("As I walked out one morning"), J. Pearson (Epworth), n.d.
Murray, Mu23-y1:031, "Blue Ey'd Mary," James Lindsay Jr. (Glasgow), 19C
NLScotland, L.C.Fol.178.A.2(041), "Blue Ey'd Mary," James Lindsay (Glasgow), c. 1855
NOTES: There may be one broadside for this ballad as "Charming blue-eyed Mary" at Bodleian Library site Ballads Catalogue printed at Glasgow between 1851 and 1910, shelfmark 2806 c.13(72); I could not read this copy. - BS
File: LeBe019
===
NAME: Charming Buachaill Roe: see The Buachaill Roe (File: RcTMCBR)
===
NAME: Charming Judy Callaghan: see Barney Brallaghan (File: OCon045)
===
NAME: Charming Mary O'Neill: see Mary Neal [Laws M17] (File: LM17)
===
NAME: Charming Moll Boy, The: see Pretty Polly (I) (Moll Boy's Courtship) [Laws O14] (File: LO14)
===
NAME: Charming Nancy: see Farewell, Charming Nancy [Laws K14] (File: LK14)
===
NAME: Charming Sally Ann
DESCRIPTION: The singer falls "head 'n heels in love with charming Sally Ann." He finds her "frying sausingers for Bob." When he asks her to return his jewelry she runs off with Bob. Eventually Bob and Sally Ann are taken prisoner. The singer gets his jewelry back
AUTHOR: unknown
EARLIEST_DATE: 1980 (Lehr/Best)
KEYWORDS: infidelity love sex crime punishment
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 20, "Charming Sally Ann" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "A Week's Matrimony (A Week's Work)" (imagery)
cf. "In Duckworth Street There Lived a Dame" (imagery)
File: LeBe020
===
NAME: Charming Sally Greer: see Sally Greer (File: FMB092)
===
NAME: Charming Young Widow I Met in the Train, The: see The Charming Young Widow I Met on the Train (File: R390)
===
NAME: Charming Young Widow I Met on the Train, The
DESCRIPTION: The singer meets a young widow with a baby on a train. They talk; she claims to see her husband's partner and flees the train, leaving him the baby. As the train pulls out, he finds she has stolen his watch and purse and left him a fake child
AUTHOR: W. H Gove
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 11(4400))
KEYWORDS: trick money theft train
FOUND_IN: US(So)
REFERENCES: (8 citations)
Randolph 390, "The Charming Young Widow I Met on the Train" (1 text, 1 tune)
Randolph/Cohen, pp. 315-317, "The Charming Young Widow I Met on the Train" (1 text, 1 tune -- Randolph's 390)
Dibblee/Dibblee, pp. 95-96, "The Charming Young Widow I Met on the Train" (1 text, 1 tune)
Spaeth-WeepMore, pp. 145-147, "The Charming Young Widow" (1 text, 1 tune)
Gilbert, pp. 49-50, "The Charming Young Widow I Met in the Train" (1 text)
JHJohnson, pp. 45-47, "The Charming Young Widow" (1 text)
Cohen-LSRail, pp. 46-51, "(The Charming Young Widow I Met in the Train)" (2 excerpts plus photos of two versions of the sheet music)
DT, CHRMWIDW*
Roud #3754
BROADSIDES:
Bodleian, Harding B 11(4400), "The Charming Young Widow I Met in the Train," J. Harkness (Preston) , 1840-1866
NLScotland, L.C.Fol.178.A.2(071), "The Charming Young Widow I Meet in the Train" (sic.),  unknown, c. 1860
CROSS_REFERENCES:
cf. "Quare Bungo Rye" (theme: the singer is left with a baby; but not "The Basket of Eggs" where the girl gets the baby back)
cf. "The Black Velvet Band" (I) (theme: the woman pick-pocket)
NOTES: Cohen believes that there are "two closely related ballads, both dating from the 1860s" with this title. It doesn't seem worthwhile to split them, though. - RBW
I think there are three ballads here:
1) Dibblee/Dibblee has the singer going to Montreal on the train to pick up an inheritance left by an uncle. He meets the "widow" and "baby." She leaves him with the "baby" after picking his pocket, but there is no mention of the baby being dead or "fake."
Broadside Harding B 11(4400) has the singer going to London on the train to pick up an inheritance left by an uncle. He meets the "widow" and "baby." She leaves him with the "baby" after picking his pocket. The baby is a "dummy." The singer has no money to pay for his ticket and must settle the next day. This one is at least recognizable as Dibblee/Dibblee and the ballad behind the DESCRIPTION above.
Broadside NLScotland L.C.Fol.178.A.2(071)f like Bodleian Harding B 11(4400); the difference is that the singer is on the train to Glasgow. The commentary includes this statement: "There are many broadsides which warn more naive citizens against charming women pick-pockets."
2) See LOCSinging, sb10057a, "The Charming Young Widow I Met In The Train," H. De Marsan (New York), 1864-1878: the uncle is dying in Boston. The singer meets the "widow" and "baby" on the train to Boston. She leaves him with the "baby" after picking his pocket. The baby is dead and she leaves a note asking that he bury it. He does. There are no lines in common with the other two ballads; tune: "Jenny Jones." (This version is a variant of Bodleian, Harding B 11(1684), "The Charming Young Widow I Met in the Train," W.S. Fortey (London), 1858-1885 that takes place on the way to London; tune: "Jenny Jones" )
3) See LOCSinging, sb10056b, "The Charming Young Lady I Met in the Rain," H. De Marsan (New York), 1864-1878: this one takes place in London: There is no inheritance, no train, no baby; the pick-pocket trick remains. A crowd blocks his pursuit and he is charged with assault. When he can't pay the fine -- because he has lost all his money -- he must spend a fortnight in jail. There are no lines in common with the other two ballads. This is attributed, on the broadside, to J.G. Peters. (There is a duplicate at Bodleian, Harding B 18(83), "The Charming Young Lady I Met in the Rain," H. De Marsan (New York), 1864-1878.) (This version is a variant of Bodleian, Firth b.26(366), "The Charming Young Widow I Met in the Train," H. Such (London), 1863-1885.)
The H. De Marsan New York broadsides are so close to each other and to "The Charming Young Widow I Met on the Train" -- without being the same ballad -- that it is clear that two are derived from a third. [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: R390
===
NAME: Chase of the O. L. C. Steer
DESCRIPTION: "Did you ever hear of the O L C Steer With widely flaring horns He smashes the trees as he splits the breeze And the cowboy ropes he scorns." Cowboys Rap, Johnny, and Bob vow to catch the steer, but it escapes and they spend their lives making excuses
AUTHOR: Agnes Morley Cleveland ?
EARLIEST_DATE: 1908
KEYWORDS: animal escape cowboy
FOUND_IN: US
REFERENCES: (1 citation)
Thorp/Fife XVII, pp. 225-227 (36-38), "Chase of the O. L. C. Steer" (1 text)
Roud #12500
NOTES: The only claim of authorship of this piece was made by Agnes Morley Cleveland in a 1945 letter to Neil M. Cleveland. She gives the initials as "A. L. C.," pronounced "Alcy." - RBW
File: TF017
===
NAME: Chase the Buffalo: see Shoot the Buffalo (File: R523)
===
NAME: Chase the Squirrel
DESCRIPTION: "Ev'rybody teeter up and down, Grab 'em by the waist an' a whirl them around, An' around an' around an' around." "Chase the squirrel, chase the squirrel, Chase the purty girl round the world...." "First to the center, then to the wall...."
AUTHOR: unknown
EARLIEST_DATE: 1911 (JAFL 24)
KEYWORDS: playparty animal
FOUND_IN: US(MW,So)
REFERENCES: (1 citation)
Randolph 537, "Chase the Squirrel" (1 text, 1 tune)
Roud #7645
File: R537
===
NAME: Chased Old Satan Through The Door
DESCRIPTION: "I chased old Satan through the door, Hit him in the head with a two-by-four, I'm gonna wear a starry crown over there." Humorous verses about the singer's religious progress.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: religious humorous floatingverses
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
The Woodie Brothers, "Chased Old Satan Through the Door" (Victor Vi-23579)
CROSS_REFERENCES:
cf. "I Never Will Turn Back Any More" (floating verses)
NOTES: This reads like a humorous take on a church hymn; several of the verses float. It looks a lot like "I Never Will Turn Back Any More," but that seems to be built on a different hymn. - RBW
File: RcCOSTTD
===
NAME: Chatsworth Wreck, The [Laws G30]
DESCRIPTION: A train is bringing happy travelers to Niagara Falls when it crashes through a burned bridge and is wrecked. A hundred people are killed
AUTHOR: Thomas P. Westendorf
EARLIEST_DATE: 1913 (Belden)
KEYWORDS: train death disaster wreck
HISTORICAL_REFERENCES: Aug 10, 1887 -  A train from Peoria, Illinois goes through a bridge near Chatsworth, Illinois on its way to Niagara Falls. 81 people are killed and 372 injured
FOUND_IN: US(So)
REFERENCES: (6 citations)
Laws G30, "The Chatsworth Wreck"
Belden, pp. 422-423, "The Chatsworth Wreck" (1 text)
Randolph 681, "The Chatsworth Wreck" (1 text, 1 tune)
Randolph/Cohen, pp. 447-449, "The Chatsworth Wreck" (1 text, 1 tune -- Randolph's 681)
Cohen-LSRail, p. 272, "The Bridge Was Burned at Chatsworth" (notes only)
DT 641, CHATWRCK*
Roud #2198
NOTES: Called "The Bridge Was Burned at Chatsworth" by the author, though this name hardly seems to exist in the tradition. - RBW
File: LG30
===
NAME: Chauffe Fort!
DESCRIPTION: French: "C'etait l'automn' dernier, J'etais travailer, Je m'en vas au Grand Tronc, c'etait pour m'engager." The penniless singer goes to the Grand Trunk (railway) to look for a job. He is made to shovel coal till he is exhausted. He warns of the work
AUTHOR: unknown/English words by Allan Bernfeld
EARLIEST_DATE: 1919
KEYWORDS: railroading work hardtimes foreignlanguage
HISTORICAL_REFERENCES: 1836 - Building of Canada's first railway, the Champlain and St. Lawrence
1852 - Incorporation of the Grand Trunk Railway (financed mostly by British rather than Canadian interests)
1853 - The Grand Trunk becomes a major player by taking over Canada's first international line, the St. Lawrence and Atlantic
1862 - First government cleanup of the Grand Trunk, brought about by the Grand Trunk Arrangements Act
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 203-205, "Chauffe Fort!" (1 text, 1 tune)
NOTES: Fowke/Mills reports that the Canadian railroad system grew by over 60% between 1900 and 1914. Most of this new track was laid by the Grand Trunk, which finished the second trans-Canadian railway and also ran the line from Montreal to Ottawa.
Always badly undercapitalized and overambitious, the Grand Trunk faced financial crises at regular intervals.The problem was rendered that much worse by the early twentieth century boom in railroad building. One Trans-Canadian railroad already existed, and the time had seemingly come for another. But there were two companies which wanted the rights (and the government's help): The Grand Trunk, which wanted to extend its eastern routes to the west, and a western conglomeration, which wanted to enter the eastern markets.
The government made a slight attempt to get the two to work together, but nothing came of it, and the two rail companies proceeded, with government subsidies, to create two different networks.
Not surprisingly, neither was successful. The Grand Trunk vanished in 1923, when it went bankrupt and was taken over by the Canadian National Railway.
The title means "Shovel hard." - RBW
File: FMB203
===
NAME: Cheer Up, Sam
DESCRIPTION: Minstrel song. Former slave tells of his love for Sarah Bell. He offered all he had, but she left him for a white man with money. Cho: "Cheer up Sam, now donât let your spirits go down, for there's many a belle that we know is lookin for you in town."
AUTHOR: unknown
EARLIEST_DATE: 1850s (American broadsides)
KEYWORDS: minstrel slavery love rejection foc's'le
FOUND_IN: US
REFERENCES: (1 citation)
Hugill, p. 562, "Cheer Up, Sam" (1 text, 1 tune)
ALTERNATE_TITLES:
Sarah Bell
NOTES: Popular "shore song" adapted for use at the capstan. - SL
Popular it may have been, but I've searched without success for any sign of it. I suspect a better description is "widely touted." - RBW
File: Hugi562
===
NAME: Cheer, Boys, Cheer (I): see Sebastopol (Old England's Gained the Day; Capture and Destruction of Sebastopol; Cheer, Boys, Cheer) (File: SmHa041)
===
NAME: Cheer'ly Man
DESCRIPTION: Shanty. "Oh, Nancy Dawson, hio! Cheer'ly, man! She's got a notion, hio! Cheer'ly, man! For our old bosun, hio! Cheer'ly, man, Oh! hauley, hio! Cheer'ly, man!"  Various women are mentioned, perhaps linked to members of the crew, who are urged to pull hard
AUTHOR: unknown
EARLIEST_DATE: 1927 (Whall)
KEYWORDS: shanty nonballad
FOUND_IN: US
REFERENCES: (5 citations)
Shay-SeaSongs, pp. 32-34, "Cheer'ly, Man" (2 texts)
Colcord, p. 77, "Cheerly, Man" (1 text, 1 tune)
Hugill, pp. 312-315, "Cheerily Man," (2 texts, 2 tunes) [AbEd, pp. 234-237\
Sharp-EFC, XLV, p.50, "Cheerly Man" (1 text, 1 tune)
DT, CHEERLY
Roud #395
CROSS_REFERENCES:
cf. "Haul 'Er Away (Little Sally Racket)" (form, lyrics)
NOTES: Shay believes that this is mentioned in Dana's _Two Years Before the Mast_. The section quoted makes it appear likely, but Dana did not actually quote text, merely the singing of "Cheerily, men," which might just possibly be ship's idiom. Still, it is likely that the song is much older than the known texts.
Lloyd and others lump this with "Haul 'Er Away (Little Sally Racket)." There is certainly similarity in the form, and in some of the lyrics, and in the idea, but the choruses are different enough that I tentatively split them. - RBW
File: ShayS032
===
NAME: Cheerily, Man: see Cheer'ly Man (File: ShayS032)
===
NAME: Cheerly Man: see Cheer'ly Man (File: ShayS032)
===
NAME: Cherokee Hymn (I Have a Father in the Prog Ni Lo)
DESCRIPTION: "I have a father in the prog ni lo, And you have a father in the prog ni lo, We all have a father in the prog ni lo." "Nee I ravy, Nee-shi, nee-shi ni-go, Three I three-by an shee prog no lo." "I have a (brother/mother/sister) in the prog ni lo."
AUTHOR: unknown
EARLIEST_DATE: 1935 (Brown)
KEYWORDS: religious nonballad foreignlanguage
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 658, "Cherokee Hymn" (1 text, supposedly partly in Cherokee; "Prog Ni Lo" is said to be Cherokee for "Promised Land")
Roud #4213
File: Br3658
===
NAME: Cherries are Ripe
DESCRIPTION: "Cherries are Ripe, cherries are ripe, (The robin sang one day)." Various endings: cherries are given to the baby, or the students greet their teacher
AUTHOR: unknown
EARLIEST_DATE: 1963 (recording, Margaret MacArthur)
KEYWORDS: bird nonballad food
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Pankake-PHCFSB, p. 99, "Cherries are Ripe" (1 text, possibly a parody of more normal texts, but the other versions I've seen of this are so short that it could also be a "straight" fragment that didn't survive elsewhere)
RECORDINGS:
Margaret MacArthur, "Cherries Are Ripe" (on MMacArthur01)
File: PHCFS099
===
NAME: Cherry Tree Carol, The: see The Cherry-Tree Carol [Child #54] (File: C054)
===
NAME: Cherry Tree, The
DESCRIPTION: "Oh, a cherry tree's a pretty tree When it is in full bloom; And so is a handsome young man When he a-courting goes." The young man claims to be well to do, and wins the girl; now she finds herself poor, with no land and no home
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: courting marriage poverty promise lie
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 169-170, "The Cherry Tree" (1 text, 1 tune)
Roud #2947
NOTES: Whether this has anything to do with the folklore associating the cherry tree with female sexuality I do not know. But I mention it because it might. - RBW
File: MA169
===
NAME: Cherry-Tree Carol, The [Child 54]
DESCRIPTION: Joseph and Mary are walking. Mary asks Joseph for some of the cherries they are passing by, since she is pregnant. Joseph  tells her to let the baby's father get them. The unborn Jesus orders the tree to give Mary cherries. Joseph repents
AUTHOR: unknown
EARLIEST_DATE: 1768 (Gilbert MS)
KEYWORDS: carol Jesus religious
FOUND_IN: US(Ap,NE,SE,So) Britain(England) Canada(Mar,Ont,West)
REFERENCES: (27 citations)
Child 54, "The Cherry Tree Carol" (4 texts)
Bronson 54, "The Cherry Tree Carol" (30 versions + 2 in an appendix, one of them being "Mary With Her Young Son"' in addition, #27 contains "The Holly Bears a Berry" and #29 a scrap of "The Holly and the Ivy")
BarryEckstormSmyth p. 446, "The Cherry Tree Carol" (notes only)
Flanders-Ancient2, pp. 70-73, "The Cherry Tree Carol" (1 text, 1 tune) {Bronson's #9}
Randolph 12, "The Cherry Tree Carol" (1 fragmentary text, 1 tune) {Bronson's #30}
BrownII 15, "The Cherry Tree Carol" (2 texts)
Davis-Ballads 13, "The Cherry Tree Carol" (1 text plus 2 fragments; the only substantial text, "A," begins with two verses clearly imported from something else; 1 tune) {Bronson's #14}
Ritchie-Southern, pp. 36-37, "Carol of the Cherry Tree" (1 text, 1 tune)
Scarborough-NegroFS, p. 60, (no title) (1 single-stanza excerpt)
Creighton/Senior, pp. 34-35, "Cherry Tree Carol" (1 text plus 1 fragment, 2 tunes) {Bronson's #22, #11}
Thomas-Makin', pp. 222-231, "(The Cherry Tree Carol)" (2 texts plus a fragment, 1 tune)
Leach, pp. 175-177, "The Cherry-Tree Carol" (2 texts)
Friedman, p. 59, "The Cherry-Tree Carol" (1 text, 1 tune)
OBB 101, "The Cherry-Tree Carol" (1 text)
OBC 66, "The Cherry Tree Carol" (1 text (separated into smaller parts, the last being "Mary With Her Young Son"), 4 tunes) {for the "First Tune" cf. Bronson's #1; the "Second Tune" is Bronson's #32}
Fowke/Johnston, pp. 128-129, "The Cherry Tree Carol" (1 text, 1 tune) {Bronson's #22}
PBB 2, "The Cherry Tree Carol" (1 text)
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #42, "Joseph Was an Old Man" (1 text)
Niles 23, "The Cherry Tree" (1 text, 1 tune)
SharpAp 15 "The Cherry-Tree Carol" (5 texts plus a fragment, 6 tunes) {Bronson's #28, #17, #16, #19, #15, #21}
Sharp/Karpeles-80E 12, "The Cherry Tree Carol" (1 text, 1 tune) {Bronson's #16; cf. #20}
Hodgart, p. 151, "The Cherry-Tree Carol" (1 text)
Botkin-SoFolklr, p. 758, "The Cherry Tree Carol" (1 text, 1 tune)
LPound-ABS, 19, p. 47, "The Cherry Tree Carol" (1 text)
Darling-NAS, pp. 40-42, "The Cherry Tree Carol" (1 text)
Silber-FSWB, p. 380, "Cherry Tree Carol" (1 text)
DT 54, CHERTREE*
Roud #453
RECORDINGS:
Maud Long, "The Cherry Tree Carol" (AFS; on LC14)
 Jean Ritchie, "Cherry Tree Carol" (on JRitchie02)
Mrs. Lee Skeens, "The Cherry Tree Carol" (AFS; on LC57)
CROSS_REFERENCES:
cf. "Mary With Her Young Son"
ALTERNATE_TITLES:
The Cherry Tree
Joseph and Mary
The Sixth of January
NOTES: Widely considered to be based on the Infancy Gospel of the Pseudo-Matthew (Latin, ninth century). In that book, however, the miracle took place AFTER Jesus's birth. Joseph, Jesus, and Mary were fleeing from King Herod when Mary became faint. Joseph led her under a date palm to rest. Mary begged Joseph to get her some of the dates. Joseph was astonished; the tree was too tall to climb. But Jesus (who was no more than two years old) commanded the palm, "Bow down, tree, and refresh my mother with your fruit." And bow down it did, and remained so until Jesus ordered it to straighten up (and be carried into heaven)!
The only part of this with scriptural basis is Joseph's jealousy (Matt. 1:18-20) and the angel's announcement that Joseph should care for the child (Matt. 1:20-25 -- where, however, the message comes in a dream).
It is perhaps interesting that, in the carol, it is the *cherry* tree that bows down. Various legends swirl about the cherry, including one from China that associates it with female sexuality (the English parallel is presumably obvious). There is also a Swiss legend that offers cherries to new mothers.
Incidentally, the link to the pseudo-Matthew is not universally accepted; Baring-Gould linked the thing to a tale in the Kalevala (canto L), the story of Marjatta, in which the virgin Marjatta eats a cranberry (?), brings forth a boy, loses him, finds him, brings him to be baptised, is condemned by Vanamoinen, but he defends himself and is baptised as a king. (Complications ensure, of course.)
The parallels are obviously interesting -- but it must be recalled that the Kalevala is actually more recent than the Cherry-Tree Carol. More likely both come from common roots.
An even more interesting parallel is in the Quran. In Surah 3:46 ("The Imrans"), Jesus "will preach to men in his cradle"; the statement is repeated in 5:110 ("The Table"). More amazing, though, is 19:22f. ("Mary" or, in more literal translations, "Mariam"): Mary, as she goes into labor, wishes she had died. The child speaks up and commands the date-palm to feed her. Later, as the unmarried Mary comes among her people, she is accused of whoredom. She points to the infant Jesus, who justifies her from the cradle.
The legend that Joseph was old when he married Mary has no direct scriptural basis. The logic is indirect: Mary was still alive at the time of Jesus's ministry, death, and resurrection. Joseph, however, is not mentioned in this context; the only mentions of him as a living man are in the infancy portions of Matthew and Luke. Thus the assumption was that he was dead, and hence implicitly that he was much older than Mary. This also allowed the Church to solve another problem: The mention of brothers of Jesus (James and others) when it was maintained (again on no scriptural basis) that Mary was a perpetual virgin: The argument was that Mary was Joseph's second wife, and Jesus's brothers were in fact half brothers: Joseph's children by the previous wife. (Making them, genetically if not legally, no brothers of Jesus at all.)
This cannot be disproved, of course. But two points need to be made. First, we have only two date pegs for the life of Jesus: First, he was born in the reign of Herod the Great (so both Matthew and Luke), and second, he was active in ministry in the fifteenth year of Tiberius the Caesar (Luke 3:1).
Herod the Great is known to have died in 4 B.C.E., meaning that Jesus must have been born by that year. There are inferential reasons to think he was born in 6 or 7 C.E.
Tiberius suceeded the emperor Augustus in 14 C. E. Thus his fifteenth year was probably 29 C. E. Jesus was very likely crucified in 30 C.E. This means that he was probably at least 36 years old.
So if Joseph had been a young man of 22 when he married Mary, he would have had to live to at least age 58 to be around when Jesus died. Lots of people in Roman Palestine died before age 58! The fact that Joseph was almost certainly dead in 30 C.E. is no evidence at all for the claim that he was old in 6 B.C.E. It' possible, but not all that likely.
The other evidence, about Jesus's brothers, is also weak. James is the one member of Jesus's family to be mentioned outsie the Bible: Josephus, _Antiquities_ XX.200 in the Loeb edition (XX.ix.1 in older editions) say that he was stoned to death soon after the Judean procurator Festus died. Festus, we know from Josephus, died in 62. James, under the "son of Joseph's first wife" theory, would have had to be at least seventy at this time. Certainly possible, but it's a lot easier to assume James was born after Jesus, and hence only in his sixties. I stress that there is no proof, but the strong weight of evidence is that Joseph was *not* old when Jesus was born. - RBW
File: C054
===
NAME: Chesapeake and the Shannon (I), The [Laws J20]
DESCRIPTION: The U.S.S. Chesapeake sails out of Boston Harbor, confident of victory, to engage H.M.S. Shannon. The well-trained British crew of Captain Broke quickly defeats the American ship and takes it as a prize
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: war navy ship political battle
HISTORICAL_REFERENCES: June 1, 1813 - Battle between the Chesapeake and the Shannon
FOUND_IN: Canada(Mar) Britain
REFERENCES: (12 citations)
Laws J20, "The Chesapeake and the Shannon I"
Logan, pp. 69-72, "Chesapeake and Shannon" (1 text)
Friedman, p. 293, "The Chesapeake and the Shannon" (1 text, 1 tune)
Fowke/Johnston, pp. 24-25, "The Chesapeake and the Shannon" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 68-70, "The 'Chesapeake' and the 'Shannon'" (1 text, 1 tune)
Mackenzie 79, "The Chesapeake and the Shannon" (1 text, 1 tune)
Harlow, pp. 187-188, "Shannon and Chesapeake" (1 text, 1 tune)
Shay-SeaSongs, p. 165-166, "The Shannon and the Chesapeake" (1 text, 1 tune)
Scott-BoA, pp. 111-112, "The Chesapeake and the Shannon" (1 text, 1 tune)
Darling-NAS, pp. 96-97, "The Chesapeake and the Shannon" (1 text)
DT 398, CHESSHAN*
ADDITIONAL: C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 311, "Shannon and Chesapeake" (1 text)
ST LJ20 (Full)
Roud #1583
BROADSIDES:
Bodleian, 2806 c.17(383), "Shanon & Chesapeak" ("The Chesapeake, quite bold")[title not entirely legible], unknown, n.d.
CROSS_REFERENCES:
cf. "The Constitution and the Guerriere" [Laws A6] (historical setting)
cf. "The Chesapeake and the Shannon (II) and (III)" (plot)
NOTES: The victory of the _Constitution_ over the _Guerriere_ (for background, see "The Constitution and the Guerriere," Laws A6) significantly improved the morale of the American navy. Other victories followed, giving the Americans still more confidence.
One of these was the fateful meeting between U.S.S. _Hornet_ and H.M.S. _Peacock_, for which see "The Hornet and the Peacock." The _Hornet_ was commanded by a bold up-and-comer by the name of James Lawrence. That earned Lawrence, who was still only 31 in 1813, command of the _Chesapeake_, one of only half a dozen frigates in hte U. S. Navy at the time (see Walter R. Borneman, _1812: The War That Forged a Nation_, p. 113).
In the late spring of 1813, a "single combat" was arranged between James Lawrence's U.S.S. _Chesapeake_ and Captain Philip-Bowes-Vere Broke's H.M.S. _Shannon_. (The challenge was supposedly written, though it's said that Lawrence did not receive the actual written challenge; Borneman, p. 115; Donald R. Hickey, _The War of 1812_, p. 154; Fletcher Pratt, _A Compact History of the United States Navy_, p. 83.)
The American decision was not wise. _Chesapeake_ was already a hard-luck ship; in 1807, H. M. S. _Leopard_ had demanded the right to search her for deserters (this was one of the key issues of the War of 1812); being refused, _Leopard_ fired into the American ship -- which was manned by an inexperienced and largely incompetent crew -- and had their way. (Borneman, pp. 22-24; Lincoln P. Paine, _Ships of the World_, pp. 108-109. Pierre Berton, _The Invasion of Canada [Volume I], 1812-1813_, Atlantic-Little Brown, 1980, pp. 35-36, describes the men's theft of property when they deserted and thinks that the whole thing started because the British ship commander, although he didn't want an incident, had said too much to back down. Hickey, p. 17, notes the irony that the British would disclaim the _Leopard's_ action and returned three impressed sailors, though Berton, p. 37, adds that one was hanged at Halifax.) This led to increased tension between Britain and the U. S., but not open war -- yet.
By 1812, _Chesapeake_ was of course seaworthy again, but her crew was hastily-assembled (many veteran sailors had refused to re-enlist due to arguments over prize money; Hickey, p. 155), and Lawrence didn't know them; only one officer had served aboard her for any length of time (Borneman, p. 115). Many of the crew weren't even English-speakers; Pratt, p. 88, reports that about three dozen were Portugese. It should have been obvious that _Chesapeake's_ sailors were no match for an experienced British crew. The ship had had some success early in the war taking small British prizes, but that was with Samuel Evans in command.
Broke, by contrast, had commanded the _Shannon_ since 1806, and he had turned his ship and crew into one of the best in the British fleet -- and, unlike some officers, he insisted on target practice, so his gunners were unusually good shots(Pratt, p. 83).
The battle took place on June 1, 1813. Lawrence failed to take his one chance to cross the T on _Shannon's_ stern, and that effectively ended the battle. Within minutes Lawrence had been mortally wounded (his last words were, "Don't give up the ship! Fight her till she sinks," but they did little good, the more so since the bugler refused to relay them; Borneman, p. 117) and the British were boarding the Chesapeake.
The executive officer was also wounded, but survived, and he needed a scapegoat, so he filed charges blaming the defeat on the probationary officer William S. Cox, who had moved Lawrence out of the line of fire and then found himself commanding the ship after all the other officers were disabled -- though there really wasn't much Cox could have done by then. Cox was dishonorably discharged, dying 62 years later without his case being re-examined; he finally was exonerated by act of congress in 1953 (see John K. Mahon, _The War of 1812_, Da Capo, 1972, pp. 124-125). As far as I know, no one has had the guts to formally blame Lawrence for his folly.
It was a truly brutal defeat for the Americans: Not only did they lose the ship and Captain Lawrence, but also the first lieutenant and fourth lieutenants mortally wounded, as was the marine commander, and the second and third lieutenants wounded. Total losses were 47 killed, 14 mortally wounded, and 85 with lesser wounds. The _Shannon_ had 24 killed and 59 wounded, some mortally; Captain Broke, who had himself led the boarding parties, was too wounded to return to sea. The whole battle had taken 15 minutes. (See Hickey, p. 155; James Henderson, _The Frigates_, pp. 154-160, though this account is very pro-British and ignores the rather sorry state of the _Chesapeake_).
It is odd to note that neither _Chesaapeake_ nor _Shannon_ was badly damaged (they came together so quickly that both ships still had all their masts). The British probably could have taken _Chesapeake_ into the Royal Navy -- and, given the general quality of American ships, might have been well-advised to do so. But the Napoleonic Wars were winding down, so she was sent to England and broken up (Borneman, p. 118); according to Hickey, p. 155, her timber eventually was used to build a flour mill.
The victory meant that the British, who had been stung by the popular broadside "The Constitution and the Guerriere,"  finally had something to celebrate out of the naval war. The promptly produced this piece, reported by Logan to be sung to the tune of "Yankee Doodle" but usually printed with the tune "Landlady of France"or "Pretty Peggy of Derby, O."
To tell this song from the other "Chesapeake" ballads, consider this stanza:
The Chesapeake so bold out of Boston we've been told
Came to take the British frigate neat and handy, O.
All the people of the port they came out to see the sport,
And the bands were playing Yankee Doodle Dandy, O. - RBW
File: LJ20
===
NAME: Chesapeake and the Shannon (II), The [Laws J21]
DESCRIPTION: A sailor on H.M.S. Shannon narrates how, on the "fourth" (!) of June, his ship sailed out to meet the U.S.S. Chesapeake. After only ten minutes of fighting the British (who claim to have been outnumbered) board the American and strike her colours
AUTHOR: unknown
EARLIEST_DATE: 1950 (Creighton/Senior)
KEYWORDS: war sailor ship battle navy
HISTORICAL_REFERENCES: June 1, 1813 - Battle between the Chesapeake and the Shannon
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Laws J21, "The Chesapeake and the Shannon II"
Creighton/Senior, pp. 266-267, "Chesapeake and Shannon" (1 text, 1 tune)
DT 748, CHESHAN2
Roud #1891
CROSS_REFERENCES:
cf. "The Chesapeake and the Shannon (I) and (III)" (plot)
NOTES: For the background on the Chesapeake/Shannon fight, see the notes on "The Chesapeake and the Shannon (I)" [Laws J20]. - RBW
File: LJ21
===
NAME: Chesapeake and the Shannon (III), The [Laws J22]
DESCRIPTION: Captain Broke of H.M.S. Shannon challenges Captain Lawrence of U.S.S. Chesapeake to battle. The Chesapeake comes out to meet the enemy; within minutes the two ships are locked together (and the British are boarding the American vessel)
AUTHOR: unknown
EARLIEST_DATE: before 1829 (broadside, Bodleian Harding B 25(144))
KEYWORDS: war ship battle
HISTORICAL_REFERENCES: June 1,1 813 - Battle between the Chesapeake and the Shannon
FOUND_IN: Canada(Mar)
REFERENCES: (4 citations)
Laws J22, "The Chesapeake and the Shannon III"
Mackenzie 80, "The Chesapeake and the Shannon" (1 text)
DT 552, CHESSHA2
ADDITIONAL: C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 312, "Battle of the Shannon and Chesapeak" (1 text)
Roud #963
BROADSIDES:
Bodleian, Harding B 25(144), "Battle of the Shannon and Chesapeak" ("On board the Shannon frigate, in the fine month of May"), T. Batchelar (London), 1817-1828 ; also Harding B 11(3541), "X"; Harding B 25(1758), Harding B 11(3476), "The Shannon and Chesapeak"; Firth c.12(50), Firth c.12(51), Harding B 11(1046), "Battle of the Shannon and Chesapeake"; Harding B 11(190), Harding B 15(82b), Johnson Ballads 183, "Battle of the Shannon and Chesapeak"
NOTES: For the background on the Chesapeake/Shannon fight, see the notes on "The Chesapeake and the Shannon (I)" [Laws J20]. - RBW
File: LJ22
===
NAME: Chester
DESCRIPTION: "Let tyrants shake their iron rods... We fear them not, we trust in God, New England's God forever reigns." The generals who would conquer America are listed. The song glories in the victory of "beardless boys" over veterans. God is thanked
AUTHOR: William Billings
EARLIEST_DATE: 1778 (Singing Master's Assistant)
KEYWORDS: patriotic religious rebellion freedom
FOUND_IN: US
REFERENCES: (2 citations)
Botkin-NEFolklr, pp. 536-537, "Chester" (1 text, 1 tune)
DT, CHSTER*
NOTES: The British officers listed in the second stanza are as follows:
Howe: Presumably William Howe, 5th Viscount Howe (1729-1814), who commanded the British forces at Bunker Hill and was the commander in chief of British forces in America (succeeding Gage) from 1776 to 1778 (he resigned after Saratoga, and properly, as his inaction led to Burgoyne's defeat). Might also refer to his older brother Richard (4th Viscount and Earl, 1726-1799), who served primarily in the navy.
Burgoyne: John "Gentleman Johnny" Burgoyne (1722-1792), commanded a British army sent down from Canada against the American revolutionaries. Burgoyne (re)captured Fort Ticonderoga in 1777, but in 1778 was defeated and his army taken at Saratoga. (The fault for this was largely Howe's, however, as the plan of campaign called for simultaneous advances against the rebels, and Howe quickly gave up his push, leaving the colonials free to deal with Burgoyne. For further background, see the notes to "The Fate of John Burgoyne.")
Clinton: Sir Henry Clinton (c. 1738-1795), became commander in chief in America in 1778. He served as commander in chief until 1781 (long after "Chester" was written). Despite losing the war, he was probably the best officer the British had in America, leading the  outflanking force which pushed Washington from Long Island as well as one of the few raids Howe sent out to distract colonial attention from Burgoyne.
Prescott: The British forces did not have a senior officer named Prescott (!). I'm guessing the reference is to Richard Prescott 1725-1788), described by Stanley Weintraub, _Iron Tears: America's Battle for Freedom, Britain's Quagmire: 1775-1783_, Free Press, 2005, p. 341 thus: "Colonel, 7th Foot with rank in America of brigadier general from November 1775. Captured, exchanged, and recaptured again (sic.) in July 1777 to exchange for Charles Lee. His reputation for arrogancve was satirized in the British Press."
Cornwallis: Charles Cornwallis, 1738-1805. At the time this song was written, the senior officer after Clinton in America, and the most aggressive of Clinton's subordinates. He lost the climactic battle of the war at Yorktown (for which see, e.g., "Lord Cornwallis's Surrender"), but this of course was later. And he wasn't actually a bad officer, as his later service in India and Ireland would show (for the latter, see, e.g., "The Troubles." - RBW
File: BNEF536
===
NAME: Chevy Chase: see The Hunting of the Cheviot [Child 162] (File: C162)
===
NAME: Chewing Gum: see Fond of Chewing Gum (File: R368)
===
NAME: Cheyenne Boys: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Chichester Boys, The
DESCRIPTION: The story of the factory and town of Chichester. When founded by Eli Chichester, the workers were treated fairly and liked the conditions. Hard times forced the factory into bankruptcy and a takeover, and the singer left. Now he wishes he had stayed
AUTHOR: Bill Moon
EARLIEST_DATE: 
KEYWORDS: work factory hardtimes
HISTORICAL_REFERENCES: 1893 - Bankruptcy of the Chichester factory. The workers tried but failed to rescue the company, which was taken over by W. O. von Schwarzwalder (called Swashwaller in the Catskills text)
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 170, "The Chichester Boys" (1 text)
ST FSC170 (Partial)
File: FSC170
===
NAME: Chickamy chickamy crannie crow: see Chickee Chickee Ma Craney Crow (Hawks and Chickens) (File: R570)
===
NAME: Chickee Chickee Ma Craney Crow (Hawks and Chickens)
DESCRIPTION: "Chickee chickee ma craney crow, Went to the well to wash my big toe, When I got there one of my black-eyed chickens was gone, What time o' day is it, old witch?" The witch answers, and eventually is allowed to catch one of the chickens circling her
AUTHOR: unknown
EARLIEST_DATE: 1903 (Newell)
KEYWORDS: witch playparty chickens cumulative
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 570, "Chickee Chickee Ma Craney Crow" (3 texts)
MHenry-Appalachians, p. 244, (no title) (1 short text, beginning "Chickamy chickamy crannie crow" and in which the singer's "clillun," not her chickens, is missing; it is a cumulative version in which the witch counts through one o'clock, two o'clock, etc.)
Scarborough-NegroFS, p. 138, (no title) (1 fragment, with the first line "Chickamy, chickamy, crany crow")
Roud #7661
File: R570
===
NAME: Chicken
DESCRIPTION: "Chicken, oh, you chicken, went up in a balloon, Chicken, oh, you chicken, roost behind the moon.... Tell it all to the bad boy, chicken don't roost so high... When they see me coming All round this old plantation, There can't be a chicken seen."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: chickens bird technology
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 434, "Chicken" (1 short text)
Roud #11777
CROSS_REFERENCES:
cf. "Chicken Don't Roost Too High for Me" (subject)
File: Br434
===
NAME: Chicken and the Bone, The: see Captain Wedderburn's Courtship [Child 46] (File: C046)
===
NAME: Chicken Don't Roost Too High for Me
DESCRIPTION: Singer tells chicken not to roost too high, but to come down out of his tree. Sometimes there are other verses about chasing a chicken to kill and eat, but mostly this is a fiddle tune with incidental verses
AUTHOR: Fred Lyons
EARLIEST_DATE: 1887 (sheet music published)
KEYWORDS: death farming food nonballad animal bird chickens
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Uncle Tom Collins, "Chicken, You Can't Roost Too High for Me" (OKeh 45140, 1927)
Dixie String Band, "Chicken Don't Roost Too High for Me" (Puritan 9160, n.d. but prob. c. 1926)
Georgia Potlickers, "Chicken, Don't Roost Too High" (Brunswick 595, 1932; rec. 1930; on StuffDreams1)
Earl Johnson & his Clodhoppers, "They Don't Roost Too High for Me" (OKeh 45223, 1928; on Cornshuckers2)
Riley Puckett, "Chicken Don't Roost Too High for Me" (Columbia 150-D, 1924)
Uncle Tom Collins, "Chicken Can't Roost Too High for Me" (OKeh 45140, 1927)
Henry Whitter, "Chicken Don't Roost Too High for Me" (OKeh 40077, 1924)
CROSS_REFERENCES:
cf. "There's a Lock on the Chicken House Door" (subject)
cf. "Chicken" (subject)
ALTERNATE_TITLES:
Dem Chickens Roost Too High [original sheet music title]
NOTES: This barely makes it into the collection, but it's common enough to make it worth listing, if only to differentiate it from the other chicken and chicken-stealing songs. - PJS
File: RcCDRTHM
===
NAME: Chicken in the Bread Tray: see Granny Will Your Dog Bite? (File: Br3158)
===
NAME: Chicken Run Fast
DESCRIPTION: "Chicken run fast, chicken run slow, Chicken run past the Methodist preacher, Chicken never run no more." "Turkey run fast, turkey run slow, Turkey run past the Baptist preacher." "Water (?!) run fast... Water run past the Campbellite preacher."
AUTHOR: unknown
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: animal clergy nonballad chickens
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 297, "Chicken Run Fast" (1 text, 1 tune)
Roud #7825
File: R297
===
NAME: Chickens They Are Crowing
DESCRIPTION: Playparty, apparently about a girl who has spent all night with her lover: "Chickens they are crowing, For it's almost daylight." "My father he will scold me...." "My mama will uphold me...." (Others may add other sentiments or warn about boys)
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection); +1911 (JAFL28)
KEYWORDS: playparty courting family nightvisit chickens
FOUND_IN: US(Ap,SE,So)
REFERENCES: (4 citations)
Randolph 541, "My Pappy He Will Scold Me" (2 texts, 1 tune)
Sharp/Karpeles-80E 66, "The Chickens They Are Crowing" (1 text, 1 tune)
Lomax-FSNA 105, "Chickens They Are Crowing" (1 text, 1 tune)
SharpAp 269, "The Chickens they are Crowing" (2 texts, 2 tunes)
Roud #3650
CROSS_REFERENCES:
cf. "We Won't Go Home Until Morning" (floating lyrics in a few texts)
cf. "Crow, Black Chicken" (words)
File: R541
===
NAME: Chief Aderholt
DESCRIPTION: "Come all of you good people And listen while I tell The story of Chief Aderholt, The man you all know well." Aderholt is shot in Union Ground. The police imprison  and prepare to try labor leaders; the singer calls on hearers to join the union
AUTHOR: Ella May Wiggins
EARLIEST_DATE: 1953 (Greenway), but Wiggins was shot to death in 1929
KEYWORDS: homicide police labor-movement
FOUND_IN: US
REFERENCES: (2 citations)
Burt, pp. 186-187, (no title) (1 text, 1 tune)
Greenway-AFP, p. 248, "Chief Aderholt" (1 text, 1 tune)
NOTES: For a biography of Ella May Wiggins, who was killed in 1929 at the age of 29 (very possibly at the instigation of Loray mine owner Manville Jenckes), see Greenway-AFP, pp. 244-247.
It's interesting to ask whether there has been any folk processing between the Burt and Greenway versions. The tunes differ by only a single note, and the lyrics by only a single word; either might have been a printing error. But they are ever so slightly different. - RBW
File: Burt186
===
NAME: Chien, Le (Le Petit Chien, The Little Dog)
DESCRIPTION: Creole French: "Il y a un petit chien chez nous, Que remue les pattes (x2)... Que remue les pattes tout comme vous." "There is a little dog at our house... who shakes his feet just like you."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal dog foreignlanguage nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 123, "Le Chien" (1 short text with loose English translation)
File: ScNF123A
===
NAME: Child in the Budget, The
DESCRIPTION:  Tinkers, out drinking, exhaust their funds. One puts his baby in his tool bag and pawns the bag. When the baby cries the pawnbroker laughs at being outwitted, finds the tinker, and gives him a pound to take back the toolbag and contents.
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Firth b.26(340))
KEYWORDS:  trick drink humorous baby tinker money
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #2993
RECORDINGS:
Martin Long, "The Child in the Budget" (on IRClare01)
BROADSIDES:
Bodleian, Firth b.26(340), "The Tinker and His Budget ("Come all you good people attend for awhile"), H. Such (London), 1863-1885; also Firth b.27(85), "The Tinkers Budget" or "Pawnbroker Outwitted"
CROSS_REFERENCES:
cf. "The Basket of Eggs" (baby in the basket motif)
cf. "Quare Bungo Rye" (baby in the basket motif)
NOTES: Notes to IRClare01: "A budget is a bag or knapsack used for carrying tools." - BS
File: RcTCitB
===
NAME: Child Maurice [Child 83]
DESCRIPTION: Child Maurice sends his page with love-tokens to "the very first woman that ever loved me."  Her husband hears the page, finds Child Maurice, kills him, and brings the head to his wife. She reveals this was her son; he repents his murder. (They also die.)
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: death family mother wife children homicide revenge
FOUND_IN: Britain(Scotland(Aber)) Canada(Newf)
REFERENCES: (10 citations)
Child 83, "Child Maurice" (7 texts)
Bronson 83, "Child Maurice" (7 versions+1 in addenda)
Greenleaf/Mansfield 11, "Gil Morissy" (1 text)
Percy/Wheatley III, pp. 91-103, "Gill Morrice" (2 texts, one from the folio manuscript and one being the modified version printed by Percy in the Reliques)
Flanders-Ancient2, pp. 238-245, "Child Maurice" (1 text, from "The Charms of Melody" rather than tradition)
Leach, pp. 273-277, "Child Maurice" (1 text)
OBB 47, "Childe Maurice" (1 text)
Friedman, p. 194, "Childe Maurice (Gill Morice)" (1 text)
Gummere, pp.190-194+,345 "Child Maurice" (1 text)
DT 83, GILMORIS
Roud #53
CROSS_REFERENCES:
cf. "Sir James the Rose" [Child 213] (tune)
File: C083
===
NAME: Child of Elle, The: see Earl Brand [Child 7] (File: C007)
===
NAME: Child of God
DESCRIPTION: "If anybody asks you who I am... Tell him I'm a child of God." "Peace on earth, Mary rocks the cradle... The Christ child born in glory." The singer reports on the coming of the Christ child, and reports being on the way to glory
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: religious Jesus nonballad Christmas
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 377, "Child of God" (1 text)
NOTES: The Folksinger's Wordbook lists this as a Christmas song. It has Christmas verses, but I wonder; that is not its overall feeling. They look like they are grafted in. - RBW
File: FSWB377A
===
NAME: Child of the Railroad Engineer, The (The Two Lanterns)
DESCRIPTION: "A little child on a sick-bed lay, And to death seemed very near." The child's father is a railroad engineer, and must go to work. He bids the mother show a red light if the child dies and a green if the news was good. As he drives by, she shows the green
AUTHOR: Words: Harry V. Neal / Music: Gussie L. Davis
EARLIEST_DATE: 1898 (sheet music)
KEYWORDS: family children disease railroading
FOUND_IN: US(So)
REFERENCES: (4 citations)
Cohen-LSRail, pp. , "The Red and Green Signal Light/The Engineer's Child" (2 texts plus a copy of the sheet music cover, 1 tune)
Randolph 685, "The Two Lanterns" (1 text)
Spaeth-WeepMore, pp. 140-141, "The Child of the Railroad Engineer" (1 text, 1 tune)
DT, CHILDENG*
Roud #5066
RECORDINGS:
Chuck Wagon Gang, "The Engineer's Child" (Vocalion 04105, 1938)
[G. B.] Grayson & [Henry] Whitter, "The Red and Green Signal Lights" (Victor V-40063, 1929); "Red or Green" (Gennett 6418/Champion 15465/Challenge 397 [as by David Foley], 1928)
ALTERNATE_TITLES:
Just Set a Light
NOTES: It's hard to believe that every version I've seen of this song has a happy ending; it sounds like a nineteenth century tearjerker. But I can't find evidence to prove it.
I once heard Bob Bovee and Gail Heil joke that they had two versions of this, with happy and sad endings. But they sang the happy ending.
Norm Cohen raises an interesting possibility in this regard: When the song was written, in 1896, a red light meant danger -- but green meant caution. Not until 1898 was the green-for-good standard first adopted. So the song suddenly became more optimistic two years after its composition. Could this explain the complex endings? - RBW
File: R685
===
NAME: Child Owlet [Child 291]
DESCRIPTION: Lady Erskine wants Child Owlet to sleep with her. Owlet will not; Lord Ronald (Erskine's husband) is Owlet's uncle. Erskine takes revenge by cutting herself and accusing Owlet of raping her. Owlet is torn to pieces between wild horses
AUTHOR: unknown
EARLIEST_DATE: 1828 (Buchan)
KEYWORDS: execution infidelity rejection lie
FOUND_IN: 
REFERENCES: (2 citations)
Child 291, "Child Owlet" (1 text)
DT 291, CHDOWLET*
Roud #3883
CROSS_REFERENCES:
cf. "The Sheffield Apprentice" [Laws O39]
NOTES: Compare this story to the biblical tale of Joseph and Potiphar's wife (Genesis 39:1-20) - RBW
File: C291
===
NAME: Child Waters [Child 63]
DESCRIPTION: Ellen tells Child Waters she bears his child. Offered two shires of land, she would prefer one kiss. He rides; she runs, swims; as his page, she brings a lady for his bed, gives birth in the stable. He hears her wish him well and herself dead; he relents
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: courting pregnancy love disguise childbirth
FOUND_IN: Britain(Scotland(Aber)) US(SE,So)
REFERENCES: (14 citations)
Child 63, "Child Waters" (11 texts, 1 tune)
Bronson 63, "Child Waters" (3 versions)
Percy/Wheatley III, pp. 58-65, "Child Waters" (1 text)
Flanders-Ancient2, pp. 76-81, "Child Waters" (1 text, titled "Earl Walter," from the 1818 "Charms of Melody" rather than tradition)
Randolph 13, "The Little Page Boy" (1 fragmentary text, 1 tune, which Randolph places here though it also has lines from the "Cospatrick" version of "Gil Brenton" and which is so short it might go with something else) {Bronson's #3}
BrownII 17, "Child Waters" (1 text)
Leach, pp. 201-205, "Child Waters" (1 text)
OBB 46, "Childe Waters" (1 text)
Friedman, p. 122, "Child Waters" (1 text)
PBB 47, "Child Waters" (1 text)
Gummere, pp. 241-246+354-355, "Child Waters" (1 text)
DBuchan 10, "Child Waters" (1 text)
TBB 4, "Child Waters" (1 text)
DT 63, CHDWATER
Roud #43
ALTERNATE_TITLES:
Fair Margaret
Lord William and Lady Margaret
Fair Ellen
File: C063
===
NAME: Child's Lullabye, A: see Oor Cat's Deid (File: HHH040b)
===
NAME: Child's Prayer, The
DESCRIPTION: "Way out in western Texas not so many years ago, Where the ranchers hated settlers worse than rattlesnakes, you know," a rancher determines to burn out a settler house. But he hears a child inside praying for her father and quickly calls off the attack
AUTHOR: unknown
EARLIEST_DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: homicide fire children violence father
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 8, pp. 58-59, "The Child's Prayer" (1 text, 1 tune)
ST Logs008 (Partial)
Roud #10088
File: Logs008
===
NAME: Children Go Where I Send Thee
DESCRIPTION: Cumulative song: "Children, go where I send thee. How shall I send thee? I'm gonna send thee one by one, One for the little bitty baby...." Add "Two by two, two for Paul and Silas" on up to "Twelve for the Twelve Apostles."
AUTHOR: unknown
EARLIEST_DATE: 1936 (recording, Dennis Crampton & Robert Summers)
KEYWORDS: Bible religious Jesus cumulative nonballad
FOUND_IN: US(Ap)
REFERENCES: (6 citations)
Lomax-FSNA 254, "The Holy Babe" (1 text, 1 tune)
Ritchie-SingFam, pp. 163-164, 195, "[Children, Go Where I Send Thee]" (2 texts, 1 tune)
Ritchie-Southern, p. 54, "Little Bitty Baby (Children Go Where I Send Thee)" (1 text, 1 tune)
Botkin-SoFolklr, p. 754, "Holy Babe" (1 text, 1 tune)
Silber-FSWB, p. 383, "Children, Go Where I Send Thee" (1 text)
DT, GOSEND
Roud #133
RECORDINGS:
Alphabetical Four, "Go Where I Send Thee" (Decca 7704, 1940; on AlphabFour01)
Dennis Crampton & Robert Summers, "Go I'll Send Thee" (ARC 6-10-62, 1936)
Golden Gate Jubilee Quartet, "Go Where I Send Thee" (Bluebird B-7340, 1937; Victor 20-2134, 1947)
Kelley Pace, Aaron Brown, Joe Green, Matthew Johnson & Paul Hayes, "Holy Babe" (AFS 3803 A2+B, 1942; on LC10)
CROSS_REFERENCES:
cf. "Green Grow the Rushes-O (The Twelve Apostles, Come and I Will Sing You)" (theme and structure)
cf. "Eleven to Heaven" (theme and structure)
NOTES: This could well be an American version of "Green Grow the Rushes-O" (Roud naturally lumps those two and several others). But it's easy to create songs such as this one; in the absence of certainty, I treat them as separate. See also the notes on that song. - RBW
File: LoF254
===
NAME: Children in the Wood, The (The Babes in the Woods) [Laws Q34]
DESCRIPTION: Two young orphaned children are left in the care of their uncle. He decides to murder them for their money. One of the hired killers has pity and spares them, but then abandons them. They die. The uncle meets countless disasters till his crime is revealed
AUTHOR: unknown
EARLIEST_DATE: 1595? (title of piece in Stationer's Register)
KEYWORDS: orphan money death abandonment family children
FOUND_IN: US(Ap,MW,NE,Ro,SE,So) Britain Australia Canada(Mar)
REFERENCES: (23 citations)
Laws Q34, "The Children in the Wood (The Babes in the Woods)"
Percy/Wheatley III, pp. 169-176, "The Children in the Wood" (1 text -- the long form)
Belden, pp. 106-107, "The Babes in the Wood" (2 texts -- the short form)
BrownII 147, "The Babes in the Wood" (1 text)
Hudson 139, p. 285, "Babes in the Woods" (1 text -- the short form)
Scarborough-NegroFS, p. 57, (no title) (1 text, quite short, but it appears to be a fragment of the long form)
Brewster 71, "Babes in the Wood" (1 text -- the short form)
Gardner/Chickering 141, "The Babes in the Woords" (1 text -- the long form)
Randolph 92, "The Babes in the Woods" (5 texts, 2 tunes -- the short form)
Randolph/Cohen, pp. 113-115, "The Babes in the Woods" (1 text, 1 tune -- Randolph's 92A)
JHCoxIIA, #22, pp. 89-90, "Babes in the Wood" (1 text, 1 tune -- perhaps a fragment of the long form)
SharpAp 47, "The Babes in the Wood" (1 text, 1 tune)
Meredith/Covell/Brown, p. 210, "(The Babes in the Wood)" (1 fragmentary text); pp.  295-296, "Babes in the Wood" (1 text+tune of the short form, plus an excerpt from the long form)
Creighton-SNewBrunswick 87, "Babes in the Wood" (1 short text, 1 tune; although only a fragment, it is clearly derived from the long form)
OBB 174, "The Children in the Wood" (1 text -- the long form)
Abrahams/Foss, pp. 121-122, ""The Babes in the Woods (1 text, 1 tune -- the short form)
LPound-ABS, 115, pp. 233-234, "Babes in the Woods" (1 text -- the short form)
Pankake-PHCFSB, p. 285-286, "Babes in the Woods" (1 text, 1 tune -- the short form)
Baring-Gould-MotherGoose #226, pp. 148-149, "(My dear, do you know)" (the short form)
BBI, ZN1966, "Now ponder well you parents dear"
cf. Chappell/Wooldridge I, p. 92, "[The Two Children in the Wood]" (1 tune)
DT 542, BABWOOD2* PRETBABE*
ADDITIONAL: Iona & Peter Opie, The Oxford Book of Narrative Verse, pp. 42-46, "The Babes in the Wood" (1 text -- the long form)
Roud #288
RECORDINGS:
Dorothy Howard, "Babes in the Wood" (on USWarnerColl01 -- the short form)
BROADSIDES:
Bodleian, Harding B 4(30), "The Children in the Wood" or "The Norfolk Gentleman's Last Will and Testament," W. and C. Dicey (London), 1736-1763; also Harding B 4(31), Harding B 4(34), Harding B 4(36), Johnson Ballads 2400, Harding B 30(2), Harding B 4(35), Harding B 4(37), Harding B 4(38), "The Children in the Wood" or "The Norfolk Gentleman's Last Will and Testament"
CROSS_REFERENCES:
cf. "Dunbar the Murderer" (plot)
cf. "Three Lost Babes of Americay" (plot)
cf. "The Lost Babes" (plot)
NOTES: Laws notes, "A three stanza lament on the fate of the children called 'The Babes in the Wood' is widely known in American tradition, but the long ballad is rarely met with." At first glance these two songs are hardly related (they don't even use the same metrical form), but Laws presumably has seen intermediate forms. Though we note that he lists only occurrences of the long form. But splitting seems inappropriate in context.
Hales believes this piece to be by the same author as "The Lady's Fall." - RBW
The Creighton-SNewBrunswick 87 is clearly a fragment of the Bodleian broadside version. - BS
This song is well enough known that it inspired various literary references. In Charles Kingsley's _The Water Babies_ (1863), for instance, we read that young Tom would have been trapped in the rhododendrons "till the cock-robins covered him with leaves" (about two-thirds of the way through the first chapter; p. 22 in the Wordsworth Classics edition).
Various sources for this legend have been mentioned. The Baring-Goulds cite an abandonment that took place at Wayland in Norfolk, but offer no names or dates. Based on the notes in the Opies, this is apparently based on an item licensed in 1595 entited "The Norfolk gent his will and Testament and howe he Commytted the keepinge of his Children to his owne brother whoe delte most wickedly with them and howe God plagued him for it."
Percy, who contributed materially to the popularity of the piece, knew of no relevant legends, but mentions a play of 1601 on the same theme.
Garnett and Gosse's _English Literature: An Illustrated Record_, volume I, p. 307, mentions that _"The Babes in the Wood_ is conjectured, though doubtfully, to have been a veiled allegory of the murder of the young princes in the Tower." This is indeed doubtful; it must surely depend on the continuity from the 1595 Stationer's Register piece to the modern song. If that identity is accepted, though, and if the song is in fact a century older than that date, it makes a good bit of sense to assume that this is one of Henry Tudor's unfair but necessary (for him) attempts to blacken the memory of Richard III, whose throne he had usurped in 1485; it all fits very well with the Tudor propaganda line.
We have, of course, two problems here: What actually happened, and whether the events of 1483-1485 are actually related to this song.
Let's start with what happened -- insofar as we can tell. I'm going to sketch the situation as best I can, but I should note that it is very hard to manage neutrality on the subject of Richard III -- the Tudor historians, since they had to keep Henry Tudor on his throne, were forced to produce the caricature we see in Shakespeare: A malformed, malignant man who could not possibly get away with all he gets away with -- but who did, somehow. The difficulty is, the Tudor historians are the only complete and detailed sources; there is no way to really pick and choose from what they say. You accept it all, and treat Richard as Satan's Spawn -- or you deny it and end up trying to whitewash him.
Cheetham, p. 198, gives a brilliant example of this: John Rous produced a book in the reign of Richard III, which calls that king "an especial good lord... in his realm fully commendably punishing offenders of the laws, especially oppresors of the Commons, and cherishing those that were virtuous." (Note that Rous's patrons were not the Commons but the nobles, so praising Richard for supporting the commons was not something to win him points. This is an argument, though rather a feeble one, that Richard really *did* try to protect the Commons -- i.e. the vast majority of people.) After Henry Tudor took over, Rous wrote a book which he dedicated to Henry, and came forth with the statement that Richard was two years in his mother's womb, born with teeth and shoulder-length hair. Since this is physically impossible, I submit, it tells us nothing about Richard; it tells us only that John Rous was a suck-up -- but his statements have actually been repeated by historians who claim to have been serious.
It is for reasons like this that I am one of those who does not believe the Tudor historians. I can't whitewash Richard either; he murdered several men (Lord Hastings, Earl Rivers) unfairly, and he claimed a throne to which he may not have been entitled. He passed good legislation, but he spent most of his short reign brutally fighting attempted rebellions. I tend to give Richard the benefit of the doubt. But I'll try to give the case against him fairly.
For the sources cited in this section, see the bibliography at the end of this note.
The story actually starts more than a century before, with King Richard II (reigned 1377-1399). Richard was the grandson of King Edward III, who had started the Hundred Years War with France and won the great battle of Crecy in 1346; Richard's father was Edward "the Black Prince" who had beaten the French at Poitiers in 1355. But the Black Prince had picked up some sort of disease in his travels, and died in 1376, a year before his father (Seward-Hundred, pp. 112-113). Little Richard came to the throne as a 10-year-old surrounded by unprincipled uncles (Harvey, p. 152). Culturally, it was a great era -- the period of Chaucer, Langland,a nd the Gawain-poet (Harvey, p. 146) -- but politically it was difficult; the war with France, begun by Edward III, was going badly due to lack of money, and the king's uncles and many of the nobles thought that they had a quick fix to turn the war around. (Highly unlikely, but that's the way nobles thought in those days.)
Richard II did not gain power until 1387 (Seward-Hundred, p. 137), and when he finally took charge, it produced a rebellion by the nobles he had displaced. Richard managed to survive that, but in 1397 he took steps to stamp out the last survivors of the rebellion. Having done so, he tried to rule as an absolute despot (Harvey, p. 149, says that he insisted "upon the sacred and indissoluble nature of the regality conferred on him by his consecration"). In 1399, one of the men he had exiled, Henry of Bolingbroke, the Duke of Lancaster (hence the name "Lancaster" for his house, even though Henry, like Richard, was of the Plantagenet family)  returned to England, deposed Richard (who was killed the next year), and had himself crowned as Henry IV (Harvey, p. 160; Seward-Hundred, p. 142).
Henry IV was a member of the royal family, and Richard's closest relative in the male line, but not the true heir of Edward III. That distinction went to certain young members of the Mortimer family, descendents of Edward III's second son Lionel of Clarence by a female line (for their complicated ancestry, see Harvey, p. 192). Richard II had been the only surviving child of the Black Prince, Edward III's oldest son; Henry IV was the son of Edward III's third son John of Gaunt.
The Mortimer claim generally sat quiet, though there was one attempt to assert it in 1403. But Henry IV was too strong. And his son Henry V (who succeeded his father in 1413) had conquered much of France and been declared the heir to the French throne; no one wanted to depose him! But Henry V died in 1422, at the age of 35 (Seward-Hundred, p. 188), and his heir was his son Henry VI, not yet a year old.
Before Henry VI reached the age of thirty, the English had been entirely thrown out of France, and England was in chaos. As for Henry VI himself, he was weak even after he attained his majority, and in 1453 he had a nervous breakdown (Gillingham, p. 75). His government also ran the royal finances into the ground, making it impossible to conduct the war against France or do much of anything else (according to Seward-Roses, p. 5, Henry's government by the end had income of only 24,000 pounds per year, and debts of 400,000; the royal income barely covered household expenses, with nothing left over to service the debt or provide government. Jenkins, pp. 8-9, notes how various nobles had taken over most of the government's sources of revenue, leaving Henry VI with far less than his predecessors.) The Duke of York ended up having to self-finance the war in France and his government in Ireland, something no commoner could possibly afford to do.
There was no question but that the government had to change: Either Henry VI had to go, or someone competent had to take charge for him. But the feeble-minded Henry had no skill to choose a minister to do what he himself could not do. Nor were there any immediate relatives to help out; he had no brothers, and one of his three uncles had died before Henry V, and the other two were both dead by 1447, all without issue. Henry IV had four sons, but only one grandson, Henry VI (Perroy, p. 335). Henry IV had had some half-brothers, the Beauforts, and there were quite a few of them left (including the Earl of Somerset and his heirs), but they were neither particularly competent nor particularly popular, though they would give rise to the ultimate Lancastrian heir, as will be covered below.
I won't bore you with the details of the civil war which followed (there are plenty of books on the subject, plus some brief notes in the entry on "The Rose of England" [Child 166]), but the final outcome was this: In 1461, Edward Plantagenet, the Duke of York, who was by then the Mortimer heir as well as a descendent of Edward III's fourth son Edmund of Langley, was able to crown himself King Edward IV; he then won the battle of Towton, by far the largest battle of the Wars of the Roses, making him the master of almost all of England (Seward-Roses, p. 6). He had to deal with some conspiracies in his reign, and at one time was even deposed in favor of the restored Henry VI (Gillingham, pp. 179-188; Harvey, p. 206), but he managed to crush all the rebellions by 1471 -- greatly helped by his youngest brother, Richard of Gloucester, whose valiant defence of the right flank had saved Edward's army at the crucial Battle of Barnet (Kendall, pp. 108-114). (Even his worst detractors regarded Richard as a great soldier -- see Seward-Roses, p. 257, who gathers the evidence of the Tudor historians on this point.)
After 1471, Edward IV faced no threat. Henry VI had been killed, as had his only son Edward (though not by Richard; Harvey, p. 188). The closest thing to a Lancastrian heir was the young Henry Tudor, who was a descendent of John of Gaunt by his third wife (Henry IV had been the son of John's first wife) -- but the Beaufort children, as they came to be named, had been born before John of Gaunt had married their mother; Henry IV, although partially legitimizing them, had explicitly barred them from the succession (Kendall, p. 185; Jenkins, p. 14, notes that the Beauforts had been explicitly legitimized by Richard II, with no restrictions on their rights to the succession -- but while probably true, it's hardly relevant, since Richard II still hoped for an heir at the time of his death, and in any case he had at least eight heirs senior to the Beauforts. They were no threat to him. They *were* a threat to Henry IV's heirs, since they were Henry's closest relatives except for his sons. Jenkins suggests that such alterations in the succession were of dubious legality, but in fact the regulation of the succession was one of the key powers of parliament, and was excercised in some form or another in the reigns of Henry I, Stephen, Henry II, John, Henry IV himself, and later kings such as Henry VIII and, notably, Anne. Parliament certainly went along with Henry IV's restriction.).
Henry Tudor was so remote from the throne that he didn't even really have a hereditary title, and certainly not a royal title such as a dukedom. The only thing he could claim was the Earldom of Richmond, which had been given to his father by Henry VI, but which Edward IV took away from him; Jenkins, p. 22. 
Henry Tudor was so unimportant that Edward IV, in the latter part of his reign, almost completely ignored him. With his more serious opponents displaced, Edward had time to relax and carouse -- and burn himself out. He died in 1483, after a brief and unexpected illness (Kendall, pp. 181-182). He was only 41, and had made no real preparations for the succession except to name his brother Richard (who was not present in London; he was defending the North from the Scots) Lord Protector. (At least, that is the report; Edward's will does not survive, according to Jenkins, p. 143).
Richard has certainly been subjected to the worst smear campaign in English history. It is now all but universally agree that he was not a hunchback; see e.g. Ashley, p. 622, Seward-Roses, p. 272. Harvey, p. 207, notes that "from his portraits he was by no means ill-looking," though he appears from the portraits I've seen that he had rather thin lips, and Seward-Roses speaks of his "normally somewhat acid expression" -- a description which seems correct to me. Kendall, p. 52, concludes that his only deformity was that one arm and shoulder somewhat larger than the other -- a common condition among those trained to arms in the Middle Ages. Though Kendall here seems to make a mistake; he says that Richard's *right* shoulder was larger, which was normal, but Cheetham, p. 203, quotes More to the effect that it was the *left* shoulder that was larger.
Richard's character is also an enigma. Seward-Roses, p. 257, credits him with being "impeccably loyal to Edward IV" and having much charisma, but also accuses him of "a streak of vicious rapacity." Cheetham, p. 202, considers him an enigma, while noting on p. 204 that "His loyalty to Edward IV during his brother's lifetime is beyond dispute" (so much for Shakespeare...), but concludes that Elizabeth Woodeville "had valid reasons to be afraid of him."
On p. 214, Cheetham describes Richard as follows: "'Old Dick', for all his solid virtues as an administrator and his undoubted courage on the battlefield, lacked Edward [IV]'s knack of making friends. More's observation that he had a 'close and secret' nature hits on an uncomfortable truth.... The extraordinary circumstances of Richard's upbringing cannot have failed to leave their mark on him, just as they did on his brother George. But whereas George's shallow nature gave way to a mixture of paranoia and bravado, Richard became wary, self-reliant and inaccessible.... While he was Duke of Gloucester this self-reliance was a source of strength. But the King was a public figure whose words and gestures would be carefully marked."
Cheetham, pp. 204-205, also notes that Richard had a strong streak of what we would now call puritanism -- he did father two bastard children, but compared to Edward IV, who typically had three or more mistresses at the same time, that's pretty tame. (For a song about one of Edward's mistresses, see "Jane Shore.") In connection with his strait-laced behavior, we note that Sir William Stanley, who was a generation older than Richard and who would betray him, called him "Old Dick," as if the king were uninteresting in his lifestyle (Cheetham, p. 208).
Kendall, of course, makes Richard seem a near-saint.
Looking at the record, it appears to me that he had a soldier's sort of impatience: He didn't like hanging around court, and he didn't like waiting for the slow wheels of justice (even though justice at that time was swift compared to today). Whatever the problem, he leapt in and solved it (just witness the way he died! -- the one and only thing Shakespeare seems to have gotten right in "Richard III"). So he executed men like Lord Hastings and Earl Rivers without trial (Seward-Roses, pp. 258, 265-266). This rushing to judgment, while hardly desirable, was common at the time; patience was not a virtue normally taught to nobles in the 1400s. Richard's brutality was hardly exceptional; Seward-Roses, p. 7, notes that in 1460-1461 alone eighteen peers died in battle or were executed; in the course of the Wars, no fewer than twelve senior members of the Royal Family died. There is a report that, after Towton, 42 Lancastrian knights were beheaded. Seward claims that some 60 were attainted. This contrasts to the first serious rebellion faced by Richard, that of the Duke of Buckingham, resulted in "less than a dozen executions" (Cheetham, p. 211). Richard was, compared to his contemporaries, amazing for how *little* blood he shed.
And Edward IV's death presented Richard with a situation that certainly gave scope -- indeed, produced a desperate need -- for hastiness. All might have been well had not Edward IV's seeming heir been his son Edward (V). The boy was 12 years old, and not yet fit to rule. And he was in the hands of his mother's family, the Woodvilles, who had already shown that they placed their own interests ahead of England's; if they were allowed to dominate Edward V, even pro-Tudor scholars generally agree it would have been disastrous. And they moved quickly to gain control of the prince and set Richard aside -- they didn't even send messages to tell Richard that Edward was dead! (Jenkins, p. 143).
Richard, once he heard of his brother's death, Richard gave overwhelming evidence of grief, according to Jenkins, p. 146. But then the Duke of Buckingham joined him -- and Richard went from grief-stricken brother to man of action.
By a series of clever maneuvers, Richard managed to get Edward V out of the Woodville clan's hands (Jenkins, p. 147, thinks the maneuvering Richard used shows how hard the Woodvilles were fighting him, but Edward V was in the hands of Anthony Woodville, and other sources have said he was the one Woodville who was not really as conniving as the rest.)
It tells you something about the internal conflicts of this period that, the moment she heard Edward V was in Richard's hands, Queen Elizabeth Woodville and her other children immediately fled into sanctuary (Jenkins, p. 151). Edward's younger brother Richard Duke of York was at this time with his mother, but Richard eventually managed to take him from the Woodvilles as well. The events of the next two months form the basis of the great controversy over Richard III, made worse because we have so little reliable data (the Wars of the Roses caused many histories of the period to be destroyed or abandoned; Cheetham, p. 202). When the period began, Richard was Lord Protector and Edward V was expected to be crowned in the near future. When it ended, Richard was on the throne and Edward V was one of the "Princes in the Tower," the subject of the greatest mystery in English history.
The first step was to postpone Edward's coronation -- a fairly obvious need, since it would presumably eliminate the Lord Protector's role and leave England without a government apart from the self-serving Woodville faction. (A good regency law would really have helped, but England didn't have such a thing. Jenkins, p. 145, says that no one even really knew what the Lord Protector was supposed to do.) But, of course, the postponement was also a first step toward displacing the princes. St. Aubyn, pp. 104-107, strongly implies that this was Richard's first move toward the throne, but still admits, "Because Richard finally seized the Crown, it is tempting to see his entire career as directed toward that end. Nevertheless, in April 1483 he had done nothing more than seek his own safety in a swift pre-emptive bid."
Then came the whispers about the legitimacy of Edward V and his family. St. Aubyn, pp. 142-143, thinks Richard arranged for a cleric by the name of Ralph Shaa to preach a sermon on June 23 arguing that Edward IV was illegitimate and that Richard III was the proper heir to the throne (cf. Seward-Roses, p. 271. This is not quite as crazy as it sounds, since Edward IV's claim came through his father Richard Duke of York, and Richard of York was shorter and dark. Edward IV was very tall and blond, as were most of Richard of York's other children. Only Richard III resembled his father. Jenkins, p. 110, says that in fact Edward's brother George had spread rumors that Edward was illegitimate. The problem with these rumors is that George looked a lot like Edward; if Edward was a bastard, then George probably was too.)
Apparently, though, there are conflicting accounts of what Shaa preached (Kendall, p. 318). The other version makes Edward IV legitimate, but still made Richard his heir. And it was much better attested, because there was a bishop behind it: Robert Stillington, Bishop of Bath and Wells, came forward to say that Edward IV, before he married his official wife Elizabeth Woodville, had been engaged to one Eleanor Butler (St. Aubyn, pp. 156-157; Kendall; pp. 257-258). Since engagement was considered equivalent to marriage, and Butler was still alive when Edward married Elizabeth Woodville, that made Edward IV's marriage bigamous and his children illegitimate and unable to inherit. (It should be noted that this story cannot be proved either way; according to Bishop Stillington's account, there were only three witnesses, Stillington, Edward IV, and Eleanor Butler, and the latter two were dead. But Harvey, p. 195, thinks it likely on the grounds that so many -- including parliament -- accepted it at the time.)
Richard seized on this, had Edward V declared a bastard (a part of the act of parliament is quoted by Seward-Roses, p. 272), and took the crown himself. It was actually proper and legal -- *if* Stillington's story was true.
But, of course, it shoved aside Edward (V) and Richard of York, the two brothers held in the Tower  of London -- soon to be known as "The Princes in the Tower." In a time of relative stability, they probably would not have been a threat to Richard. But what one bishop could declare a bastard, another could re-legitimize (cf. Ashley, p. 623). The princes were a pawn any power-seeker could seize on. And England had been through thirty years of civil war; there were many factions out to feather their own nests. The boys did not immediately disappear, but they were seen less and less often.
Detailed information about their disappearance is limited. Almost the only non-Tudor testimony we have is that of an Italian visitor to England, Dominic Mancini, who wrote in late 1483 that the boys had been seen "more rarely" toward the end of his visit to England (which ended in the summer of 1483), but that no one knew their fate (Kendall, p. 466). Mancini did suspect that Richard would soon dispose of the boys if he hadn't already. By 1484, they had vanished from sight completely, never to be seen again.
Contrary to what Shakespeare would have us believe, the princes' fates are completely unknown. The circumstantial description found in Thomas More's history of Richard III is not even hinted at in contemporary chronicles, and seems to be based on a story Henry VII eventually released that claimed to come from their murderer -- but there is every reason to think he faked it. There were no bodies and no living witnesses; the alleged murderer, James Tyrell, was executed without making a public statement. (Weir, pp. 243-248, devotes a chapter to More's account of Tyrell's alleged confession, then on p. 249, says that Tyrell's confession was "suppressed." This, of course, makes no sense -- Henry VII desperately needed it to be public. Plus, had the story been real, someone would surely have been able to recover the bodies.)
Centuries later, in 1674, a coffin was discovered  under some a stairway outside the Tower of London (Weir, p. 252). Details are unfortunately murky. We do know that it contained the bodies of two young children, plus oddities such as pig bones (Weir assumes that some of the children's bones had been stolen and replaced by animal bones). The bodies were claimed to be those of the princes, and they were treated as such. Nonetheless, there was no evidence for this supposition except for the fact that no one knew of any other bodies likely to be there.
In 1933, the bodies were re-examined, and their ages -- twelve or thirteen for the elder, probably nine or ten for the younger though with a larger margin of error -- were consistent with the ages of the princes in 1483 or 1484 (Weir, p. 257, based on both the 1933 examination and more recent discussions of the photographs taken in 1933). Because both children were pre-pubescent, their sexes could not be determined (Weir, p. 255). But no cause of death could be determined; indeed, the 1933 examiners couldn't even determine the approximate date of burial of the bodies. (Weir claims that we can date them based on a casual reference to "velvet" being found in the coffin when they were excavated. It is true that velvet was invented in the middle ages, so the bones had to be relatively recent if they indeed were wrapped in velvet. But this is based on a casual reference in an otherwise unsatisfactory chronicle.)
So we are again stymied. Certainly, if the boys were Edward V and Richard of York, then they must have died during the reign of Richard III -- but it could not be established in 1674 or in 1933 that the skeletons were those of Edward and Richard (Kendall, p. 481). All we can say is that the skeletons fit such minimal details we have.
Today, using genetic testing, we *could* determine if the boys are Plantagenets, and the approximate age of their deaths, and maybe even the cause of death -- but I read in an issue of _Renaissance_ magazine that Elizabeth II has forbidden the re-exhumation of the bodies. The staff of Wesminster Abbey, which holds the bones, is also opposed (Weir, p. 256). And even if the bodies are those of the princes, and they were murdered, Kendall, p. 482, observes that this does not prove that Richard was the one who ordered their deaths -- though an honest person must admit that the probability of Richard ordering it is extremely high.
The examination of the bones did seem to reveal advanced dental problems in the older skeleton (Kendall, p. 472; Weir, p. 255); there is a real possibility that Edward (V) died of this, or of blood poisoning consequent to this, forcing whoever was in charge at the time -- probably Richard -- to cover it up. Modern examinations would doubtless make this clearer, too, but, again, no such examination has been permitted.
Those who most doubt Richard's guilt wonder if it isn't possible that Elizabeth II knows that her ancestor Henry VII, rather than Richard III, killed the two boys, who were an even greater threat to him than to Richard. This strikes me as highly unlikely -- if Richard had had the boys, he would have exhibited them in 1485, when the invasion by Henry Tudor was threatening. So it seems nearly certain that they were dead by then.
Again, though, that does not prove that he killed them -- if either boy had died against Richard's will, either naturally or by murder without his knowledge, Richard would still have been blamed for the deaths; coverup was the best he could do. And, again, it's possible, based on those reburied skeletons, that Edward died naturally. It's also possible that one of Richard's followers killed the boys, not realizing the problems it would cause. It's also possible that someone -- likely the Duke of Buckingham, who had helped Richard to the throne but almost immediately rebelled against him -- killed them in full knowledge that it *would* cause problems (Cheetham, p. 148, 148, summarizes the case against Buckingham hile concluding it unlikely; Kendall, pp. 487-495, offers a much more detailed case, including the statement on p. 494 that "empirically, Buckingham appears more likely than Richard to have been the murderer of the princes").
Cheetham, p. 151, gives probably the best summary: "We have thus come in a full circle back to Richard as the primesuspect [in the murder of the princes] and the early autumn of 1483 as the most likely date. The evidence is not conclusive in a legal sense, and never will be. Richard stands convicted not so much by the evidence against him as by the lack of evidence against anybody else.
"The murders leave an ineradicable stain on Richard's character.... But that does not prove that his nature was warped by a vein of deliberate cruelty. His treatment of the vanquished Nevilles and his defence of Clarence show Richard in a kinder light....
"More important than the moral issue were the political consequences. The murder of the Princes has often been described as a Renaisance solution in the manner later presecribed by Macchiavelli. In fact it was a colossal blunder. Nothing else could have prompted the deflated Woodvilles to hitch themselve to Henry Tudor's bandwagon...."
As Kendall, p. 495, notes, "This famous enigma eludes us, like Hamlet: we cannot pluck out the heart of its mystery. But at least we can do better than Rosencrantz and Guildenstern, who thought there was no mystery at all."
Still, note the convenience of the claims that Richard III was responsible for the deaths: Henry Tudor's justification for his ascension was that, first, Richard had killed the legitimate heir, meaning that Henry had at least some claim to the throne (in fact, his family had been barred from the succession by Henry IV), and second, that Richard's crimes were so black that he needed to be overthrown.
The claim that Richard was purely evil is patently false; he may well have killed his nephews, but other than that, he promoted learning and tried very much to establish justice; in better times, he very likely would have been a good king. The laws passed in his sole parliament were very positive. Cheetham, p. 158, lists as the major accomplishments laws regulating the granting of bail, assuring that juries were selected honestly and kept free from pressure, and governing the sale of property so that rich landowners couldn't cheat buyers. He gave major endowments to two colleges at Cambridge (Cheatham, p. 163). Protestants might be interested to note that, at a time when the Catholic Church refused to sanction vernacular translations and generally restricted ownership of the Bible, Richard had his own copy of the (officially banned) Wycliffe English Bible (Kendall, p. 386). He established the Council of the North (Cheatham, pp. 167-168, 209), which was maintained even by the Tudors; it lasted until the Union of the Crowns largely eliminated the Scottish border problem. Richard also founded the ancestor of the modern Court of Requests, which gave ordinary people a chance to try to gain justice from their superiords (Cheetham, pp. 207-208).
That respect for the common people reminds us of one of his other innovations -- one which may have been fatal. Richard tried to build his faction of relatively low-born men -- knights and esquires, rather than the high nobility (Cheatham, pp. 161-162). He seems to have chosen men of high ability -- but, of course, the barons would have resented it, and in the period of the Wars of the Roses, they were in the habit of helping to decide who was king. Several authors make the point of how few of the high nobles fought at Bosworth. They usually blame it on repugnance for Richard. This may well be true -- but I suspect that the repugnance was more of a petty hissy fit, "How can he employ people like that? Just because their intelligence and education is greater than mine...."
Harvey, p. 206, says that "Richard was innocent of nine-tenths of the abominable charges made against him," while admitting the likelihood that he killed his nephews. He adds, p. 208, that "in many directions [Richard] gave proof of a genuine desire for conciliation." Ashley, p. 624, writes, "When his brief reign is views in the round, Richard was undoubtedly a worthy king... History... has chosen to focus on the vicious and ruthless side of his character rather than a balanced view. Richard was certainly not someone to have as either your friend or your enemy, but he was a better king than many who had come before him and many who would come after."
Even with Richard III dead  without an heir (his only child, Edward, had died in 1484, and Richard's wife was also dead, and her death was too recent for Richard to remarry; Harvey, p. 208), Henry Tudor had his problems. He wasn't Richard's heir by any line of thinking -- but there were three Yorkist possibilities (Elizabeth, the daughter of Edward IV, blocked by the precontract that had blocked her younger brother Edward V; the Earl of Warwick, son of Richard III's older brother George of Clarence, who however had been attainted; and John, Earl of Lincoln, the son of Richard III's oldest sister, who was Richard's official heir but rather far back in the line of succession if you ignore the precontract and such). The Yorkist confusion made it difficult for them to oppose Henry -- and Henry, though his only Plantagenet blood was in a bastard line from John of Gaunt, had all the Lancastrians behind him simply because English politics was so divided that it was better to support a pretender than a legitimate member of the enemy party. Even so, he had to marry Elizabeth of York to strengthen his claim. (Meaning that, even though Henry VII didn't really deserve to be on the throne, all his heirs did. At least genetically.)
By the late fifteenth century, Henry VII had additional motives for trying to foster this story -- because he really, really wanted people to accept that the princes were dead, and it's likely that he didn't know where their bodies were either.
As early as 1487, a youth named Lambert Simnel had claimed to be the nephew of Edward IV and tried to claim the crown. (There was a real problem with this theory, in that Simnel was claiming to be the Earl of Warwick, son of Edward IV's brother George of Clarence, and Warwick was still alive in Tudor custody!) Henry VII let Simnel live (while executing Edward IV's true heir the Earl of Lincoln, who had been deep in the conspiracy); the boy seemed harmless enough. (For more on Lambert, see the notes to "The Mayor of Waterford's Letter.")
In 1491, an even more serious impersonator showed up in Perkin Warbeck, who eventually claimed to be Richard of York, the younger prince in the tower. Warbeck -- who, unlike Simnel, was an adult directly involved in the plotting -- was executed in 1497, but he had gained a strong following before then. (For more on Perkin, see "The Praise of Waterford.")
Of course, the truth doesn't really matter here. What counts is that many people thought Richard had killed his nephews, and that Henry Tudor definitely wanted them to believe it. Observe the parallels between the Tudor story and the song: An uncle is entrusted with the welfare of his nephews. He orders them murdered for their inheritance. He faces disasters until he at last comes to justice.
And Henry Tudor was definitely capable of propaganda. The first full-length published history of the period, that of Polydore Virgil, which mostly follows the Tudor line, was commissioned by Henry VII (Kendall, pp. 501-502). Of course, histories weren't (and aren't) much good at persuading the common people. He needed something to convince ordinary people. Popular songs would be a good method.
On the other hand, the fact that so few people associated the song with Richard III argues that, if it *was* propaganda, it was a little too subtle. But then, Henry VII was one of the sneakiest creatures ever spawned. Being direct and open probably never even occurred to him.
We might also add that what seems to be the oldest broadside print (Bodleian Harding B 4(30)) differs from the situation of the Princes in the Tower in several important regards:
1. The children are a boy and a girl, not two boys (Edward IV and Elizabeth Woodville had sundry daughters, but they lived -- indeed, the oldest became the wife of Henry VII).
2. In the broadside, the wife dies before the children -- but Elizabeth Woodville lived until 1492, dying nine years after Edward IV and at least six years after her sons died.
3. The older child in the broadside is only five, whereas Edward V was twelve when his father died.
To sum up: this song could easily have originated as a piece of propaganda. But, of course, that requires that it be much, much older than even the Stationer's Register date, and we can't prove that even that is this song.
If this broadside represents the original form (not a safe bet, to be sure), the allegory theory is much weakened.
Wild speculation, which I don't believe: Could the short three-verse version be the original which some Tudor boot-licker converted into a propaganda piece? (The problem with this theory, of course, is that there is absolutely no early evidence that anything like this happened.)
For more details on the background to this final phase of the Wars of the Roses, see the notes to "The Rose of England [Child 166]"; also some tangential references in "Jane Shore" and (especially) "The Vicar of Bray."  - RBW
>>BIBLIOGRAPHY<<:
My initial draft of this was written out of my own head; the Wars of the Roses fascinate me. In trying to footnote my original version, I've consulted the following sources:
Ashley: Mike Ashley, _British Kings and Queens_, 2000 (originally published as _The Mammoth Book of British Kings and Queens_, 1998). Mammoth it certainly is, and even so, it covers so much territory that it must necessarily be brief, but as far as I've tested it, it's reasonably accurate though lacking in footnotes. It is mildly pro-Richard.
Cheatham: Anthony Cheetham, _The Life and Times of Richard III_ (with introduction by Antonia Fraser), George Weidenfeld and Nicolson, 1972 (I used the 1995 Shooting Star Press edition). Like Kendall, an attempt at a Richard III biography, without footnotes but making real attempt to weight the material. Generally pro-Richard but accusing him of many mistakes.
Gillingham: John Gillingham, _The Wars of the Roses_, 1981. A good history of the Wars, though it seems to me to have a bit of a Lancastrian tilt. It is clearly anti-Richard. It has a chapter-by-chapter bibliography but no footnotes. It also tries to deny a fundamental fact of the Wars of the Roses: That the wars were the consequence of the deposition of Richard II. (This is fundamental because the Wars were unique. English kings had been set aside before -- notably Edward II -- and would be again, but generally were succeeded by their direct heirs, as in, e.g., the case of James II. But the Wars were between dynasties which had diverged a century before the depositions began, and involved *five* transfers of the throne from a monarch who did not die in peace).
Harvey: John Harvey, _The Plantagenets_ 1959 (I used the 1979 Fontana edition). A short history of the period, with some strange prejudices -- Harvey's main criterion for a "good king" seems to be that there were good works of art created in his reign -- but relatively balanced and supplying a clear overview. He also is one of the few historians who takes what seems to me the middle line on Richard III: That Richard usurped the throne (obvious), that he almost certainly had his nephews murdered (likely), but that he was not deliberately vile and tried to be a good king once he reached the throne.
Jenkins: Elizabeth Jenkins, _The Princes in the Tower_ , 1978. Another attempt at a balanced look at the controversy of the Princes. It strikes me as a little bit Tudor-biased, but relatively fair.
Kendall: Paul Murray Kendall, _Richard the Third_ (1955, 1956). This is *the* modern defence of Richard III. Gillingham calls it "overindulgent" (which given Gillingham's methods may be a compliment); it remains the most thorough and scholarly defence of the King. It is certainly the most heavily footnoted of any of the works cited; it is also the most likely to dig up a pro-Richard interpretation -- so much so that it verges on the unreliable.
Perroy: Edouard Perroy, _The Hundred Years War_ (French edition published 1945; English translation by W. B. Wells, with an introduction by David C. Douglas, printed by Capricorn 1965). This is awfully short for a history of such a long war, and it's not easy to read (a combination, presumably, of the translation English and the fact that the author likes very long sentences), but it's obviously helpful to have a non-English source about a war against France!
Seward-Hundred: Desmond Seward, _The Hundred Years War: The English in France, 1337-1453_, 1978 (I used the 1982 Atheneum edition). This has nothing at all to say about Richard III, who was busy being born as the Hundred Years War ended, but it is a good, highly readable (though un-footnoted) history of the period up to the reign of Henry VI, showing how the problems of the period came about.
Seward-Roses: Desmond Seward, _The Wars of the Roses_, 1995. This is very different from Seward's other book; it has footnotes, but is built around the biographies of several major players of the period. His particular concern seems Margaret Beaufort, the mother of Henry VII, whom she considered a major player in the rebellion (for Seward, it seems almost to have been a chess match between Margaret and Richard III). What makes this particularly interesting is the fact that, assuming Henry VII had a claim to the throne at all, he should have been second to Margaret, since she was the one who carried on the Beaufort line. His overall tone is strongly anti-Richard
St. Aubyn: Giles St. Aubyn, _The Year of Three Kings: 1483_, 1983. This book is almost entirely about the death of Edward IV, the brief reign of Edward V, and the accession of Richard III. It seems to me that it is intended to make Richard look as black as possible while pretending to sift the evidence.
Weir: Alison Weir, _The Princes in the Tower_, 1992. The jacket notes to this claim a "conclusive solution" to the problem of the Princes in the Tower. Since its "conclusive solution" consists of following Thomas More at key points, even though his account is demonstrably full of falsehoods such as Richard's deformity and unnatural gestation, I have treated this as a piece of propaganda and used only the information about the examination of the bones that might be those of the princes.- RBW
File: LQ34
===
NAME: Children's Song: see The Wife of Usher's Well [Child 79] (File: C079)
===
NAME: Chilly Winds
DESCRIPTION: Characteristic line: "I'm going where the chilly winds don't blow." The others may complain about life, weather, or women: "I'm leaving in the spring, ain't coming back till fall." "Who'll be your daddy while I'm gone"
AUTHOR: unknown (credited on Paramount recording to Paul Carter)
EARLIEST_DATE: 1925 (recording, Charlie Jackson)
KEYWORDS: nonballad clothes home separation floatingverses
FOUND_IN: US
REFERENCES: (2 citations)
MWheeler, p. 29, "I'm Goin' Down the River Befo' Long" (1 text, 1 tune, a combination of this with "I'm Going Down the River")
DT, CHILWIND*
Roud #3419
RECORDINGS:
Charlie Jackson, "I'm Going Where Chilly Winds Don't Blow" (Paramount 12335, 1926; rec. 1925)
Riley Puckett, "I'm Going Where The Chilly Winds Don't Blow"  (Columbia 15392-D, 1929; rec. 1927)
CROSS_REFERENCES:
cf. "Going Across the Sea" (floating lyrics)
cf. "Make Me a Pallet on Your Floor" (floating lyrics)
NOTES: For those of us who first met this song in its touched-up Kingston Trio form, it may seem surprising to note that it's almost incoherent. But the truly traditional versions seem to be characterized largely by floating verses, with a plot frequently obscured under the weight of this material. - RBW
File: MWhee029
===
NAME: Chimbley Sweeper: see I'm a Poor Old Chimney Sweeper (File: Wa189)
===
NAME: Chimney Swallow, The: see I'm a Poor Old Chimney Sweeper (File: Wa189)
===
NAME: China Doll: see Milking Pails (China Doll) (File: R356)
===
NAME: Chinaman, The
DESCRIPTION: Dennis Clancy grew rich among the Chinese Tea growers. He died and left all to his nephew who takes the name Ling Chung Chang Awong, wears his hair "in one long plait" and plans to "found an Irish colony." He leaves Ireland for Hong Kong.
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: emigration China Ireland humorous
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 46, "The Chinaman" (1 text, 1 tune)
Roud #9762
File: OLcM046
===
NAME: Chinee Bumboatman, The
DESCRIPTION: Forebitter with a pidgin-English chorus. Story involves a sailor (Wing Chang Loo) of the Yangtze who falls in love with a girl who is herself in love with a pirate. Loo declares war on the pirate, a battle ensues that ends up blowing up both their ships.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
LONG_DESCRIPTION: Forebitter with a pidgin-English chorus. Story involves a sailor (Wing Chang Loo) of the Yangtze who falls in love with a girl who is herself in love with a pirate. Loo declares war on the pirate, a battle ensues that ends up blowing up both their ships. Chorus: "Hitchee-kum, kitchee-kum, ya ya ya! Sailorman no likee me, No savvy the story of Wing Chang Loo, Too much of the bober-eye-ee, Kye-eye!"
KEYWORDS: shanty foc's'le sailor battle China pirate foreigner
FOUND_IN: Britain
REFERENCES: (1 citation)
Hugill, pp. 455-456, "The Chinee Bumboatman" (1 text, 1 tune) [AbEd, pp. 340-341]
Roud #10465
CROSS_REFERENCES:
cf. "Little Ah Sid" (style)
cf. "Das Sampanmadchen (The Sampan Maiden)" (some similar verses)
File: Hugi455
===
NAME: Chiney Doll: see Milking Pails (China Doll) (File: R356)
===
NAME: Chipeta's Ride
DESCRIPTION: "From mountains covered deep with snow... Where once dwelt Ouray, the king of the land, With Chipeta his queen...." The Utes battle the whites, and disaster threatens. Ouray, striken with Bright's Disease, cannot lead; Chipeta bears his orders for peace
AUTHOR: unknown
EARLIEST_DATE: 1951 (Poems of the Old West)
KEYWORDS: Indians(Am.) battle disease husband wife
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 147-149, "(Chipeta's Ride)" (1 excerpted text, which is unlikely to have had music since it is highly irregular; also a single stanza of another song perhaps about this event)
NOTES: This is one of those places where, for the most part, the folklore is the story. According to Burt, in 1878, one N. C. Meeker decided to forcibly convert the Utes of northern Colorado from hunter-gatherers into a "civilized" people.
What followed was ugly on all sides. Meeker plowed up a Ute racetrack, then called in the Army to defend himself. The troops were warned off by the Utes, but came on anyway, and a battle followed. Chief Ouray (c. 1833-1880) was far away and reportedly not part of the planning. When he heard of the battle, he ordered it stopped, and his wife Chipeta carried the order.
Ouray of course was real, and did indeed work to control Ute uprisings -- and to protect his people's interests. And Nathan Cook Meeker (1817-1879), Indian Agent to the Utes from 1878, did try to impose his ideas on them, and eventually was killed as a result. But history, as Burt admits, doesn't document Chipeta's Ride.
In the Really Strange Speculations department, reading Josephy Wheelan's _Invading Mexico: America's Continental Dream and the Mexican War 1846-1848_ (Carroll & Graf, 2007), pp. 91-92, I observe that major hostilities began when a Mexican force crossed the Rio Grande to try to interfere with American communications. An American scouting force, insufficiently cautious, was chopped to bits, the survivors captured. Their guide, who had refused to ride into the ambush, carried word of the disaster to the American general Zachary Taylor. This guide was named Chipita. I would assume this is coincidence, except that maybe it inspired the name of the heroine in this song. - RBW
File: Burt147
===
NAME: Chippewa Girl, The [Laws H10]
DESCRIPTION: The singer sees a pretty Chippewa girl and proposes marriage. She refuses him, saying she is too young and her parents would not approve. The two part amicably, with the singer making a few general remarks about marriage
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: Indians(Am.) courting family marriage
FOUND_IN: US(MW) Canada(Mar,Newf)
REFERENCES: (5 citations)
Laws H10, "The Chippewa Girl"
Beck 45, "The Chippewa Girl" (1 text)
Leach-Labrador 94, "Chippawa Girl" (1 text, 1 tune)
Mackenzie 54, "The Chippewa Stream" (1 text, 1 tune)
DY 705, CHIPGIRL
Roud #1938
CROSS_REFERENCES:
cf. "The Braes of Strathblane" (words, theme and references there)
NOTES: The Leach-Labrador version is "The Braes of Strathblane" relocated to "the Chippewa stream." The difference between Laws H10 and Braes of Strablane is that Laws [does not in his description include the ending -- found] in Leach-Labrador and Mackenzie -- in which the girl is finally rejected.
Mackenzie -- with its change of mind by both parties -- strengthens the argument that this is just "Braes of Strathblane" relocated. My earlier thought that Laws had not seen such a version is demonstrated to be false; Mackenzie is one of his two sources for H10. - BS
File: LH10
===
NAME: Chirping of the Lark, the: see Bronson's comments under Robin Hood and Guy of Gisborne [Child 118] (File: C118)
===
NAME: Chisholm Trail (I), The
DESCRIPTION: Stories of the troubles of a cowboy watching the herds. Characterized by the chorus, "Come-a ti yi yippy, yippy yea, yippy yea, Come-a ti yi yippy, yippy yea, yippy yea." Dozens of verses, printable and unprintable, cover all parts of the cowboy life
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax, Cowboy Songs)
KEYWORDS: cowboy work
FOUND_IN: US(So)
REFERENCES: (15 citations)
Randolph 179, "The Old Chisholm Trail" (1 text, 1 tune)
BrownIII 217, "The Old Chisholm Trail" (1 text, though one suspects it's composite since it's 29 stanzas long!)
Sandburg, pp. 266-267, "The Lone Star Trail" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 136-138, "The Old Chisholm Trail" (1 text, 1 tune)
Fife-Cowboy/West 78, "The Old Chisholm Trail" (2 texts, 1 tune, the "B" text being "Eleven Slash Slash Eleven")
Larkin, pp. 19-25, "The Old Chisholm Trail" (2 texts, 2 tunes)
Lomax-FSUSA 57, "The Old Chisholm Trail" (2 texts, 2 tunes)
Lomax-ABFS pp. 376-379, "The Old Chizzum Trail" (1 long text (compiled from many sources), 1 tune)
Lomax-FSNA 188, "The Old Chisholm Trail" (1 text, 1 tune)
Botkin-AmFolklr, pp. 851-852, "The Old Chisholm Trail" (1 text, 1 tune)
LPound-ABS, 76, pp. 167-170, "The Old Chisholm Trail" (1 text)
Arnett, p. 125, "The Old Chisholm Trail" (1 text, 1 tune)
Silber-FSWB, p. 108, "The Old Chisholm Trail" (1 long text, probably composite)
Saffel-CowboyP, p. 184-186, "The Old Chisholm Trail" (1 text)
DT, CHISHLM*
Roud #3438
RECORDINGS:
Jules Allen, "Chisolm Trail" (Victor V-40167, 1929; Montgomery Ward M-4463, 1933)
The Cartwright Brothers, "On The Old Chisolm Trail" (Columbia 15346-D, 1929)
Edward L. Crain, "The Old Chisolm Trail" (Crown 3275, 1932)
Girls of the Golden West, "Old Chisolm Trail" (Bluebird B-5718, 1934)
Tex Hardin, "The Old Chisolm Trail" (Champion 16552, 1933; Montgomery Ward M-4954, 1936)
Harry Jackson, "The Dally Roper's Song" (on HJackson1)
Harry "Haywire Mac" McClintock "The Old Chisholm Trail" (Victor 21421, 1928; on AuthCowboys, BackSaddle)
Patt Patterson & his Champion Rep Riders, "The Old Chisholm Trail" (Perfect 164/Banner 32091 [as Patt Patterson & Lois Dexter], 1931)
Sain Family, "The Texas Trail" (Montgomery Ward M-7187, 1937)
Jack Weston, "The Texas Trail" (Van Dyke 84292, n.d.; on MakeMe)
CROSS_REFERENCES:
cf. "The Chisholm Trail (II)" (tune & meter)
cf. "Eleven Slash Slash Eleven" (tune & meter)
NOTES: It should be noted that there is no clear distinction between the "clean" and "dirty" versions of this song (the latter being "Chisholm Trail (II)"); a particular singer could make it as raunchy as desired. We split them not because they are distinct songs but because the song is so frequently bowdlerized. It would be slightly false to say the versions listed here are rewritten versions of the song and "Chisholm Trail (II)" are unedited versions -- but only slightly false.
E. A. Brininstool wrote a poem, "The Chisholm Trail."  It is unrelated -- a reminiscence of cowboy days. - RBW
File: R179
===
NAME: Chisholm Trail (II), The
DESCRIPTION: This is a virtually endless sexual adventure of a cowboy punching the "goddam" herd.  Versions of this ballad vary greatly, including laments for having contracted venereal disease from either the minister's or the Old Man's daughter.
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax, Cowboy Songs)
KEYWORDS: bawdy cowboy humorous sex disease
FOUND_IN: Australia US(Ro,So,SW)
REFERENCES: (4 citations)
Cray, pp. 186-192, "The Chisholm Trail" (3 texts, 1 tune)
Randolph-Legman I, pp. 199-205, "The Old Chisholm Trail" (5 texts, 2 tunes)
Logsdon 9, pp. 60-69, "Jimmie Tucker" (2 texts, 1 tune, plus many excerpts from mostly-bawdy texts, including some from "Gonna Tie My Pecker to My Leg")
DT, (CHISHLM -- a combination of clean and dirty versions)
Roud #3438
RECORDINGS:
Cowboy Rodgers, "Old Chisholm Trail" (Varsity 5044, c. 1940)
CROSS_REFERENCES:
cf. "Gonna Tie My Pecker to My Leg"
cf. "The Chisholm Trail (I)" (tune & meter)
NOTES: Annotator G. Legman in Randolph-Legman I lumps "Chisholm Trail" with "Gonna Tie My Pecker to My Leg" versions. - EC
It should be noted that there is no clear distinction between the "clean" and "dirty" versions of this song; a particular singer could make it as raunchy as desired. The split here is a false split, mostly to emphasize that the song has been frequently bowdlerized. - RBW
File: EM186
===
NAME: Chivalrous Shark, The
DESCRIPTION: "The most chivalrous fish of the ocean, To ladies forbearing and mild, Though his record be dark Is the man-eating shark Who will eat neither woman nor child." The song details instances of the shark eating men but rescuing women and the young
AUTHOR: Wallace Irwin ?
EARLIEST_DATE: 1973
KEYWORDS: talltale humorous monster animal
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, pp. 400-401, "The Chivalrous Shark" (1 text)
DT, CHIVSHAR*
NOTES: The Digital Tradition lists this as having been copyrighted in 1904 by Wallace Irwin, and certainly it looks like a composed piece. - RBW
File: FSWB400
===
NAME: Choice of a Wife, The
DESCRIPTION: "I will tell you the way I have heard some say To choose you a lovely young creature, To choose you a wife you would love as your life...." The singer says her heart should "be her best part" -- but demands blue eyes, brown hair, slender waist and ankles
AUTHOR: unknown
EARLIEST_DATE: 1939 (Gardner/Chickering)
KEYWORDS: courting beauty nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 78, "The Choice of a Wife" (1 text, 1 tune)
ST GC078 (Partial)
Roud #3695
NOTES: For the record, the Gardner/Chickering text devotes one stanza to the girl's personality ("not given to flattery and cunning... with a nimble wit... tongue... not always running") but three stanzas to her need for good looks. There is no evidence that the boy brings anything good enough to let him be so picky. - RBW
File: GC078
===
NAME: Cholly Blues, The
DESCRIPTION: "Broke an' hungry, ragged an' dirty too (x2), Jes' want to know, baby, kin I go home wid you?" The singer describes how a hard life made him turn rambler, and promises her subtle rewards. He hopes to find a woman "an' roam no' mo.'"
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: rambling hardtimes floatingverses home
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 201-203, "The 'Cholly' Blues" (1 text, 1 tune)
Roud #15554
CROSS_REFERENCES:
cf. "Stormalong" (floating verses)
cf. "Deep Blue Sea (II)" (floating verses)
File: LxA201
===
NAME: Chopo
DESCRIPTION: "Through rocky arroyas so dark and so deep, Down the sides of the mountains so slippery and steep... You're a safety conveyance my little Chopo." The singer praises his horse Chopo and describes the excellent service the animal has done
AUTHOR: N. Howard Thorp
EARLIEST_DATE: 1908
KEYWORDS: horse cowboy nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Thorp/Fife XIV, pp. 191-194 (30-31), "Chopo" (3 texts, 1 tune)
Fife-Cowboy/West 69, "Chopo" (1 text, 1 tune)
Roud #8049
NOTES: "Chopo" was the name of "Jack" Thorp's favorite horse, which he credits with saving his life during a stampede, and for whom he wrote this song. There is no evidence that it ever entered oral tradition. - RBW
File: TF014
===
NAME: Choring Song, The
DESCRIPTION: Travellers' cant. Singer (Drummond) lay last night in a granary; now he's in prison, with "mort" (woman) and "kinshins" (children) scattered. If he  gets back to stealing, he'll "moolie the gahnies [kill the hens] in dozens" to leave none to tell
AUTHOR: unknown
EARLIEST_DATE: 1956 (recorded from Travellers in Perthshire)
LONG_DESCRIPTION: Travellers' cant. Singer (Big Jimmie Drummond, lay last night in a cold granary; tonight he's in a cold prison, with his "mort" (woman) and "kinshins" (children) scattered. He) swears that if he ever gets back to stealing, he'll "moolie the gahnies [kill the hens] in dozens" and there'll be no one left to tell on him (He says that if he ever goes to prison, he'll see all his friends, then go back to his wife and family)
KEYWORDS: separation prison theft foreignlanguage chickens children family wife prisoner thief Gypsy
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Kennedy 342, "The Choring Song" (1 text, 1 tune)
MacSeegTrav 97, "Big Jimmie Drummond" (1 text, 1 tune)
Roud #2157 and 2506
CROSS_REFERENCES:
cf. "The Cobbler" (structure)
cf. "Charles Guiteau" (lyrics)
NOTES: "Choring" = stealing. This shares verse structure with "Dick Darby," and the "Drummond" version has the classic opening line "My name is Big Jimmie Drummond/My name I'll never deny" from Charles Guiteau and, presumably, its predecessor "The Lamentation of James Rodgers." But the plot, albeit minimal, is different, so it gets its own entry. The song is macaronic, mixing cant with English. - PJS
File: McCST097
===
NAME: Chowan River
DESCRIPTION: The singer overhears a young woman lamenting her lover "gone over Chowan River." Her father had hired a captain to take her love away. The captain murdered her lover. Her father told her to take comfort and wait, but she drowns herself
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love separation betrayal homicide father money children suicide ship drowning
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 74, "Chowan River" (1 text)
Roud #6570
CROSS_REFERENCES:
cf. "Nancy of Yarmouth (Jemmy and Nancy; The Barbadoes Lady)" [Laws M38] (plot)
cf. "I Never Will Marry" [Laws K17] (theme)
NOTES: The editors of Brown compare this to "Nancy of Yarmouth," but note that it is not the same song. In many ways it is better; it doesn't twist and turn as much.
The Chowan River has its headwaters in southern Virginia and flows into the North Carolina, meeting the sea in Albemarle Sound. But there is no localization beyond the mention of the river; one suspects British origin for the song (since it sounds like it involves a press gang). - RBW
File: BrII074
===
NAME: Chrissey's Dick
DESCRIPTION: Mary Ann sends Chrissey to borrow Aunt Margaret's dick [rooster] and set among the hens. In the morning the dick is gone. Chrissey goes out and finds it. Mary Ann will raise some chicks so "we won't have to bother Aunt Margaret for her dick"
AUTHOR: unknown
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: sex bawdy humorous wordplay chickens
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 21, "Chrissey's Dick" (1 text, 1 tune)
NOTES: In commenting on "Bill Wiseman," Peacock wrote "To an outsider unfamiliar with local sexual symbols it appears obscure, though perhaps mildly suggestive. Similar songs occur in our own popular music too.... Millions know the words but only a few know what's going on. In Newfoundland, everyone knows what's going on." - BS
File: LeBe021
===
NAME: Christ in the Garden
DESCRIPTION: The singer, wandering in a garden, meets a sorely troubled man. It proves to be Jesus. The singer kneels and begs forgiveness; Jesus grants it, and the singer goes out to spread the word
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders/Brown)
KEYWORDS: Jesus religious
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Flanders/Olney, pp. 210-211, "Christ in the Garden" (1 text, 1 tune)
Flanders/Brown, pp. 79-80, "Christ in the Garden" (1 short text)
ST FO210 (Partial)
Roud #4682
NOTES: This is rather a complicated mix of Biblical themes. Jesus's prayer before his arrest is said to have taken place in a garden in John 18:1, but Gethsemane is not called a garden in the other three gospels.
The mention of "blood, sweat, and tears" is unquestionably a reminiscence of Luke 22:43-44 -- verses which, however, are likely not part of Luke's original Greek; of the earliest seven Greek witnesses, six -- those known as P75 Aleph(1) A B T W -- omit, as do some later witnesses of great weight. The verses are found in the King James Bible, though, so English hymn-writers would certainly know them.
There is no known mention of visitors to Jesus in Gethsemane -- but, of course, the witnesses (Peter, James, John) were dozing off. - RBW
File: FO210
===
NAME: Christ Made a Trance (God Made a Trance)
DESCRIPTION: "Christ made a trance one Sunday at noon, He made it with his hand." The power of Christ, and the dangers of hell, are told; listeners are warned to keep the sabbath and to teach their children well
AUTHOR: unknown
EARLIEST_DATE: 19908 (Leather)
KEYWORDS: religious nonballad Jesus carol
FOUND_IN: Britain(England(West)
REFERENCES: (1 citation)
Leather, p. 192, "Christ Made a Trance" (1 text, 2 tunes)
ST Leath192 (Partial)
Roud #2112
CROSS_REFERENCES:
cf. "The Moon Shines Bright" (The Bellman's Song)" (lyrics)
NOTES: Nearly every word of this is paralleled in "The Moon Shines Bright" and its relatives -- except the first verse. Songs beginning "God/Christ made a trance" go here; those which open with "The Moon Shines Bright" file there. Now if only we could figure out the actual relationship.... - RBW
File: Leath192
===
NAME: Christ Was a Weary Traveler
DESCRIPTION: "Christ was a weary trav'ler, He went from door to door, His occupation in life Was a-minist'ring to the poor." Jesus warns the disciples that his work is almost done, tells them what to do after his resurrection, and thanks God
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious Jesus work
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 559, "Christ Was a Weary Traveler" (1 text)
Roud #11882
NOTES: Although most of this is quite closely parallel to Biblical accounts, very little is actual allusion. The song, for instance, states that "I thank God for none but the pure in heart Before his face shall stand." The closest parallel to this is probably Matthew 11:25 (parallel to Luke 10:21), "I thank you, Father, Lord of heaven and earth, that you have hidden these things from the wise and understanding and have shown them to the infants."
The name "Jekkel" for "Jericho" (cf. Joshua 6) is also new to me -- but we find "Shorty" Love, the informant in this case, using the same pronunciation in "Jekkel Walls." - RBW
File: Br3559
===
NAME: Christ Was Born in Bethlea: see Christ Was Born in Bethlehem (File: MA189)
===
NAME: Christ Was Born in Bethlehem
DESCRIPTION: "Christ was born in Bethlehem (x3) and in a manger lay." In stanzas of eight lines (but only two distinct), the song lights on Jesus' birth, his ministry, his betrayal, death, the empty tomb, and Jesus's resurrection
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: Jesus Bible Christmas
FOUND_IN: Australia US(Ap,SE)
REFERENCES: (5 citations)
BrownIII 537, "Jesus Born in Bethlehem" (1 text)
SharpAp 210, "Christ was Born in Bethlehem" (1 text, 1 tune)
Ritchie-Southern, p. 33, "Down Came an Angel" (1 text, 1 tune)
Meredith/Anderson, pp. 189-190, "Christ Was Born in Bethlehem" (1 text, 1 tune)
Chase, pp. 166-168, "Jesus Walked in Galilee" (1 text plus a fragment, 2 tunes)
Roud #1122
CROSS_REFERENCES:
cf. "We Won't Go Home Until Morning" (tune) and references there
cf. "Can't Cross Jordan" (floating lyrics)
ALTERNATE_TITLES:
Christ Was Born in Bethlea
Jesus Borned in Bethlea
Jesus Born in Galilee
File: MA189
===
NAME: Christ-Child's Lullaby, The
DESCRIPTION: Gaelic. A lullaby for the baby Jesus. The singer (presumably Mary) describes the child's beauty, admits her role in great events, and praises the "white sun of hope"
AUTHOR: unknown
EARLIEST_DATE: 1909 (Kennedy-Fraser)
KEYWORDS: lullaby Jesus religious nonballad foreignlanguage
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: (2 citations)
Kennedy-Fraser I, pp. 28-30, "The Christ-Child's Lullaby (Taladh Chriosta)" (1 text+2 slightly different translations, 1 tune)
DT, CHRISTLU
NOTES: It is not clear whether this is Scots or Irish Gaelic in origin. Kennedy-Fraser's version, from Eriskay with words from Allan Macdonald, is obviously Scots. The Digital Tradition version is said to be a translation by Seamus Ennis from Irish Gaelic.
The various translations have achieved some popularity in English based on the beautiful tune. - RBW
File: DTChrilu
===
NAME: Christina: see Cairistiona (File: K005)
===
NAME: Christine Leroy [Laws H31]
DESCRIPTION: The dying singer tells how happy her  marriage was -- until beautiful Christine Leroy showed up and stole her husband. Now "you can tell then they murdered me, brother; God forgive him [her husband] and Christine Leroy"
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: death infidelity husband wife
FOUND_IN: US(So,MW)
REFERENCES: (4 citations)
Laws H31, "Christine Leroy"
Randolph 797, "Christine Leroy" (1 text plus an excerpt, 1 tune)
Randolph/Cohen, pp. 509-511, "Christine Leroy" (1 text, 1 tune -- Randolph's 797A)
DT 654, CRSLEROY*
Roud #2193
File: LH31
===
NAME: Christmas Is Coming, the Goose Is Getting Fat
DESCRIPTION: "Christmas is coming, the goose is getting fat, Please put a penny in the old man's hat. If you haven't got a penny, a ha'penny will do. If you haven't got a ha'penny, then God bless you."
AUTHOR: unknown
EARLIEST_DATE: 1962 (Baring-Gould)
KEYWORDS: money bird food Christmas
FOUND_IN: Britain(England) US
REFERENCES: (2 citations)
Baring-Gould-MotherGoose #419, p. 195, "(Christmas is coming, the geese are getting fat)"
DT, XMASCOME*
NOTES: This seems to be rare in tradition, and yet *I* learned it that way, in a version still close to the British, since it mentions ha'pennies (which I first heard as "hay-pennies," which made no sense at all). So I'm filing it on the assumption it's going to be collected in tradition in the future, at least. - RBW
File: BGMG419
===
NAME: Christmas Letter, The
DESCRIPTION: Singer weeps and asks daughter Kate to reread letters from grandchildren in America. "One by one the lot of them Sailed out across the great big sea." The grandchildren are named and recalled. "Somehow it makes me better Ah, each time I hear the news" 
AUTHOR: Michael Scanlon? (source: Munnelly/Deasy-Lenihan)
EARLIEST_DATE: 1974 (Munnelly/Deasy-Lenihan)
KEYWORDS: emigration separation America Ireland moniker family
FOUND_IN: Ireland
REFERENCES: (1 citation)
Munnelly/Deasy-Lenihan 28, "The Christmas Letter" (2 texts, 1 tune)
Roud #5220
RECORDINGS:
Tom Lenihan, "The Christmas Letter" (on IRTLenihan01)
BROADSIDES:
This Blessed Christmas Day
NOTES: Munnelly/Deasy-Lenihan: A text from another singer, Martin Crehan, adds a verse that explains "... in the pleasant County Clare, Where there lived a widow lonely with her one daughter only Who stayed at home to care [for] her while the rest were gone away.... 'twas the eve of Christmas Day. They got letters, they got money, they felt lonely, somehow funny" - BS
For another song by Michael Scanlon, see "The Bold Fenian Men (I)." Zimmerman reports that that song was first printed in Chicago in 1864, so it is perhaps reasonable to see Scanlon writing about emigration. - RBW
File: RcChrLet
===
NAME: Christmas Rum
DESCRIPTION: Two underage boys are sentenced to fourteen days in jail for drinking Christmas rum. In jail they "worked from daylight until dark." Soon they'll be twenty-one and will be able to have "Christmas rum"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: drink youth prisoner punishment
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 869-870, "Christmas Rum" (1 text, 1 tune)
Roud #9804
File: Pea869
===
NAME: Christofo Columbo: see Christopher Columbo (File: EM308)
===
NAME: Christopher Columbo
DESCRIPTION: Columbo, that navigating, masturbating son-of-a-bitch, sails the world round-o, master and crew engaging in a variety of sexual practices on land and sea.
AUTHOR: A (clean) version was copyrighted by Francis J. Bryant
EARLIEST_DATE: 1893 and the Columbian Exposition in Chicago
KEYWORDS: bawdy sex humorous whore exploration
FOUND_IN: Australia Canada US(MW,Ro,So,SW)
REFERENCES: (5 citations)
Harlow, pp. 55-58, "Christopher Columbus" (1 text, 1 tune)
Cray, pp. 308-315, "Christopher Columbo" (3 texts, 1 tune)
Randolph-Legman I, pp. 502-505, "Christopher Columbo" (2 texts, 1 tune)
Shay-SeaSongs, pp. 207-212, "Christofo Columbo" (1 text, 1 tune)
DT, COLOMBO COLUMB2*
Roud #4843
RECORDINGS:
Anonymous singer, "Christopho Columbo" (on Unexp1)
Arkansas Charlie [pseud. for Charlie Craver], "Oh Christofo Columbo" (Brunswick 410, 1930)
Billy Jones, "Christofo Columbo" (CYL: Edison [BA] 5008, prob. 1925)
Billy Jones & Ernest Hare, "Christofo Columbo" (OKeh 40397, 1925)
Andy Kirk & his Mighty Clouds of Joy, "Christopher Columbus" (Decca 729, 1936)
Old Ced Odom & Lil "Diamonds" Hardaway, "Fourteen Hundred and Ninety-Two (Christopho Columbo)" (Decca, uniss.; rec. 1936)
CROSS_REFERENCES:
cf. "The Good Ship Venus" (lyrics)
NOTES: This song frequently borrows verses -- identifiable by their internal rhyme in the third line or "limerick form" -- from "The Good Ship Venus." 
This would not pass muster as a history of Christopher Columbus' voyage of 1492. - EC
A distinct understatement.
Incidentally, it is not clear whether this was originally clean or dirty. The 1893 date cited above is for a clean version, of which John Garst writes, "We all know 'Christofo Columbo' as a bawdy ballad, but in the Robert W. Gordon papers at the University of Oregon there is a 'clean' version, 'Written and Composed by Francis J. Bryant,' 'Copyright, 1893, by M. Witmark and Sons.  Entered at Stationers' Hall, London.... If you wonder how the chorus could be 'clean,' here it is:
He knew the earth was round, ho! that land it could be found, ho!
The geographic, hard and hoary navigator, gyratory Christofo Columbo."
Shay's clean version has the chorus
Oh, Christofo Columbo,
He thought the world was round-o;
That pioneering, buccaneering,
Son-of-a-gun, Columbo! - RBW
File: EM308
===
NAME: Christopher White [Child 108]
DESCRIPTION: A lady, mourning Christopher White's banishment, is wooed by the singer. She warns "If I prove false to Christopher White, Merchant, I cannot be true to thee," -- but marries him. While he is away she sends for Christopher; they go off, taking much wealth
AUTHOR: unknown
EARLIEST_DATE: before 1750 (Percy manuscript)
KEYWORDS: love separation theft escape money
FOUND_IN: 
REFERENCES: (2 citations)
Child 108, "Christopher White" (1 text)
BBI, ZN2, "Abroad as I was walking, all by the Park-side"
Roud #3974
File: C108
===
NAME: Chuck Wagon's Stuck, The: see Trouble for the Range Cook (The Chuck Wagon's Stuck) (File: Ohr098)
===
NAME: Chuck-Wagon Races
DESCRIPTION: "Come gather round the wagon, we'll sing a little song Of the wagon racing, it will not take us long, There's thrills and spills and doctor bills...." A description of the life of a wagon racer, and of many of the people in the wagon camp
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: travel cowboy recitation
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 90, "Chuck-Wagon Races" (1 text)
File: Ohr090
===
NAME: Church Across the Way, The
DESCRIPTION: "On Easter Sunday morning when the sun was shinging clear," the congregation was having an intense service while the preacher's brother Ned lay dying across the way. The dying man wishes he had never gone astray
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: death crime clergy Easter
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 825, "The Church Across the Way" (1 text)
Roud #7438
NOTES: This piece can't seem to decide if it's a moralizing ballad or a tearjerker. I'd say it fails at both. - RBW
File: R825
===
NAME: Church in the Wildwood, The: see The Little Brown Church in the Vale (The Church in the Wildwood) (File: BdLBCitV)
===
NAME: Church's One Foundation, The
DESCRIPTION: "The Church's one foundation Is Jesus Christ her Lord, She is his new creation." The church draws people from everywhere. Jesus died for it. The singers hope to be taken to heaven
AUTHOR: Words: Samuel John Stone (1839-1900) / Music: Samuel Sebastian Wesley (1810-1876)
EARLIEST_DATE: 1982 (Johnson)
KEYWORDS: religious nonballad
FOUND_IN: 
REFERENCES: (1 citation)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp, 58-59, "The Church's One Foundation" (1 text, 1 tune)
Roud #5433
NOTES: According to Johnson, this hymn was one of a series written by Stone based (very loosely) on the Apostle's Creed (which is, of course, not apostolic; According to Henry Bettenson, editor, _Documents of the Christian Church_, p. 24, the oldest text of the final Latin form of the Apostle's Creed exists in a document from c. 750. The earliest ancestor known to Bettenson is the creed of Marcellus of Ancyra, known as an Arian heretic; this version dates crom c. 340).
Johnson also reports that Stone did his writing in response to the works of John William Colenso (1814-1883), the Anglican Bishop of Natal from 1853. He had by that time written a popular set of books on mathematics, and once he became a Bishop, he used those analyrical skills to examine the Bible. He realized that large parts of the Old Testament were scientifically and historically impossible. He also championed the rights of the Blacks of South Africa. For the great sin of being 100% right, he was excommunicated and deposed from his bishopric in 1869. He is now largely forgotten. The song he inspired managed to make it into many hymnals, though it is not one of the more popuular ones in tradition. - RBW
File: Rd005433
===
NAME: Churn, Churn, Make Some Butter
DESCRIPTION: "Churn, churn, make some butter For my little girlie's supper." Lyrics, some borrowed, about making butter, cleaning house, courting, a lizard stealing a snake's hoecake....
AUTHOR: unknown (Ritchie family)
EARLIEST_DATE: 1955 (Ritchie)
KEYWORDS: food work children animal nonballad nonsense
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Ritchie-SingFam, pp. 23-24, "Churn, Churn, Make Some Butter" (1 text, 1 tune)
File: JRSF023
===
NAME: Cielito Lindo
DESCRIPTION: Spanish: "Ese lunar que tienes, cielito lindo." Chorus: "Ay ay ay ay, canta y no llores, Porque cantando se allegran, cielito lindo, los corazones." The singer tells the girl of his love and how Cupid's arrow struck his heart
AUTHOR: unknown
EARLIEST_DATE: 1919
KEYWORDS: love courting Mexico foreignlanguage
FOUND_IN: Mexico
REFERENCES: (5 citations)
Sandburg, pp. 298-299, "Cielito Lindo" (1 text, 1 tune)
PSeeger-AFB, p. 23, "Cielito Lindo" (1 text, 1 tune)
Silber-FSWB, p. 327, "Cielito Lindo" (1 text)
Fuld-WFM, p. 172, "Cielito Lindo"
DT, CIELITOL
RECORDINGS:
Pete Seeger, "Cielito Lindo" (on PeteSeeger17)
CROSS_REFERENCES:
cf "I-Yi-Yi-Yi (Limericks)" (tune)
cf. "The Gay Caballero" (tune)
cf. "Sweet Violets" (tune)
NOTES: Fuld reports that Otto Mayer-Serro believes Quiruno Mendoza y Cortez wrote this song; Mendoza was granted copyright in Mexico in 1929. However, the earliest known printing (from 1919) lists no author, and Grove's Dictionary says the song was popular in Mexico before 1840. - RBW
File: San298
===
NAME: Cigarettes Will Spoil Yer Life
DESCRIPTION: "Cigarettes will spoil yer life, Ruin yer and kill yer baby, Poor little innocent child."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: injury disease nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Sandburg, p. 335, "Cigarettes Will Spoil Yer Life" (1 short text, 1 tune)
File: San335
===
NAME: Cindy
DESCRIPTION: "You ought to see my Cindy, She lives 'way down south, She's so sweet the honeybees Swarm around her mouth. Get along, Cindy, Cindy...." Describes attempts to court Cindy, as well as her occasional extravagances. Many floating verses
AUTHOR: unknown
EARLIEST_DATE: 1915
KEYWORDS: love courting playparty religious floatingverses
FOUND_IN: US(SE,So)
REFERENCES: (9 citations)
Randolph 564, "Get Along Home, Cindy" (2 texts, 1 tune)
BrownIII 404, "Cindy" (6 texts, mostly short, with the usual load of floating verses; some may be other songs with this chorus tacked on); also 163, "The Raccoon Has a Bushy Tail" (1 text plus 2 fragments; the "C" text has the chorus of "Cindy")
Fuson, p. 172, "Liza Jane" (1 text, probably a version of "Po' Liza Jane" but with a "Cindy...Cindy Jane" chorus)
Lomax-FSUSA 28, "Cindy" (1 text, 1 tune)
Lomax- FSNA 119, "Cindy" (1 text, 1 tune)
Botkin-AmFolklr, pp. 899-900, "Cindy" (1 text, 1 tune)
PSeeger-AFB, p. 61, "Cindy" (1 text, 1 tune)
Silber-FSWB, p. 35, "Cindy" (1 text)
DT, CIND
Roud #836
RECORDINGS:
Gene Austin, "Cindy" (c. 1927; on CrowTold01) (Victor 20873 [as by Bill Collins], 1927; this may be the same recording as the preceding)
Milton Brown & his Musical Brownies, "Get Along, Cindy" (Bluebird B-5654, 1934)
Samantha Bumgarner & Eva Davis, "Cindy in the Meadows" (Columbia 167-D, 1924)
W. E. Claunch, "Cindy" (AFS, 1939; on LC02)
Vernon Dalhart, "Cindy" (Challenge 405, c. 1928)
Lawrence & Vaughan Eller, "Cindy in the Summertime" (on FolkVisions1)
Ford & Grace, "Kiss Me Cindy" (OKeh 45157, 1927; on CrowTold02)
Ernest Hare & Al Bernard, "Cindy" (OKeh 40011, 1924; rec. 1923)
Hill Billies, "Old Time Cinda" (OKeh 40294, 1925); "Cinda" (Vocalion 5025/Brunswick 105 [as Al Hopkins & his Buckle Busters], 1927)
Bradley Kincaid, "Cindy" (Champion 15851 [as Dan Hughey]/Supertone 9568, 1929) (Brunswick 464, 1930)
Lulu Belle & Scotty "Get Along Home Cindy" (Conqueror 8594, 1935; Melotone 6-03-59, 1936; Vocalion 05487, 1940)
Bascom Lamar Lunsford, "Get Along Home, Cindy" (Brunswick 228, 1928)
J. E. Mainer's Mountaineers "Kiss Me Cindy" (Bluebird B-7289, 1937)
Shorty McCoy "Cindy" (Bluebird 33-0511, 1944)
New Lost City Ramblers, "Cindy" (on NLCR04)
Pickard Family, "Cindy" (Coast 253, n.d.)
Pope's Arkansas Mountaineers, "Get Along Home, Miss Cindy" (Victor 21577, 1928)
Poplin Family, "Cindy Gal" (on Poplin01)
Frank Proffitt, "Cindy" (on Proffitt03)
Riley Puckett  (w. Clayton McMichen), "Cindy" (Columbia 15232-D, 1928; rec. 1927)
CROSS_REFERENCES:
cf. "Jinny Go Round and Around" (floating lyrics)
cf. "Whoop 'Em Up, Cindy"
cf. "Liza Jane" (floating lyrics)
cf. "Get On Board, Little Children" (tune)
cf. "I Met a Handsome Lady" (lyrics)
cf. "Turn, Julie-Ann, Turn" (floating lyrics)
cf. "Early Monday Morning" (floating lyrics)
File: LxU028
===
NAME: Cinnamon, Ginger, Nutmegs, and Cloves
DESCRIPTION: 
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: 
FOUND_IN: 
REFERENCES: (1 citation)
Of All the Birds
File: ChWI141
===
NAME: Circle Four in London
DESCRIPTION: "Circle four in London, And so I've heard then say, Right and left in London, And so I've heard them say." "Round the lady in London, And so..., Round the gent in London...." "Cut a figure eight in London...." "Twenty-five miles to sundown...."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: playparty nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 558, "Circle Four in London" (2 fragments, 1 tune)
Roud #7658
File: R558
===
NAME: Circuit Rider's Home
DESCRIPTION: "Well, you know I have no permanent address, This rodeo cowboy's on the roam... The highway is a circuit rider's home." The rider mentions towns he has visited and horses he has ridden, and admits to whispering to the ladies before heading down the road
AUTHOR: Johnny Baker
EARLIEST_DATE: 1973
KEYWORDS: cowboy rambling
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 93, "Circuit Rider's Home" (1 text, 1 tune)
File: Ohr093
===
NAME: Citadel Hill: see Back Bay Hill (File: FJ165)
===
NAME: Citi Na gCumann (Kitty of Loves)
DESCRIPTION: Irish Gaelic: Singer comes to bargain with his love's parents over her dowry. They cannot agree; they've heard he's married. He denies it; he only trifles with young women. He asks her to elope with him, or to marry in secret, or to emigrate with him
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Maire O'Sullivan)
KEYWORDS: foreignlanguage courting dowry elopement love bargaining emigration father lover
FOUND_IN: Ireland
REFERENCES: (1 citation)
DT, CITI/NA
RECORDINGS:
Maire O'Sullivan, "Citi Na gCumann" [incomplete] (on Lomax42, LomaxCD1742)
File: DTcitina
===
NAME: City of Baltimore, The: see Bold McCarthy (The City of Baltimore) [Laws K26] (File: LK26)
===
NAME: City of Refuge
DESCRIPTION: "There is coming a time and it won't be long, You will attend to your business and let mine alone." "You better run." ("Run to the city of refuge.") "Paul and Silas bound in jail."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: religious Bible
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 560, "City of Refuge" (1 fragment)
Scarborough-NegroFS, pp. 208-209, "City of Refuge" (1 fragment of the chorus, 1 tune (which includes the verse even though the informant did not remember the words))
Roud #11828
RECORDINGS:
Blind Willie Johnson, "I'm Gonna Run to the City of Refuge" (Columbia 14391-D, 1929; on BWJ01)
NOTES: Brown's version is not at all clear why this should be considered a "City of Refuge" text; it never mentions those words, and is a fragment. But there isn't much else to go on.
The mention in song of "cities of refuge" is strange in any case: The cities of refuge were for "the manslayer who kills any person without intent" (Numbers 35:11).
Nor is there any mention of the cities of refuge ever actually being used; they are not mentioned outside Exodus-Deuteronomy, and the few Biblical instances of people wanting sanctuary involve the criminal fleeing into the temple and seizing the horns of the altar (e.g. Joab in 1 Kings 2:28) - RBW
File: Br3560
===
NAME: Civil War Song
DESCRIPTION: "You good folks don't scarcely know What we poor soldiers undergo... To defend our country from all harms." The singer described early drill, "lean and tough" beef, etc. The singer gives his name as A. T. Hyte, who wrote the song while on picket in winter
AUTHOR: Credited in the lyrics to A. T. Hyte (Hiatt?)
EARLIEST_DATE: 1936 (Hudson)
KEYWORDS: hardtimes soldier food Civilwar
FOUND_IN: US(So)
REFERENCES: (1 citation)
Hudson 115, p. 257, "Civil War Song" (1 text)
Roud #4499
File: Hud115
===
NAME: Clady River Water Bailiffs, The
DESCRIPTION: The singer tells listeners where to go hunt salmon(-poachers). He praises the bailiffs who protect the streams, and describes how they watch the poachers. The bailiffs (?) will provide "dark and stormy weather" to any poachers on the water
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: fishing police
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H764, p. 32, "The Clady River Water Bailiffs" (1 text, 1 tune)
Roud #13352
NOTES: Said by Sam Henry to have been written by a policeman, and while it's hard to tell because the song is so vague, this seems likely enough; the piece appears to praise the police who catch illegal salmon-fishers. - RBW
File: HHH764
===
NAME: Clairons Sonnaient la Charge, Les (The Bugler Sounded the Charge)
DESCRIPTION: French. The bugler, an old warrior, sounds the charge. The zouaves go to face the enemy. The bugler leads the charge on the bayonets, always sounding, sounding.
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage army battle war death
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 992-993, "Les Clairons Sonnaient la Charge" (1 text, 1 tune)
NOTES: The zouaves were, originally, French infantry composed of Algerians. They became famous, and the model for the British West India Regiment and US Civil War regiments [though the many "zouave" units in the Civil War were so-called simply because of their ornate uniforms -- which they generally abandoned in short order - RBW], fighting on the heights of Alma during the Crimean War. Source: The site for Coppen's (1st Battalion Louisiana) Zouaves - BS
File: Pea992
===
NAME: Clanconnell War Song, The: see O'Donnell Aboo (File: PGa012)
===
NAME: Clancy's Prayer
DESCRIPTION: The speaker overhears Clancy praying, "May bad luck fall on one and all Who try to cut our wages." Clancy describes their misdeeds, accuses them of ruining New South Wales, and calls the devil down upon them.
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: Devil labor-movement curse
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 254-255, "Clancy's Prayer" (1 text, 1 tune)
File: MA254
===
NAME: Clare de Kitchen (II): see Old Virginny Never Tire (File: ScaNF109)
===
NAME: Clare's Dragoons
DESCRIPTION: "When, on Ramillies' bloody field, The baffled French were forced to yield, The victor Saxon backward reeled Before the charge of Clare's dragoons." The Irish soldiers proclaim their prowess and wish they were fighting for Ireland
AUTHOR: unknown
EARLIEST_DATE: 1843 (a fragment quoted by Zimmermann, p. 85, from Thomas Davis _The Spirit of the Nation_, p. 292; the 1843 date for _The Spirit of the Nation_ is from "Thomas Davis" on "Mallow 'The Crossroads of Munster'" site.)
KEYWORDS: war battle bragging Ireland
HISTORICAL_REFERENCES: 1706 - Battle of Ramillies. Forces of the Grand Alliance under Marlborough heavily defeat the French
FOUND_IN: Ireland
REFERENCES: (4 citations)
PGalvin, pp. 19-20, "Clare's Dragoons" (1 text, 1 tune)
Zimmermann, p. 85, "Clare's Dragoons" (1 fragment)
DT, CLAREDRG*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 479-481, "Clare's Dragoons" (1 text)
BROADSIDES:
Bodleian, Harding B 18(86), "Clare's Dragoons", H. De Marsan (New York), 1861-1864; also 2806 c.8(203), "Lord Clare's Dragoon"
NOTES: Thousands of Irishmen left home after the disasters of the Boyne and Aughrim. These "Wild Geese" often found employment as mercenaries. One such troop was "Clare's Dragoons," which fought for France during the War of the Spanish Succession (1701-1714). It doubtless gave the exiles some pleasure to fight with France against the Grand Alliance (Britain, Austria, and assorted lesser states).
Despite the boasting found in this song, the Irish did not significantly influence the outcome of Ramillies, which was an overwhelming Alliance victory.
Hoagland lists the song as by Thomas Davis, but all we can prove is that he published it. - RBW
Broadside Bodleian Harding B 18(86): 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: PGa019
===
NAME: Clarence McFaden: see Clarence McFadden (Teaching McFadden to Waltz) (File: GC170)
===
NAME: Clarence McFaden (Teaching McFadden to Waltz)
DESCRIPTION: "Clarence McFaden he wanted to waltz, But his feet was not gaited that way." His teacher charges high because "your right foot is lazy, your left foot is crazy." He puts a girl on crutches, and kicks the floorboards from his bed
AUTHOR: unknown
EARLIEST_DATE: 1931 (Gardner/Chickering)
KEYWORDS: dancing humorous
FOUND_IN: US(MW,SE) Ireland
REFERENCES: (1 citation)
Gardner/Chickering 170, "Clarence McFaden" (1 text)
ST GC170 (Partial)
Roud #3707
RECORDINGS:
Roy Harvey, "Learning McFadden to Waltz" (Columbia, unissued, 1927)
Roy Harvey &Leonard Copeland, "Learning McFayden to Dance" (Columbia, unissued, 1930)
NOTES: I'm almost tempted to give this the keyword "disaster." - RBW
File: GC170
===
NAME: Clark Sanders: see Clerk Saunders [Child 69] (File: C069)
===
NAME: Claude Allen [Laws E6]
DESCRIPTION: Claude Allen is placed on trial and, due to the Governor's indifference, is handed over for execution, leaving his mother and sweetheart to mourn
AUTHOR: unknown
EARLIEST_DATE: 1917 (Brown)
KEYWORDS: trial execution family mourning
HISTORICAL_REFERENCES: 1912 - Trial of the Allen family. While in court, Sidney Allen shot the judge, and the rest of the family was soon shooting too. Sidney was sentenced to prison, but Claud and Floyd Allen were sentenced to death
FOUND_IN: US(Ro,SE)
REFERENCES: (4 citations)
Laws E6, "Claude Allen"
BrownII 246, "Claud Allen" (2 texts plus mention of 2 more)
Burt, pp. 253-254, "(Claud Allen)" (1 text)
DT 771, CLAUDALN
Roud #2245
RECORDINGS:
Clarence Ashley & Doc Watson, "Claude Allen" (on Ashley02)
Hobart Smith, "Claude Allen" (on FOTM) (on LomaxCD1705)
Ernest V. Stoneman and His Blue Ridge Cornshuckers, "Claude Allen" (Victor, unissued, 1928)
CROSS_REFERENCES:
cf. "Sidney Allen" [Laws E5] (characters)
cf. "The Triplett Tragedy" (tune)
NOTES: For a bit of background to this song, see the notes to "Sidney Allen." Although the whole tragedy occurred in the twentieth century, it appears very little is known of this family.
Clarence Ashley said that he taught the ballad to Hobart Smith c. 1918, but that's a bit tenuous to assign an earliest date. - PJS
Even more curious are Burt's notes. Her source was one Dragline Miller of Ely, Nevada, who from her description sounds to have been born in 1875 or earlier. He said he learned this *before* his prospecting days. Given that the shooting occurred in 1912, when Miller was at least 37, something odd is going on. Though  the strongest likelihood is simply that Miller's memory was bad. - RBW
File: LE06
===
NAME: Claudy Green
DESCRIPTION: The singer walks out to hear the birds sing and see the fish swim when he is distracted by a girl. He asks her if she is Diana or Venus, and says he will serve for fourteen years, as Jacob did, to win her. She rejects him and leaves
AUTHOR: unknown
EARLIEST_DATE: 1926 (Sam Henry collection)
KEYWORDS: love courting rejection beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H115b, pp. 241-242, "Claudy Green" (1 text, 1 tune); H115a, p. 355, "Claudy Green" (1 text, 1 tune -- the same as the preceding)
Roud #9479
NOTES: Finally a girl with the sense to turn down one of these brainless suitors! One wonders what the singer would have done if the girl *had* been Diana (mentioned in the a text though not the b), the eternally virgin huntress?
The story of Jacob serving for fourteen years to win the hands of Rachel and Leah is told in Genesis 29:15-30. - RBW
File: HHH115a
===
NAME: Clay Morgan: see Duncan Campbell (Erin-Go-Bragh) [Laws Q20] (File: LQ20)
===
NAME: Clayton Boone
: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Clear Away the Morning Dew: see The Baffled Knight [Child 112] (File: C112)
===
NAME: Clear the Track (I)
DESCRIPTION: "Ho, the car Emancipation Rides majestic through the nation, Bearing on its train the story, Liberty! a nation's glory." Those who oppose freedom for the slaves are warned that the train is coming and will accomplish its end
AUTHOR: Words: Jesse Hutchinson / Music: Dan Emmett
EARLIEST_DATE: 1844 (sheet music)
KEYWORDS: freedom political slavery train
FOUND_IN: 
REFERENCES: (3 citations)
Silber-CivWar, pp. 48-49, "Clear the Track" (1 text, 1 tune)
Greenway-AFP, p. 87, "Get Off the Track" (1 text)
Cohen-LSRail, pp. 46, 48, "(Get Off the Track)" (1 excerpt plus a photo of part of the sheet music)
RECORDINGS:
Pete Seeger, "Clear the Track" (on PeteSeeger28)
CROSS_REFERENCES:
cf. "Old Dan Tucker" (tune)
SAME_TUNE:
The Workingman's Train (Greenway-AFP, pp. 87-88)
NOTES: The sheet music dedicates this to Nathaniel P. Rogers "as a mark of esteem for his intrepidity in the cause of Human Rights." Intrepid he may have been; famous he was not. - RBW
File: SCW48
===
NAME: Clear the Track and Let the Bullgine Run: see Margot Evans (Let the Bullgine Run) (File: LoF029)
===
NAME: Clear the Track, Let the Bullgine Run: see Margot Evans (Let the Bullgine Run) (File: LoF029)
===
NAME: Clear, Winding Ayr, The: see Burns and His Highland Mary [Laws O34] (File: LO34)
===
NAME: Clem Murphy's Door: see On the Steps of the Dole Office Door (File: MA225)
===
NAME: Clementine
DESCRIPTION: The singer reports on the death of his beloved Clementine, the daughter of a (Forty-Niner). One day, leading her ducklings to water, she trips and falls in. The singer, "no swimmer," helplessly watches her drown
AUTHOR: unknown
EARLIEST_DATE: 1863
KEYWORDS: death drowning love
FOUND_IN: US
REFERENCES: (9 citations)
RJackson-19CPop, pp. 148-151, "Oh My Darling Clementine" (1 text, 1 tune)
Fife-Cowboy/West 34, "Clementine" (1 text, 1 tune)
Meredith/Covell/Brown, p. 68, "Mazurka: Clementine" (1 tune)
Spaeth-ReadWeep, p. 85, "Clementine" (1 text, 1 tune)
PSeeger-AFB, p. 27, "Clementine" (1 text, 1 tune)
Pankake-PHCFSB, p. 272, "Clementine" (1 text)
Silber-FSWB, p. 241, "Clementine" (1 text)
Fuld-WFM, pp. 174-175, "Clementine"
DT, CLEMENTI* (CLEMENT3*) (CLEMENT4)
ST RJ19148 (Full)
Roud #9611
RECORDINGS:
Logan English, "Clementine" (on LEnglish02)
Bradley Kincaid, "Darlin' Clementine" (Decca W4271, 1934)
Pete Seeger, "Clementine" (on PeteSeeger24)
CROSS_REFERENCES:
cf. "Silver Jack" [Laws C24] (tune)
SAME_TUNE:
Found a Peanut (Pankake-PHCFSB, pp. 28-29)
Oh My Monster, Frankenstein (Pankake-PHCFSB, p. 219)
The Atoms In Their Glory ("There the atoms in their glory, Ionize and recombine. Oh my darlings, oh my darlings, Oh my darlings, Ions mine"; said to have been sung by Ernest Rutherford himself; see Edward O. Wilson, _The Diversity of Life_, p. 46)
NOTES: In some of the modern versions, the song ends when the singer kisses Clementine's younger sister and forgets Clementine. - (PJS)
The words to this piece were first published in 1863 under the title "Down by the River Lived a Maiden," credited to H. S. Thompson. This printing had a melody, but it was not the "standard" melody. The text was also rather different (in minstrel dialect); Norm Cohen gives the first verse as
Down by the river there lived a maiden
In a cottage built just 7 x 9;
And all around this lubly bower
The beauteous sunflower blossoms twine.
Chorus: Oh my Clema, oh my Clema, Oh my darling Clementine,
Now you are gone and lost forever,
I'm dreadful sorry Clementine.
In 1864 a text appeared in "Billy Morris' Songs" in which Clementine appears as little short of a legendary monster; she is even reported to have grown wool.
In 1884 the piece reappeared, with the famous tune, this time credited to "Percy Montrose," under the title "Oh My Darling Clementine."
Since neither Thompson nor Montrose is known, the authorship of the song probably cannot be settled.
It is reported by reliable sources that this song was originally intended to be serious. No doubt a few thousand enterprising parodists would be amazed. - RBW
File: RJ19148
===
NAME: Clerk Colvill [Child 42]
DESCRIPTION: (Clerk Colvill) is warned (by his mother/lover) not to be too free with women. He refuses the advice; "Did I neer see a fair woman, But I wad sin with her body?" A woman gives him a fatal headache and turns into a mermaid to avoid being killed by him
AUTHOR: unknown
EARLIEST_DATE: 1769 (Herd)
KEYWORDS: sex sin courting infidelity magic death
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (8 citations)
Child 42, "Clerk Colvill" (3 texts, 2 tunes)
Bronson 42, "Clerk Colvill" (1 version)
Leach, pp. 149-150, "Clerk Colville" (1 text)
OBB 29, "Clerk Colven" (1 text)
Friedman, p. 30, "Clerk Colvill" (1 text,  which includes textual interpolations heretofore unpublished)
Gummere, pp. 197-199+347-348, "Clerk Colven" (1 text)
Hodgart, p. 39, "Clerk Colvill" (1 text)
DT 42, CLRKCLVL
Roud #147
NOTES: A number of scholars (Coffin, Lloyd, Bronson) have speculated that "Clerk Colvill" is actually a fragment of a longer ballad, "George Collins," with "Lady Alice" [Child 85] forming the rest. See the discussion in the notes to "Lady Alice." - RBW
File: C042
===
NAME: Clerk in ta Offish, Ta
DESCRIPTION: "Noo Rosie se'll be prood, and Rosie she'll be praw.. For ta praw, praw lad's come an' tookit her awa'; She's a praw lad, a clerk in an offish." The clerk's education, mathematical ability, and lack of ancestry are emphasized
AUTHOR: unknown
EARLIEST_DATE: 1901 (Ford)
KEYWORDS: worker humorous nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 283-284, "Ta Clerk in ta Offish" (1 text)
Roud #13099
NOTES: Obviously a composed song, and a strange one at that -- the dialect appears to be Scots done with a "Dutch" (stage German) accent. - RBW
File: FVS283
===
NAME: Clerk Saunders [Child 69]
DESCRIPTION: (Clerk Sanders) and his lady are determined to be wed despite the opposition of her seven brothers. Despite great pains to conceal their acts, they are found abed together. The brothers stab him to death and leave him in bed for his lady to find
AUTHOR: unknown
EARLIEST_DATE: 1802 (Scott)
KEYWORDS: courting death homicide family
FOUND_IN: Britain(Scotland)
REFERENCES: (8 citations)
Child 69, "Clerk Saunders" (7 texts)
Bronson 69, "Clerk Saunders" (3 versions)
Leach, pp. 234-236, "Clerk Saunders" (1 text)
OBB 27, "Clerk Saunders" (1 text)
Friedman, p. 94, "Clerk Saunders" (1 text)
PBB 30, "Clark Sanders" (1 text)
Hodgart, p. 56, "Clerk Saunders" (1 text)
DT 69, CLERKSAN
Roud #3855
File: C069
===
NAME: Clerk's Twa Sons o Owsenford, The [Child 72]
DESCRIPTION: The clerk's two sons go to (Paris/Blomsbury/Billsbury/Berwick) to study. They lay with the mayor's two daughters. The mayor condemns them to hang.  The clerk comes to buy their freedom but the mayor refuses. He tells his wife they're at a higher school.
AUTHOR: unknown
EARLIEST_DATE: 1829
KEYWORDS: adultery trial punishment execution lie family children
FOUND_IN: Britain(Scotland(Bord))
REFERENCES: (5 citations)
Child 72, "The Clerk's Twa Sons o Owsenford" (4 texts)
Bronson 72, "The Clerk's Twa Sons o Owsenford" (2 versions)
Leach, pp. 237-238, "The Clerk's Twa Sons o Owsenford" (1 text)
PBB 53, "The Clerk's Twa Sons o Owsenford" (1 text)
DBuchan 31, "The Clerk's Twa Sons o Owsenford" (1 text)
Roud #3902
NOTES: Bronson notes that both his tunes have texts mixed with "The Wife of Usher's Well." Since, however, both appear to be composite, there is no proof that the two are related except that both involve sending children away for education (standard practice among the English nobility in the Middle Ages, even if "education" at the time meant training in weapons). - RBW
File: C072
===
NAME: Click Go the Shears
DESCRIPTION: A description of shearing life: The race to shear the most sheep, the boss complaining of the quality, the constant clicking of the shears. The rules for shearing are briefly mentioned. Chorus:  "Click, click, click, that's how the shears go...."
AUTHOR: unknown (music by Henry Clay Work: "Ring the Bell, Watchman")
EARLIEST_DATE: 1953 (collected by John Meredith)
KEYWORDS: sheep work contest
FOUND_IN: Australia
REFERENCES: (4 citations)
Meredith/Anderson, p. 24, "Click, Click, That's How the Shears Go"; pp. 193-194, "Click Go the Shears" (2 texts, 2 tunes)
Fahey-Eureka, pp. 152-153, "Click Go the Shears" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 180-183, "Click Go the Shears" (1 text)
DT, CLKSHEAR*
Roud #8398
RECORDINGS:
John Greenway, "Click Go the Shears" (on JGreenway01)
CROSS_REFERENCES:
cf. "Ring the Bell, Watchman" (tune)
File: MA024
===
NAME: Click, Click, That's How the Shears Go: see Click Go the Shears (File: MA024)
===
NAME: Climbing Up My Old Apple Tree
DESCRIPTION: Singer explains to Bridget why he is climbing the tree. "I'm not stealing apples, so I can explain. The wind blowed high and knocked 'em down. We're picking them up again!"
AUTHOR: unknown
EARLIEST_DATE: 1974 (recording, Jasper Smith)
KEYWORDS: theft food humorous nonballad talltale
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
RECORDINGS:
Jasper Smith, "Climbing Up My Old Apple Tree" (on Voice14)
File: RcCUMOAT
===
NAME: Climbing Up the Golden Stairs
DESCRIPTION: Advice for getting into heaven. The listener is warned against bribing Peter, and is told of the sights on the Golden Stairs. Chorus: "Then hear them bells a-ringing, 'Tis sweet I do declare, To hear the darkies singing, Climbing up the golden stairs."
AUTHOR: unknown (credited on Kanawha Singers recording to "Heiser")
EARLIEST_DATE: 1928 (recordings, Vernon Dalhart et al, Kanawha Singers)
KEYWORDS: religious music Bible clergy
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 301, "Climbin' Up the Golden Stairs" (1 text)
Roud #7779
RECORDINGS:
Vernon Dalhart & Carson J. Robison w. Adelyne Hood, "Climbing up de Golden Stairs" (Conqueror 7176, 1928)
Frank Welling & John McGhee, "Climbing Up the Golden Stairs" (Champion 15567, 1928)
Kanawha Singers, "Climbing Up de Golden Stairs" (Brunswick 205, 1928)
[John Wallace "Babe"] Spangler & [Dave] Pearson, "Climbing Up the Golden Stairs" (OKeh, unissued, 1929)
CROSS_REFERENCES:
cf. "Ridin' on de Cable Car" (tune)
File: R301
===
NAME: Clinch Mountain: see Rye Whiskey AND The Wagoner's Lad (File: R405)
===
NAME: Clipper Ship Dreadnaught, The: see The Dreadnought [Laws D13] (File: LD13)
===
NAME: Clones Murder, The
DESCRIPTION: John Flanagan was murdered after cashing a cheque for fifty pounds. His body was discovered in Clones town eight months later. The suspect is in Armagh gaol. "He who killed John Flanagan With revengence must repay." "God comfort his poor parents"
AUTHOR: unknown
EARLIEST_DATE: 1980 (IRHardySons)
KEYWORDS: homicide prison money
HISTORICAL_REFERENCES: December 22, 1904 - Joseph Fee is executed for the April 16, 1903 murder of John Flanigan (source: Morton-Maguire).
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #2919
RECORDINGS:
Tom Tinneny, "The Clones Murder" (on IRHardySons)
CROSS_REFERENCES:
cf. "Fee and Flannigan" (subject)
File: RcCloMur
===
NAME: Clonmel Flood, The
DESCRIPTION: Sprong, loaded with Indian ale, is caught in a heavy storm in the river Suir, grounds in Duckett Street, and floats in Church Lane. They dump ballast, including Kitty Conroy's pig. They anchor at Hearn's Hotel. The lifeboat crew bring whiskey and stout
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: river commerce ship storm humorous talltale sailor animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 17B, "The Clonmel Flood" (1 text, 1 tune)
Roud #9776
CROSS_REFERENCES:
cf. "The E-ri-e" (theme) and references there
NOTES: Clonmel, South Tipperary, is on the river Suir. - BS
File: OLcM017B
===
NAME: Closet Key, The
DESCRIPTION: "I done lost de closet key, In dem ladies' garden, I done lost de closet key In dem ladies' garden." "Help me find de closet key...." "I done found de closet key...."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: playparty nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 139, "The Closet Key" (1 text, 1 tune)
Roud #11593
CROSS_REFERENCES:
cf. "Do, Do, Pity My Case" (lyrics) and references there
File: ScaNF139
===
NAME: Clothier, The: see Kate and Her Horns [Laws N22] (File: LN22)
===
NAME: Cloudburst, The
DESCRIPTION: "...The worst tropical storm that ever was seen...  struck with force on the mountainside." A little boy begs his parents to flee, but the house comes down around them. When neighbors seek the family, they learn that three of five children have died
AUTHOR: unknown
EARLIEST_DATE: 1935
KEYWORDS: death storm children family disaster
FOUND_IN: US(SE)
REFERENCES: (1 citation)
McNeil-SFB2, pp. 92-93, "The Cloudburst" (1 text, 1 tune)
ST MN2092 (Partial)
Roud #4776
File: MN2092
===
NAME: Cloughmills Fair
DESCRIPTION: The singer is wandering toward Ballylig when he meets a "charming fair one." He asks leave to court her; she tells him she is not interested. He asks if he may walk along with her. She consents; the road is free. Now they are meeting regularly
AUTHOR: Hugh McWilliams (source: Moulden-McWilliams)
EARLIEST_DATE: 1831 (according to Moulden-McWilliams)
KEYWORDS: love courting beauty
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H121, pp. 270-271, "Cloughmills Fair" (1 text, 1 tune)
ADDITIONAL: John Moulden, Songs of Hugh McWilliams, Schoolmaster, 1831 (Portrush,1993), p. 12, "I'll See You in the Fair"
Roud #6921
File: HHH121
===
NAME: Cloughwater/The Shamrock Shore
DESCRIPTION: The singer recalls coming to Philadelphia in May (18)56. He was received by friends, and is "happy and contented," but thinks often of Ireland. He remembers home, friends, family. He hopes to earn enough money to return to Erin
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: emigration homesickness
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H610, p. 208-209, "Cloughwater/The Shamrock Shore" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Scarborough Settler's Lament" (theme) and references there
File: HHH610
===
NAME: Cluck Old Hen
DESCRIPTION: "Cluck old hen, cluck and squall, you ain't laid an egg since way last fall." The exploits (?) of the hen are listed: "She laid eggs for the railroadmen." "The old hen cackled, cackled in the lot. Next time she cackled, she cackled in the pot"
AUTHOR: unknown
EARLIEST_DATE: 1923 (recording, Fiddlin' John Carson)
KEYWORDS: bird humorous nonballad chickens
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Warner 120, "Cluck Old Hen" (1 text, 1 tune)
DT, CLUCKHEN*
ST Wa120 (Full)
Roud #4235
RECORDINGS:
Clarence Ashley & Tex Isley, "Cluck Old Hen" (on Ashley01)
Clarence Ashley, Clint Howard & Doc Watson, "Cluck Old Hen" [instrumental version] (WatsonAshley01)
Banjo Bill Cornett, "Cluck Old Hen" (on MMOK, MMOKCD)
[G. B.] Grayson & [Henry] Whitter, "Cluck Old Hen" (Gennett 6656/Champion 15629, 1928)
Al Hopkins & his Buckle Busters, "Cluck Old Hen" ((Brunswick 175, 1927; on CrowTold02; Vocalion 5179 [as the Hill Billies], 1927; on LostProv)
Vester Jones, "Cluck Old Hen" (on GraysonCarroll1)
Fiddlin' Powers & Family, "Cluck Old Hen" (Edison 52083, 1927; rec. 1925) (CYL: Edison [BA] 5246 [as, "Cluck, Old Hen"], c. 1926)
Wade Ward, "Cluck Old Hen" [instrumental] (on LomaxCD1702)
Wade Ward & Bogtrotters, "Cluck Old Hen" (on Holcomb-Ward1) (AFS, 1937; on WWard1)
CROSS_REFERENCES:
cf. "Hen Cackle" (lyrics)
cf. "Henhouse Door (Who Broke the Lock?)" (floating verses)
cf. "Higgledy Piggledy, My Black Hen" (floating verses)
File: Wa120
===
NAME: Clyde's Water: see The Mother's Malison, or, Clyde's Water [Child 216] (File: C216)
===
NAME: Co Sheinneas an Fhideag Airgid?: see The Silver Whistle (File: K009)
===
NAME: Coachman's Whip
DESCRIPTION: Singer takes a job with young lady who needs a coachman to "drive her in style." He drives her "ten times round the room"; she asks for a look at his whip. He takes her riding, but on the first turn breaks a spring; her maid takes the next ride
AUTHOR: unknown
EARLIEST_DATE: 1957 (Pinto & Rodway, from a Nottingham broadside)
LONG_DESCRIPTION: Singer takes a job as coachman; his employer is a young lady who informs him that she needs a coachman to "drive her in style." He drives her "ten times round the room"; she takes him to the cellar and feeds him whisky, then asks for a look at his whip. After holding it, she says, smiling, that by the look and length of it they could go ten miles. He takes her riding, but on the first turn breaks a spring; she calls for her serving maid, saying that while her spring is being repaired "I'll let him drive you for a while"
KEYWORDS: sex work drink bawdy humorous servant
FOUND_IN: Britain(England(South,West))
REFERENCES: (2 citations)
Kennedy 172, "The Coachman's Whip" (1 text, 1 tune)
DT, COACHMN*
Roud #862
CROSS_REFERENCES:
cf. "The Chandler's Wife" (plot)
cf. "The Farm Servant (Rap-Tap-Tap)" (plot)
cf. "The Jolly Barber Lad" (plot)
ALTERNATE_TITLES:
The Coachman
The Jolly Driver
File: K172
===
NAME: Coal Black Rose
DESCRIPTION: Halyard shanty, Negro origin. "Oh, me Rosie, Coal Black Rose, Don't ye hear the banjo ping-a-pong-a-pong? Oh, me Rosie, Coal Black Rose." Verses mostly nonsense, with a fair amount of onomatopoeia, i.e. "ping-a-pong-a-pong," "dinging an' a dang," etc.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Bullen, _Songs of Sea Labor_)
KEYWORDS: shanty worksong
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, p. 364, "Coal Black Rose" (1 text, 1 tune) [AbEd, p. 274]
Roud #9128
File: Hugi364
===
NAME: Coal Creek Troubles
DESCRIPTION: "My song is founded on the truth, In poverty we stand. How hard the millionaire will crush Upon the laboring man." The governor of Tennessee sends convicts to work the mines of Coal Creek. The miners oppose, but the legislature will not help
AUTHOR: James W. Day ("Jilson Setters")?
EARLIEST_DATE: 1937 (recording, Jilson Setters)
KEYWORDS: mining hardtimes strike political work chaingang
HISTORICAL_REFERENCES: 1891-1892 -- Coal Creek War.
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Thomas-Makin', pp. 192-194, (no title) (1 text)
Green-Miner, p. 155-157, "Coal Creek Troubles" (4 texts, 1 tune)
DT, COALCRK*
RECORDINGS:
Old Charlie,' "Coal Creek Rebellion" (AFS 12012, 1940)
Jilson Setters, [pseud. for James W. Day] "Coal Creek Troubles" (AFS 1017, 1937) [Note: This was Thomas's source. - PJS]
G. D. Vowell, "Coal Creek War" (AFS 1381, 1937)
CROSS_REFERENCES:
cf. "Pay Day at Coal Creek" (subject)
cf. "Buddy Won't You Roll Down the Line" (subject)
NOTES: The Coal Creek War had a long and disturbing history. Conditions at Coal Creek were terrible, as the deaths in 1902 and 1911 disasters show. Beginning in 1877, the state of Tennessee chose to relieve its shortage of prisons by putting miners to work in the Coal Creek mines. Many died, but the owners didn't care; convicts were cheap. At the time, there were enough jobs at other mines, so the miners didn't care much either.
In 1891, things turned ugly as the owners tried to deny the miners the right to choose their own check-weighmen. The miners struck; they were evicted from their homes and more convicts brought in. The miners peacefully freed the convicts and tried to convince governor "Buck" Buchanan to negotiate.
Buchanan made the worst possible choice: Force, but not sufficient force. He gathered a small escort of militia, came to Coal Creek, tried to argue with the miners, was refuted, then departed. He left the militia -- but they were only three companies, not enough to do any good. The miners forced them to surrender.
Buchanan sent more and more troops until the miners finally surrendered in October 1892. Buchanan failed of re-election, and eventually the convict labor system was abolished. - RBW
File: ThBa192
===
NAME: Coal Miner's Child, The: see The Orphan Girl (The Orphan Child) (File: R725)
===
NAME: Coal Miner's Song, The
DESCRIPTION: "Working in the mines, boys, Mighty hard to stand; Lordy, lordy, these old mines Has killed many a man." The singer described the hard work, the bad food, the poverty, the waiting for the whistle, the "Mine boss at the office, Cutting down our pay."
AUTHOR: "Aunt Pricey Preston's Mose"?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: mining hardtimes money nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 247, "The Coal Miner's Song" (1 text)
NOTES: Though Thomas does not list a tune, and does list an author (sort of), this looks to me more traditional than many of the pieces in her book. At the very least, I am sure the tune is traditional.
It appears from her account that the author managed to bring his guitar to work with him in the mines, allowing him to sing it while there. Right. - RBW
File: ThBa247
===
NAME: Coal Owner and the Pitman's Wife, The
DESCRIPTION: "A dialog I'll tell you as true as my life, Between a coal owner and a poor pitman's wife." The woman tells the owner she has come from Hell. They are turning out the poor to make room for "the rich wicked race." She tells him to treat his workers well
AUTHOR: William Hornsby?
EARLIEST_DATE: 1952 (Lloyd, "Come All Ye Bold Miners")
KEYWORDS: dialog worker warning Hell
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
MacColl-Shuttle, pp. 16-17, "The coal owner & the pitman's wife" (1 text, 1 tune)
DT, COALOWNR*
NOTES: The notes in the Digital Tradition say this came from an 1844 strike. It is sung to the Derry Down tune, though the version in MacColl-Shuttle isn't quite the Derry Down tune I know. - RBW
File: MacCS16
===
NAME: Coal Quay Market, The
DESCRIPTION: Singer buys an old flea-ridden chemise at Coal Quay. His wife won't have it. The lady that sold it to him won't take it back and beats him. "Pretty females": don't let a man interfere with your business; if you buy a chemise, buy a new one.
AUTHOR: Jimmy Crowley (source: OCanainn)
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: clothes humorous wife abuse
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 98-99, "The Coal Quay Market" (1 text, 1 tune)
NOTES: OCanainn: "This is one of Jimmy Crowley's best known songs and is very popular with Cork audiences, as it deals with the goings-on at one of the city's best known landmarks - the Coal Quay, between Castle Street and the river. It was traditionally a second-hand market, though you can now get both new and second-hand goods there." - BS
File: OCan098
===
NAME: Coalmine, The
DESCRIPTION: Some men go a Mallore hill to find coal. "In a month's time we'll all be millionaires." They spend a hot day digging but the only thing black they find is a dead crow. They test burn some lumps but it's not coal. "Let the coal and the mine go to hell"
AUTHOR: Tom Molloy (source: McBride)
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: mining humorous moniker
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 17, "The Coalmine" (1 text, 1 tune)
File: McB1017
===
NAME: Coast of Barbary, The: see High Barbaree [Child 285; Laws K33] (File: C285)
===
NAME: Coast of Peru, The [Laws D26]
DESCRIPTION: (The captain promises the sailors that they will spot many whales off Peru.) A whaler spots a whale off the coast of Peru. The crew harpoons the whale and renders it. They look forward to seeing the girls at home
AUTHOR: unknown
EARLIEST_DATE: 1832 (Journal of William Silver of the Bengal)
KEYWORDS: sea whale whaler return
FOUND_IN: US(MA)
REFERENCES: (8 citations)
Laws D26, "The Coast of Peru"
Doerflinger, pp. 151-152, "The Coast of Peru" (1 text)
Huntington-Whalemen, pp. 2-4, "The Coast of Peru" (1 text, 1 tune)
Colcord, pp. 194-195, "Coast of Peru" (1 text, 1 tune)
Harlow, pp. 222-223, "Coast of Peru" (1 text, 1 tune)
Darling-NAS, pp. 185-186, "The Coast of Peru" (1 text)
Silber-FSWB, p. 91, "Coast of Peru" (1 text)
DT 617, CSTPERU*
Roud #1997
CROSS_REFERENCES:
cf. "Blow Ye Winds in the Morning" (floating versesO
NOTES: A.L. Lloyd notes that "Mention of the mate 'in the main chains' dates the song from before the 1840s." -PJS
File: LD26
===
NAME: Coasts of High Barbary, The: see High Barbaree [Child 285; Laws K33] (File: C285)
===
NAME: Coatman's Saloon
DESCRIPTION: The singer meets a young lady. He invites her to Coatman's for ice cream. She orders a steak. She says "her husband had gone to war" but at the ferry her "husband" threatens to shoot him. "The story will be continued in the 'Guardian' next week"
AUTHOR: unknown
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: lie food humorous husband
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 98-99, "Coatman's Saloon" (1 text, 1 tune)
Roud #12450
File: Dib098
===
NAME: Cobalt Song, The
DESCRIPTION: "For we'll sing a little song of Cobalt, If you don't live there it's your fault, Oh you Cobalt where the wintry breezes blow...." The singer describes various bad mining towns, concluding "It's hob-nail boots and a flannel shirt in Cobalt town for mine."
AUTHOR: L. F. Steenman
EARLIEST_DATE: 1910
KEYWORDS: mining home nonballad
HISTORICAL_REFERENCES: 1903 - Discovery of silver in Cobalt, Ontario
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 195-197, "The Cobalt Song" (1 text, 1 tune)
File: FMB195
===
NAME: Cobbler (II), The: see The Shoemaker (File: R566)
===
NAME: Cobbler (III), The
DESCRIPTION: "Walking up and down one day, I peeped in a window over the way. Pushing his needle through and through, There sat a cobbler making a shoe. Rap-a-tap-tap-tap, ticky-tacky-too, This is the way to make a shoe."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 149, "The Cobbler" (1 text)
Roud #15884
NOTES: I have the funny feeling that this is a scrap of a bawdy song, along the lines of "The Shoemaker's Kiss," but the fragment in Brown is clean -- and entirely pointless. - RBW
File: Br3149
===
NAME: Cobbler, Cobbler, Where's My Shoe
DESCRIPTION: "Cobbler, cobbler, mend my shoe, Yes, good master, that I'll do; Here's my awl and wax and thread, And now your shoe is quite mended."
AUTHOR: unknown
EARLIEST_DATE: 1807 (Original Ditties for the Nursery, according to Opie-Oxford2)
KEYWORDS: clothes
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 103, "Cobbler, cobbler, mend my shoe" (1 text)
Baring-Gould-MotherGoose #585, p. 235, "(Cobbler, cobbler, mend my shoe)"
Roud #12749
NOTES: It appears, from Halliwell, that this was a song used to induce children to put on their shoes. - RBW
File: BGMG585
===
NAME: Cobbler, The
DESCRIPTION: The singer, cobbler (Dick Hobson), comes from a questionable family and leads a questionable life. The song may end with an account of how he became free of his "lumpy" wife: I dipped her three times in the river / and carelessly bade her goodnight"
AUTHOR: unknown
EARLIEST_DATE: 1731 (ballad opera, "The Jovial Crew")
KEYWORDS: abandonment rambling bawdy
FOUND_IN: US(MA,MW,NE,So,SW) Britain(England,Scotland(Aber)) Ireland
REFERENCES: (11 citations)
Randolph 102, "Dick German the Cobbler" (1 text plus a fragment, 1 tune)
Randolph/Cohen, pp. 133-135, "Dick German the Cobbler" (1 text, 1 tune -- Randolph's 102A)
Randolph-Legman I, ppp. 516-517, "Dick Darlin' the Cobbler" (2 texts, 1 tune)
Flanders/Olney, pp. 176-177, "Hobson, the Cobbler" (1 text, 1 tune)
Gardner/Chickering 180, "Rusty Old Rover" (1 fragment, probably this piece); also 181, "Me Father Is a Lawyer in England" (2 short texts, 2 tunes, both very mixed; "A" has the first verse of "Me Father Is a Lawyer in England,"; the second is "Me father is a hedger and ditcher, and the third and the chorus are from "The Cobbler"; the "B" text is also clearly mixed though the elements are less clear)
Kennedy 222, "Fagan the Cobbler" (1 text, 1 tune)
Cray, pp. 111-113, "(My Name Is) Dick Darby, the Cobbler" (1 partial text, 1 tune)
MacSeegTrav 42, "My Faither Was Hung for Sheep-Stealing" (1 text, 1 tune)
Gilbert, pp. 78-79, "Dick Darlin'" (1 text)
Chappell/Wooldridge II, pp. 163-164, "Old Hewson the Cobbler" (1 tune with no text, but presumably a version of this)
DT, DICKDARB* DICKDAR2 DICKDAR3
Roud #872
RECORDINGS:
Lawrence Older,  "Jed Hobson" (on LOlder01)
Wickets Richardson & chorus, "Fagan the Cobbler" (on FSB3)
CROSS_REFERENCES:
cf. "My God, How the Money Rolls In"
ALTERNATE_TITLES:
Dick Darby, the Cobbler
NOTES: Chappell/Wooldridge report "The words of this song have not been recovered; but there can be little doubt that they were a political satire upon Colonel Hewson, who was one of Charles I's judges, and of those who signed his death-warrant.
"John Hewson was originally a cobbler, and had but one eye. He took up arms on the side of the parliament.... He was knighted by Cromwell, and afterwards made one of his Lords. He quitted England immediately before the Restoration, and died at Amsterdam in 1662."
The above may be taken with as many grains of salt as you desire.
This clearly circulated in both clean and dirty versions, and all shades in between (e.g. in the Flanders/Olney version, the third line reads, "They call me an old fornicator," but the rest is clean).
For one of the more extreme versions, see "Haben a Boo and a Banner" (DT DICKDAR3) - RBW
File: R102
===
NAME: Cobbler's Boy, The: see The Shoemaker (File: R566)
===
NAME: Coble o Cargill, The [Child 242]
DESCRIPTION: Davie Drummond o Cargill has a bed waiting for him in Balathy, another in Kercock. But one of the women "bored the coble (boat) in seven pairts," and it sinks as he tries to cross the Tay. He regrets his death; the song ends with repetitions of same
AUTHOR: unknown
EARLIEST_DATE: 1875
KEYWORDS: jealousy death drowning infidelity homicide
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Child 242, "The Coble o Cargill" (1 text)
Roud #4021
NOTES: Child reports a legend that Drummond was killed because one of his lovers suspected infidelity when he failed to visit her when he had opportunity. But he points out that such legends often grew up about ballads.
The song has very little plot, and that rather smothered in the repetitions at the end (of what sort of man Drummond was, and of how he drowned). It is not surprising that it did not flourish in tradition. - RBW
File: C242
===
NAME: Cocaine (The Furniture Man)
DESCRIPTION: "I've got a gal in the white folks' yard...she brings me meal, she brings me lard." Refrain: "Here comes Sal with her nose all sore/Doctor said she can't smell no more...." The furniture man looks for the singer's wife, repossesses all of his belongings
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Luke Jordan)
LONG_DESCRIPTION: Confused, floating verses; "I've got a gal in the white folks' yard...she brings me meal, she brings me lard." Occasional refrain: "Here comes Sal with her nose all sore/Doctor said she couldn't smell no more...I'm simply wild about my good cocaine." The furniture man comes to singer's house looking for his wife, repossesses all of his belongings
KEYWORDS: drugs hardtimes floatingverses
FOUND_IN: US(Ap, SE)
REFERENCES: (0 citations)
RECORDINGS:
Luke Jordan, "Cocaine Blues" (Victor 21076, 1927)
Dick Justice, "Cocaine" (Brunswick 395, 1929; on RoughWays2)
CROSS_REFERENCES:
cf. "Cocaine Blues (I)" (subject) and references there
cf. "Ain't No Use Workin' So Hard" (lyrics)
NOTES: This song clearly exists in both Anglo- and African-American traditions; just as clearly, Justice's performance was derived from Jordan's. The narrative is extremely confused, but (barely) sufficient to class it as a ballad. - PJS
File: RcCo
===
NAME: Cocaine Bill and Morphine Sue
DESCRIPTION: "Cocaine Bill and Morphine Sue, Strolling down the avenue two by two," decide that a shot will do them no harm. They try to find cocaine, though it is no longer sold in the stores. Now they are dead and buried; no one knows where they went
AUTHOR: unknown
EARLIEST_DATE: 1959 (recording, anonymous singers)
KEYWORDS: drugs death
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Silber-FSWB, p. 75, "Cocaine Bill and Morphine Sue" (1 text)
Roud #4790
RECORDINGS:
Anonymous singers, "Cocaine Bill and Morphine Sue" (on Unexp1)
CROSS_REFERENCES:
cf. "Cocaine Blues (I)" (subject) and references there
NOTES: Cocaine was outlawed in the early part of this [the twentieth] century, which is probably why Bill and Sue couldn't get it at the drugstore.
This is clearly related to the cross-referenced pieces, but it includes more narrative than "Cocaine Blues", and lacks the "drug-afflicted possessions" so characteristic of  "Cocaine Lil". I call it a separate song. - PJS
This is clearly so; even if it arose from one of the other cocaine songs (all of which have a certain sameness), it has gone its own way. - RBW
File: FSWB075A
===
NAME: Cocaine Blues (I)
DESCRIPTION: "Yonder comes my baby all dressed in blue, Hey, baby, what you gonna do? Cocaine all around my brain." "Hey, baby, won't you come here quick, This old cocaine is makin' me sick." "Yonder comes my baby all dressed in white, Hey... gonna stay all night?"
AUTHOR: unknown
EARLIEST_DATE: c. 1961 (recording, Dave Van Ronk)
KEYWORDS: drugs sex
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 76, "Cocaine Blues" (1 text)
CROSS_REFERENCES:
cf. "Cocaine Lil" (theme, lyrics)
cf. "Take a Whiff on Me" (lyrics, chorus)
cf. "Cocaine (The Furniture Man)" (subject)
cf. "Cocaine Bill and Morphine Sue" (subject)
File: FSWB076B
===
NAME: Cocaine Lil
DESCRIPTION: Cocaine Lil "lived in Cocaine town on Cocaine Hill, She had a cocaine dog and a cocaine cat..." and other equally drug-afflicted possessions. One night, after a party, she "took another sniff and it knocked her dead"; her tombstone testifies to her habit
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: drugs death party burial
FOUND_IN: US
REFERENCES: (3 citations)
PBB 114, "Cocaine Lil and Morphine Sue" (1 text)
Sandburg, p. 206, "Cocaine Lil" (1 text, tune referenced)
DT, COKELIL
Roud #9543
CROSS_REFERENCES:
cf. "Willy the Weeper" (tune)
cf. "Cocaine Blues (I)" (subject) and references there
File: PBB114
===
NAME: Cock Robin: see Who Killed Cock Robin? (File: SKE74)
===
NAME: Cock Your Beaver
DESCRIPTION: "When first my Jamie he came to the town, He had a blue bonnet, a hole in the crown, But now he has gotten a hat and a feather: Hey, Jamie lad, cock your beaver." Jamie now has"gold behind" and "gold afore," and is urged to show it proudly
AUTHOR: unknown
EARLIEST_DATE: 1946 (Montgomerie); probably before 1776 (Herd)
KEYWORDS: clothes money
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 112, "(When first my Jamie he came to the town)" (1 text)
Roud #8257
File: MSNR112
===
NAME: Cock-Fight, The
DESCRIPTION: Description of a cock-fight, wherein the grey defeats the charcoal-black, to the delight of the singer.
AUTHOR: unknown
EARLIEST_DATE: 1905
KEYWORDS: fight bird gambling sports chickens
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Vaughan Williams/Lloyd, p. 27, "The Cock-Fight (The Bonny Grey)" (1 text, 1 tune)
Roud #211
BROADSIDES:
Bodleian, Firth c.19(37) view 1, "The Bonnie Gray," unknown, n.d.
CROSS_REFERENCES:
cf. "The Wednesbury Cocking" (theme)
cf. "The Follom Brown-Red" (theme)
cf. "The Kildallan Brown Red" (theme)
File: VWL027
===
NAME: Cock, The: see Night Visiting Song (File: DTnitevi)
===
NAME: Cockies of Bungaree, The
DESCRIPTION: The unemployed worker takes a job clearing for a cocky at Bungaree. He finds that the working conditions are miserable, and the cocky expects him to be at work before dawn. (Within days the singer concludes that anything is better than this, and quits)
AUTHOR: unknown
EARLIEST_DATE: 1957
KEYWORDS: unemployment work farming Australia
FOUND_IN: Australia
REFERENCES: (4 citations)
Fahey-Eureka, pp. 128-129, "The Cockies of Bungaree" (1 text, 1 tune)
Manifold-PASB, pp. 104-105, "The Cockies of Bungaree" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 264-266, "Cockies of Bungaree" (1 text)
DT, COCKBUNG* COCKBUN2*
RECORDINGS:
John Greenway, "The Cockies of Bungaree" (on JGreenway01)
A. L. Lloyd, "The Cockies of Bungaree" (on Lloyd3, Lloyd8) (Lloyd4, Lloyd8)
CROSS_REFERENCES:
cf. "The Stringybark Cockatoo" (plot, lyrics)
cf. "Rhynie" (theme)
NOTES: A "cocky" is a farmer who owns land so poor that it can't raise anything but cockatoos. Bungaree, a short way north of Melbourne, lies within a large area of such poor land. (Even in the settled parts of Australia, the majority of the land is very bad.) - RBW
File: FaE128
===
NAME: Cockledemoy (The French Invasion)
DESCRIPTION:  A cock on a dung hill sees a bull he wants to kill. He raises a navy and impresses ducks for a crew. He would lead the attack but his hen fears he'd be killed. His courage fails and he stays home but sends the ducks to fight John Bull.
AUTHOR: William Ball (source: Moylan)
EARLIEST_DATE: "shortly after 1798" (according to Moylan)
KEYWORDS: war chickens animal humorous
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 31, "Cockledemoy" or "The French Invasion" (1 text, 1 tune)
NOTES: Moylan: "The Cock is France, or perhaps Napoleon, and the Bull is England." - BS
The meaning depends much on the exact dating of the song, I think. After General Hoche's invasion of Ireland failed (for which see, e.g., "The Shan Van Vogt"), Napoleon twice contemplated amphibious action against Britain. In 1798, he considered invading Ireland -- but instead went to Egypt, leaving only a few ships and soldiers to sail for Ireland; they arrived after the 1798 rebellion had failed and accomplished very little.
In 1804-1805, Napoleon went for bigger things: He was going to invade England itself, and built up his forces dramatically. But then he headed east to fight the Third Coalition, leaving his fleet to be beaten at Trafalgar.
Either dating fits the events in the song, obviously, but all those impresseed ducks sound more like the inexperienced French navy of Trafalgar. The navy of 1798 wasn't any better, but it didn't send so many involuntary sailors to Ireland.
William Ball was a writer of humorous verse about Irish history; in this index, see "Cockledemoy (The French Invasion)," "Do as They Do in France," "The Dying Rebel," and "Faithless Boney (The Croppies' Complaint)" -- though he doesn't seem to have made much impression on the wider world of literature; I have been unable to find any of his writings in any of my literary references. - RBW
File: Moyl031
===
NAME: Cockles and Mussels: see Molly Malone (File: FSWB124B)
===
NAME: Cocky Robin: see Who Killed Cock Robin? (File: SKE74)
===
NAME: Cod Banging
DESCRIPTION: A fisherman remembers encountering a big barque and surviving the fight. Now the crowd meets them at Harwich pier to crack cod fish skulls. He concedes he may not have "got it complete 'Cause I've only been in the trade about a week"
AUTHOR: unknown
EARLIEST_DATE: 1972 (recording, Bob Hart)
KEYWORDS: battle fishing sea ship humorous talltale
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1747
RECORDINGS:
Bob Hart, "Cod Banging" (on Voice02)
NOTES: Harwich is an East Anglia port about 65 miles from London. - BS 
File: RcCodBan
===
NAME: Cod Fish Song
DESCRIPTION: A man brings home a "cod fish," and places it in the chamberpot for safekeeping. When his wife goes to relieve herself, the codfish jumps up her "you-know-what." Husband and wife chase the fish around the room, and kill it with a broom.
AUTHOR: Oscar Brand has claimed a copyright on this version of "The Sea Crab."
EARLIEST_DATE: c. 1955
KEYWORDS: animal bawdy humorous husband wife
FOUND_IN: US(Ap) Britain(England(South)) Ireland
REFERENCES: (2 citations)
Cray, pp. 5-6, "Cod Fish Song" (1 text)
Copper-SoBreeze, pp. 288-289, "Little Fisherman" (1 text, 1 tune)
Roud #149
RECORDINGS:
Nora Cleary, "The Codfish" (on Voice07)
CROSS_REFERENCES:
cf. "The Sea Crab"
File: EM005
===
NAME: Cod Liver Oil
DESCRIPTION: Singer complains of having married a sickly wife. After he introduces her to cod liver oil, she goes wild for it, demanding it all the time. He warns young men to avoid sickly women, or they'll "end up a-swimmin' in cod liver oil!"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: disease marriage medicine humorous doctor
FOUND_IN: US Ireland Canada(Newf)
REFERENCES: (6 citations)
Greenleaf/Mansfield 155, "Cod Liver Oil Song" (1 text)
Peacock, pp. 48-49, "Cod-Liver Oil" (1 text, 1 tune)
Blondahl, p. 28, "Cod-Liver Oil" (1 text, 1 tune)
OLochlainn-More 30, "The Cod Liver Oil" (1 text, 1 tune)
Silber-FSWB, p. 169 "Cod Liver Oil" (1 text)
DT, CODLIVR*
Roud #4221
RECORDINGS:
Omar Blondahl, "Cod Liver Oil Song" (on NFOBlondahl02); "Cod Liver Oil" (on NFOBlondahl03)
Flanagan Brothers, "Cod Liver Oil" (Vocalion 84010, n.d.)
BROADSIDES:
Bodleian, Firth b.34(89), "Dr. de Jongh's Cod Liver Oil ," unknown, n.d.
CROSS_REFERENCES:
cf. "The Fair Do" (tune)
cf. "The Quilty Burning" (tune)
cf. "The Half Crown" (tune)
ALTERNATE_TITLES:
Cod Liver Ile
NOTES: Cod liver oil, which contains Vitamin D in quantity, was touted as a cure-all in the 19th and early 20th centuries -- indeed, it was still being given to gagging children when I was growing up in the 1950s. - PJS
The theme is not very different from that of "The Dumb Wife" [Laws Q5], in which a man, to his eventual sorrow, goes to a doctor -- sometimes named John -- to cure his otherwise perfect wife of her inability to speak.
Newfoundland authorship attribution is not always to be treated as gospel. Blondahl notes "there are several popular versions of Cod-Liver Oil, the original to be credited to John Burke." Burke (1851-1930) is a very well known author of songs in Newfoundland. In Blondahl's version the potion comes from "dear Doctor John" and not Doctor de [or D.E.] Jongh. If Burke is indeed the author his work made its way to Ireland. - BS
File: FSWB169A
===
NAME: Cod Liver Oil Song: see Cod Liver Oil (File: FSWB169A)
===
NAME: Cod-Liver Oil: see Cod Liver Oil (File: FSWB169A)
===
NAME: Codfish Shanty, The: see Cape Cod Girls (File: LoF023)
===
NAME: Coffee Grows (Four in the Middle)
DESCRIPTION: Playparty in two or three parts: "Coffee grows on white oak tree, The river flows with brandy o'er, Go choose someone to roam with you...." "Four in the middle, you can't get around..." (may have more verses) "Railroad, steamboat, river, and canal..."
AUTHOR: unknown
EARLIEST_DATE: 1914 (JAFL 27)
KEYWORDS: playparty courting nonballad love train drink
FOUND_IN: US(MW,SE,So)
REFERENCES: (6 citations)
Randolph 524, "Four in the Middle" (1 text plus 8 excerpts and/or fragments, 1 tune)
BrownIII 78, "Coffee Grows on White Oak Trees" (7 texts plus 1 excerpt and mention of 1 more, but almost all mixed --  all except "H" have the "Coffee grows" stanza, but "A" also has verses from "Fly Around, My Pretty Little Miss"; "and "C" through "H" are mostly "Little Pink"; "B" is mixed with "Raccoon" or some such)
Hudson 154, p. 301, "Coffee Grows on White-Oak Trees" (1 short text); also 85, p. 212, "Going to the Mexican War" (1 fragment, with the "Knapsack on my Shoulder" text and also the "Coffee Grows" stanza)
Scarborough-NegroFS, pp. 105-106, "Hold My Mule" (1 text, 1 tune, which Scarborough implies is a "Jim Along, Josie" by-blow but which appears to be built on the "Four in the Middle" segment of this song)
Lomax-FSUSA 31, "Coffee Grows on White Oak Trees" (1 text, 1 tune)
DT, RAGECANL*
Roud #735
CROSS_REFERENCES:
cf. "Bheir Me O" (melody has same first lines as "Coffee Grows")
cf. "Fly Around, My Pretty Little Miss" (floating lyrics)
ALTERNATE_TITLES:
The Raging Canal
File: R524
===
NAME: Coffee Grows on White Oak Trees: see Coffee Grows (Four in the Middle) (File: R524)
===
NAME: Cogie o' Yill, A
DESCRIPTION: "A cogie o' yill (ale), and a pickle ait meal, And a daintie wee drappie o' whiskey Was our forefathers' dose...." The singer praises the martial exploits of the Scots, and their diet, concluding, "Then hey for the whisky, and hey for the meal...."
AUTHOR: Andrew Sherriffs ?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: drink food patriotic Scotland nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 329-330, "A Cogie o' Yill" (1 text)
Roud #6316
File: FBS329
===
NAME: Cold and Raw: see Mowing the Barley (Cold and Raw) (File: ShH60)
===
NAME: Cold Black River Stream, The
DESCRIPTION: A young man (Corkery) goes to work on McCormick's drive on the Black River even though his family begs him to stay at home. In the course of his work, he jumps from a log into the stream and, because he cannot swim, drowns
AUTHOR: unknown
EARLIEST_DATE: 1957 (Fowke)
KEYWORDS: logger death drowning
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #41, "The Cold Black River Stream" (2 texts, 1 tune)
Roud #3679
File: FowL41
===
NAME: Cold Blow and a Rainy Night: see Let Me In This Ae Nicht (File: DTaenich)
===
NAME: Cold Blows the Wind: see The Unquiet Grave [Child 78] (File: C078)
===
NAME: Cold Frosty Morning: see On a Cold Frosty Morning (File: R283)
===
NAME: Cold Haily Windy Night: see Let Me In This Ae Nicht (File: DTaenich)
===
NAME: Cold Mountains
DESCRIPTION: "Cold mountains here are all around me, Cold waters gliding down the stream; Oft in my sleep I think I find her But when I wake it's all a dream." The singer seeks his love, who is gone or has rejected him or is left behind at home; he bids her farewell
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love separation farewell
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 277, "Cold Mountains" (1 text)
Roud #16858
File: Br3277
===
NAME: Cold Water Song
DESCRIPTION: "I asked a sweet robin one evening in May" what he sang about. "I am only a-singing the cold water song. Teetotal's the very first word of my lay ... All the birds to the cold water army belong"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: drink lullaby bird
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 82, "Cold Water Song" (1 text, 1 tune)
ST CrSNB082 (Partial)
Roud #2767
NOTES: Creighton-SNewBrunswick states that this song has been collected twice in the Maritimes as a lullaby, which is an interesting end for an anti-alcohol song. Creighton thinks it comes from Britain. - BS
File: CrSNB082
===
NAME: Cold Winter is Coming: see Remember the Poor (File: Wa161)
===
NAME: Cold Winter Night: see Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove) (File: Wa097)
===
NAME: Cole Younger [Laws E3]
DESCRIPTION: Cole Younger tells of his career as a robber, first with his brother Bob and then as part of the James Gang. His career ends when the gang tries to rob the bank in Northfield, MN. Though the Jameses escape, the robbery fails and Cole is captured
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax, Cowboy Songs)
KEYWORDS: outlaw robbery prison punishment
HISTORICAL_REFERENCES: 1876 - The raid by the James Gang and the Younger Brothers on the Northfield Bank
1903 - Cole Younger released from prison (despite being sentenced to life for murder)
1916 - Death of Cole Younger
FOUND_IN: US(MA,MW,So,SW)
REFERENCES: (12 citations)
Laws E3, "Cole Younger"
Cohen-LSRail, pp. 117-121, "Cole Younger" (1 text plus an excerpt, 1 tune)
Randolph 131, "Cole Younger" (3 texts plus an excerpt, 3 tunes)
Randolph/Cohen, pp. 143-146, "Cole Younger" (1 text, 1 tune -- Randolph's 131A)
Warner 38, "Cole Younger" (1 text, 1 tune)
Lomax-FSNA 182, "Cole Younger" (1 text, 1 tune)
Asch/Dunson/Raim, p. 46 "Bandit Cole Younger" (1 text, 1 tune)
Fife-Cowboy/West 94, "Cole Younger" (1 text, 1 tune)
Ohrlin-HBT 59, "Cole Younger" (1 text, 1 tune)
Darling-NAS, pp. 188-190, "Cole Younger" (1 text)
Silber-FSWB, p. 204, "Cole Younger" (1 text)
DT 356, COLEYNGR
Roud #2243
RECORDINGS:
Dock Boggs, "Cole Younger" (on Boggs2, BoggsCD1)
Edward L. Crain, "Bandit Cole Younger" ((Columbia 15710-D, 1932; rec. 1931; on AAFM1, WhenIWas1) (Conqueror 8010 [as Cowboy Ed Crane], 1932; rec. 1931)
Warde Ford, "Cole Younger" (AFS 4197 B2, 1938; tr.; in AMMEM/Cowell)
Oscar Gilbert, "Cole Younger" (on LomaxCD1705)
Glenn Ohrlin, "Cole Younger" (on Ohrlin01)
Marc Williams, "Cole Younger" (Brunswick 544, c. 1930)
CROSS_REFERENCES:
cf. "Jesse James (I)" (characters)
cf. "Jesse James (III)" (characters and historical background)
NOTES: Henry Washington Younger was the father of quite a brood: Fourteen children in all (O'Neal, p. 346, etc. For references, see the bibliography at the end of this note). Four of these children would eventually become outlaws: Thomas Coleman ("Cole"), the seventh child, 1844-1916; James ("Jim"), 1848-1902; John, 1851-1874; and Robert ("Bob"), 1853-1889.
Born in Cass County, Missouri; the Youngers came of a good family; both their father and their grandfather were referred to as judges (Yeatman, p. 115) -- though Croy, p. 4, notes that "judge" in this context does not mean what we think it does; it was more nearly equivalent to the modern term "Commisioner." Wellman, p. 56, says that people also called Henry Washington Younger "Colonel," but admits that the title was probably honorary. Despite being a slaveholder, he was a Unionist during the Civil War (Croy, p. 6), but even so, he was killed and his property heavily damaged by Union forces (Croy, p. 17; Wellman, pp. 56-58).
According to Yeatman, "If anyone ever had even a remote excuse for outlawry, or any claim to anything close to a Robin Hood title, [the Younger brothers] did." (Hence, perhaps, the stanza in some versions, "And then we started for Texas, where brother Bob did say, That on fast horses we must ride in revenge of our father's day... And we'll fight them anti-guerillas until our dying day.") Croy, pp. 16-17, tells how the patriarch, Judge H. W. Younger, was robbed and killed during the war.
Cole had seemingly been a good student in his early years, and not given to trouble (Croy, p. 5). But the conflict on the Kansas-Missouri border apparently changed him, and the Civil War in Missourie made it worse. He was the first of the family to join the Confederate forces; Croy, pp. 11-12, says he joined Sterling Price's militia on July 5, 1861 (for Price, see "Sterling Price"). He joined the Quantrill raiders (for whom see "Charlie Quantrell," etc.) somewhat later, perhaps October 1861 (Croy, p. 12) or early 1862 (Settle, p. 23); he presumably first  met Frank James in that company.
Accordingto Croy, p. 12, he killed his first man on November 10, 1861.
Eventually a large part of the Quantrill force broke up to follow other leaders, of whom "Bloody Bill" Anderson was the most important. Finally, in August 1862, Cole joined the regular Confederate forces (Croy, p. 17), and was part of the rather silly Confederate probe into New Mexico; Cole ended the war in California (Settle, p. 26). By that time brother Jim had also become a guerrilla (Settle, p. 23).
It was some time in the mid-1860s that Cole Younger had whatever relationship he had with "Belle Starr" (Mira Belle Shirley). O'Neal and others say that they met in 1863, but Wellman, p. 75, dates their serious relationship to 1866. Croy, pp. 58-60, even describes some of their conversations of this period. What is certain is that the teenage Belle had a daughter, whom she called Pearl Younger. But what really happened is almost impossible to know -- the only real witnesses were Belle and Cole, and neither one had much reputation for truth-telling, and neither had much reason to be truthful in this case, either. All Settle will admit, e.g. (p. 212) is that Cole admitted to knowing Belle. Fortunately, the issue need not detain us.
After the war, Cole was the first of the brothers to be regarded as an outlaw, though there seems to be no absolute proof of his criminal behavior at the time. (Wellman, p. 65, says that the Youngers and the Jameses turned to robbery within seven months of the end of the war. But he offers no evidence of this. It sounds as if he has it from newspapers of 1874, which were blaming all available unsolved robberies on the James/Younger gang. Wellman on the same page says that the Jameses and Youngers were first cousins, which none of the more serious biographies support.) John Younger was the first to be directly involved with the law; he killed a Texas sheriff in 1871, and was killed in a shootout with the Pinkertons on March 17, 1874; two Pinkertons died in the process (Yeatman, p. 116). From then on, there is no question but that the surviving Youngers were bandits during their brief careers before the Northfield robbery -- though Wellmann, p. 99, describes them as acting like model citizens and singing in a Dallas church choir.
Although I know of no Minnesota version of this song, the Northfield Bank incident is one of the most celebrated events in Minnesota folklore, and is still commemorated today. Northfield, about forty miles south of the Twin Cities, was and remains a quiet college town; this is the Big Event in town history.
Although a few people claim there were nine outlaws (Huntington, p. 1), the overwhelming weight of evidence indicates that eight men involved in the September 7, 1876  robbery: Charlie Pitts (the name he was using at this time; his birth name was apparently Samuel Wells; O'Neil, pp. 336-337), Bill Stiles, Clell Miller, the three surviving Youngers (Cole, Bob, and Jim), and Frank and Jesse James (Yeatman, pp. 172-175; the description of the robbery below is also mostly from his pages except as noted. It should be mentioned that details are somewhat incomplete; Huntington, p. 11, observes that eyewitnesses did not tell a completely onsistent tale).
Many of the details of the song are accurate; others are wrong. Some texts refer to the "God-forsaken country" of Minnesota. Some of us like it -- but this may be a reference to conditions in 1877. According to Yeatman, p. 170, much of western Minnesota was plagued by locusts in that year, causing severe distress. The James/Younger gang may even have decided against robbing the bank in Mankato (a larger, and presumably richer, town) due to the harsh conditions --though Huntington, pp. 6-7, claims that they were actually about to start the robbery when a large crowd showed up and made then decide not to continue. 
They definitely did not understand local conditions, though -- before the robbery, they apparently tried to bet the restaurant owner that Minnesota would vote Democratic in 1876 (Wellman, p. 101). In fact, Minnesota *never* voted Democratic until it voted for Franklin Roosevelt in 1932! (After which it flipped completely; from 1932 to 2004, it voted Democratic in every election except 1952, 1956, and 1972.) Somewhere in there, the bandits may have picked up a heavy load of booze as well (see Settle, p. 95, where Cole Younger describes how they got drunk). The robbers in the bank apparently smelled of alcohol, and they certainly were incompetent in their behavior -- it makes you wonder how they had managed to get away with so much in Missouri.
"We stationed out our pickets" and "We are the noted Younger boys": of the eight robbers, only three -- Yeatman thinks it was Charlie Pitts, Bob Younger, and one of the James Boys, and Huntington, p. 13, gives the same list -- went inside. (Brant, p. 178, lists the men inside as Bob Younger and Frank and Jesse James; this apparently came from an 1897 report by Cole Younger, but Brant does not give enough information to trace his source. Wellman suggest it was Pitts, Bob Younger, and Jesse James. Whoever it was that entered the bank, they certainly did not proclaim their identities; for years the Youngers and the Jameses had been vary careful not to admit who they were.) Two robbers -- Cole Younger and Clell Miller -- stayed outside the door to stop anyone who might try to get in. Three more were posted at a greater distance.
Huntington, p. 17, reports that the bank was being reconstructed, so the employees were in "temporary quarters," more vulnerable than they would ordinarily have been. It did not prevent them from resistance.
The first trouble came when one J. S. Allen tried to enter the bank. Miller stopped him from getting in -- but Allen managed to escape around the corner of the building and raised an alarm. Huntington, p. 25, notes that it was prairie chicken season, and many of the town's best hunters were out in the field, but within minutes, the townfolk were arming themselves and fighting back; the whole robbery and gunfight, according to Huntington, p. 38, lasted but seven minutes.
"The cashier being brave and bold denied our noted band; Jesse James fired the shot that killed that noble man" and "in vain we sought the money drawer while the battle raged outside": There were three employees in the bank when the robbers entered: Teller Alonzo Bunker, acting cashier Joseph Lee Heywood, and assistant bookkeeper Frank J. Wilcox. They seem mostly to have played dumb -- e.g. claiming they couldn't unlock the safe (which apparently was literally true, since it was already unlocked). Cashier Heywood apparently smashed Frank James's arm in the safe (Brant, p. 179, but this from a source that, by its publication date alone, *cannot* have had reliable information).
The robbers proceeded to fumble around, missing not only the safe but the money drawer; their final take was reported to be $26.70. Bunker tried to flee and was shot in the shoulder.
Meanwhile, the townsfolk, having been warned, were starting to fight back. Few were armed, but enough managed to scrape up weapons that it was clear the robbers had to flee. As the inside crew left the bank, one of the robbers shot Heywood in the head after slashing his throat (Settle, p. 92; Huntington, p.41, etc. does not mention the throat-slashing). It seems to have been generally assumed that Jesse was the guilty party; he was pretty definitely the most violent of the gang. There was no reliable eyewitness testimony; Huntington, p. 24, merely said it was one of the robbers, unidentified. On the other hand, Cole Younger -- the last survivor of the Northfield raid -- would report, two days before his death on March 21, 1916, that it was Frank James who fired the fatal shot. To be sure, this was forty years later and Cole was dying -- and he wasn't inside.
A Swedish immigrant, Nicolas Gustavson, was killed outside the bank when he failed to understand (English-language) orders to clear the street (Settle, p. 92; Huntington, p. 16), with O'Neal blaming his death specifically on Cole (p. 348); several other Northfield residents were wounded.
By the time the gang fled town, two of them (Clell Miller and Bill Stiles, their primary guide) were dead, and Cole Younger had a hip wound plus some minor injuries from buckshot, while Bob Younger had been hit in the arm, nearly disabling him. They had also lost some horses, which handicapped them significantly; they ended up stealing various animals, but at least one was a plow horse and not much help (Yeatman, p. 177; Huntington, pp. 48-49 describes two unusable horses they requisitioned). In addition, Bob Younger had lost so much blood that he fainted in Shieldsville; they had to stop to have him attended to (p. 178), costing them more time. They finally decided to proceed on foot.
On September 13, near Mankato, the gang split up -- O'Neal, p. 348, says that Jesse wanted to abandon or kill Bob Younger, who could not move quickly (cf. Settle, p. 95). The other Youngers, who had wounds of their own, refused, so instead of abandoning Bob, they split into two groups. Charlie Pitts and the three Youngers formed one party; Frank and Jesse proceeded on their own. (The hope may have been that the fast-moving Jameses would lead the authorities away from the slower Younger party. It worked for a time -- Huntington, pp. 60-61, says that everyone went off after the Jameses, and thought the whole gang had escaped when they vanished into South Dakota -- but only for a time.) A romantic youngster near Madelia, Minnesota encountered them, was sure he had seen the robbers, and hurried off to tell the authorities (Huntington, pp. 64-65)
On September 21, a posse caught up with the Younger party at Hanska Slough near Madelia (the fact that they had gotten only that far -- Madelia is only 25 miles from Mankato -- shows how lost and hungry and hurt they were). In the shootout, three members of the posse were very lightly injured (Huntington, pp. 70-71). But the robbers were hit hard. Pitts was killed; Jim Younger lost several teeth to a bullet (Croy, p. 129, say that a doctor, working on his facial wound, extracted a section of his jaw with two teeth attached; Settle, p. 163, notes that he would live mostly on liquids for the rest of his life), and Cole Younger added more buckshot wounds to his collection (according to O'Neal, p. 348, he had eleven wounds, Jim five, and Bob four). According to Yeatman, p. 182, Cole wanted to fight on, but Bob talked him out of it; in Huntington's account (p. 71), only Bob was even able to stand up to surrender.
They apparently became celebrity prisoners (Trenerry, p. 95), but that didn't keep them from being charged. According to Huntington, p. 77, all three were charged as accessories in the murder of Heywood, with attacking Bunker with intent to do great bodily harm, and with robbery of the Northfield Bank. Cole Younger was charged with the murder of Gustavson, and the others as accessories.  I'm not sure that any of these could have been proved, but they obviously were guilty of shooting it out with the police, which was problem enough.
Minnesota, as of this writing, has managed to resist the urge to reinstate the death penalty for those too poor or too non-white to have fancy lawyers. In 1876, it *did* have the death penalty -- but under a law of 1868 it required that a jury apply the penalty, not a judge. This law had never been fully tested in the courts, but it was widely interpreted to mean that a defendant who pled guilty to murder could not be hanged (Trenerry, p. 100). So the Youngers, rather than risk the gallows, formally pled guilty to sundry charges on December 11 (Settle, p. 94; Yeatman, p. 191), and were sentenced to life imprisonment (Huntington, p. 78).
Cole and Bob Younger became model prisoners. Jim Younger, always moody and now suffering from a speeh impediment and an inability to eat solid foods due to his wounds, was perhaps not quite such a good inmate. But many thought they had earned release, including two of Minnesota's most important political figures, Alexander Ramsey and Henry Sibley (Huntington, pp. xx-xi). Then Bob Younger died in prison of tuberculosis in 1889. That made the pressure even greater; a law known formally as the "Deming Bill" and informally as the "Younger Act" was passed allowing parole for those who were serving life sentences (Huntington, p. xxiii). Jim and Cole were given parole and set free in 1901, a quarter century after their sentencing.
Upon his release, Jim fell in love with a girl half his age, but his parole did not permit him to marry (Settle, pp. 162-163). Nor could he work most jobs, because his signature, as a convicted felon, did not carry legal weight (Huntington, p. xxv). The girl involved petitioned the governor that he be pardoned (Trenerry, pp. 104-105), but this was denied. Jim shot himself on October 19, 1902, declaring himself in his suicide note a Socialist and supporter of women's rights (Huntington, p. xxv)
In reaction to Jim's death, Cole -- who up to that point had been working as a tombstone salesman -- was given a conditional pardon on the condition that he never return to Minnesota (Trenerry, p. 105); he went on to open a Wild West Show with Frank James. That was rather a disaster (see the notes to "Jesse James (III)" for a general history of the James family, including that show), and brought him some condemnation for taking such a large part (Huntington, p. xxvi), but Cole from 1905 to 1908 ran Cole Younger's Coliseum, which was a more sedate exhibition of guns, saddles, and other gear. He also wrote an autobiography (though this is widely regarded as being not very accurate). He finally died in 1916, the last survivor of the Northfield robbers.
A recent find of a prison journal from the period around 1880 (soon to be displayed by the Minnesota Historical Society) lists the brothers as frequently sick in prison, but Cole Younger did found a prison newsletter. The Stillwater area is still the home of one of Minnesota's leading prisons, too; I guess things don't change much in Minnesota. Though the town of Stillwater is now more noteworthy for its site on the St. Croix river, and the actual site of the old Stillwater prison was burned in 2002 in an act of vandalism).
It took the town of Northfield many years to decide that Jesse James and Cole Younger were part of its heritage. For many years it resisted attempts to put up a monument to the Great Robbery, preferring to point out its rich contribution to education (it is home to Carleton and St. Olaf Colleges, the former in particular noted for its extremely strict standards). Not until 1947 did the town start celebrating the anniversary of the robbery (Huntington, p. xxx) -- though now, sixty years later, it has become the biggest day in the town calendar.
>>*BIBLIOGRAPHY*<<
In writing this summary, in addition to the material gleaned from local newspapers, I have heavily consulted the following works:
Brant: Marley Brant, _Jesse James: The Man and the Myth_, 1998. Despite its title, which might seem to indicate scholarly caution, this book strikes me as incredibly credulous, taking as certain many things where the sources conflict, and often relying on the less reliable sources. It also has a very clear sympathy with any Confederate Good Ol' Boys who just might be terrorists on the side. I have been cautious in using it except where it coincides with information in other books. (Frankly, I eventually started checking the index rather than finish reading the thing).
Croy: Homer Croy, _Cole Younger: Last of the Great Outlaws_, 1956 (I use the 1999 Bison Books edition with an introduction by Richard E. Meyer). Told very informally (to put it mildly), but one of the few books about Younger that actually seems to have done some research.
O'Neal: Bill O'Neal, _Encyclopedia of Western Gunfighters_, 1979. A general work, and as with most such things it appears to have a few details wrong, but a handy source for general references.
Huntington: George Huntington, _Robber and Hero: The Story of the Northfiel Bank Raid_, Christian Way Co., 1895; reissued by the Minnesota Historical Society Press in 1986 with a new introduction by John McGuigan. Although this is considered a relatively sober and accurate account of the raid, with much information from those present, the 1986 introduction detailing the later careers of the Youngers is probably the best part. The text itself is much too hagiographic (of the people of Minnesota, not of the robbers) for me to trust it entirely.
Settle: William A. Settle, Jr., _Jesse James Was His Name_, 1966 (I used the 1977 Bison edition) was one of the first serious James biographies. It is relatively short, but carefully documented, and pays more attention to the songs than the other James books I've seen.
Trenerry: Walter N. Trenerry, _Murder in Minnesota_, Minnesota Historical Society, 1962 (I used the 1985 edition, which is not listed as revised, but I noticed a reference to 1980 in one of the appendices). This is mostly concerned with other Minnesota happenings, but it does have a chapter on the Northfield raid and the Youngers.
Wellman: Paul I. Wellman, _A Dynasty of Western Outlaws_, 1961. This covers a series of outlaws starting with Quantrill's Raiders and ending with Pretty Boy Floyd, so it gives a lot of historial context -- but also is prone to believing any old crazy rumor.
Yeatman: Ted P. Yeatman, _Frank and Jesse James: The Story Behind the Legend_, 2000 (cited as Yeatman), is among the newest and most authoritative books; although clearly intended for popular consumption, it is well-footnoted, very large, and new enough to include the results of DNA investigations. - RBW
File: LE03
===
NAME: Coleen Bawn (I): see William Riley's Courtship [Laws M9] (File: LM09)
===
NAME: Coleen Bawn (II): see Limerick is Beautiful (Colleen Bawn) (File: OCon012)
===
NAME: Coleraine Girl, The
DESCRIPTION: The singer recalls the beauty of Coleraine and the girl who lives there and sings in its valleys. He regrets leaving them behind; he would live there if he could. But he has found work with the fishing fleet (?), and must stay where he is to live
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: work homesickness separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H646, p. 209, "The Coleraine Girl" (1 text, 1 tune)
File: HHH646
===
NAME: Coleraine Regatta
DESCRIPTION: The singer, and many others, set out for the races at Coleraine. The train ride witnesseswild partying. Before it's over, many are separated from those they traveled with. At the course, many things are for sale. The singer gets drunk and falls asleep
AUTHOR: James McCurry ?
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: racing train party drink
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H36, pp. 74-75, "Coleraine Regatta" (1 text, 1 tune)
Roud #2968
File: HHH036
===
NAME: Colin and Lucy
DESCRIPTION: "Of Leinster, fam'd for maidens fair, Bright Lucy was the grace.... Till luckless love, and pining care, Impair'd her rosy hue." A bell rings, a raven crows in the night; it tells of Colin's marriage to another. She dies; he dies when he learns
AUTHOR: Thomas Tickell
EARLIEST_DATE: 1716 (Rimbault)
KEYWORDS: love courting betrayal death marriage
FOUND_IN: 
REFERENCES: (2 citations)
Percy/Wheatley III, pp. 312-315, "Lucy and Colin" (1 text)
cf. Gardner/Chickering, p. 478, "Colin and Lucy" (source notes only)
Roud #13919
NOTES: This, from all I can see, is just a cheap rewrite of the "Lady Margaret" theme. But Gardner and Chickering claim to have two copies from manuscript. So it's indexed, though I am far from confident of its traditional status. - RBW
File: GC478b
===
NAME: Colin and Phoebe: see Corydon and Phoebe (File: K125)
===
NAME: Collard Greens: see Greens (File: San347)
===
NAME: Colleen from Coolbaun, The
DESCRIPTION: Singer meets Mary Ann O'Donovan, "the colleen from Coolbaun." He proposes marriage to her father, listing his possessions. Her father rejects him as "a rover and a rake" but Mary Ann speaks in his behalf. Her father agrees but with a meager dowry.
AUTHOR: unknown
EARLIEST_DATE: 1965 (Voice01)
KEYWORDS: courting dowry marriage wedding drink father
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #9233
RECORDINGS:
Tommy McGrath, "The Colleen from Coolbaun" (on Voice01)
CROSS_REFERENCES:
cf. "The Star of County Down" (tune, on Voice01) and references there
NOTES: Coolbaun is in County Cork. At the end of Tommy McGrath's version on Voice01 we are invited to the wedding where "we'll drink long life to my charming wife She's the colleen from the Mullanbaun." Is that a surname? - BS
File: RcTCofCo
===
NAME: Colleen Oge Astore: see Callino Casturame (Colleen Og a Store; Cailin O Chois tSiure; Happy 'Tis, Thou Blind, for Thee) (File: HHH491)
===
NAME: Colleen Rue, The
DESCRIPTION: Singer meets and praises Colleen Rue. She rejects his "dissimulation and invocation." He says if he were Hector, Paris, or Orpheus he'd "range through Asia, likewise Arabia, Pennsylvania" to see her face.
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: courting rejection beauty
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, p. 118, "The Colleen Rue" (1 text, 1 tune)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 258-259, "Colleen Rue"
Roud #2365
ALTERNATE_TITLES:
Colleen Ruadh
NOTES: As in "Lough Erne Shore" and "Sheila Nee Iyer," there is no resolution for the Tunney-StoneFiddle version. - BS
A curious set of literary references, this. Orpheus of course went to Hell to bring back Euridice (and then lost her at the end); this very loosely inspired the ballad/romance "King Orfeo" [Child 19]. Paris (Alexander) was the Trojan prince who abandoned his first wife Oenone to hook up with Helen of Sparta (married name: Helen of Troy; for this see especially Ovid's Letter from "Oenone to Paris" in the _Heroides_). And Hector, while faithful to his wife as far as we can tell from the legends, was not a significant traveler. - RBW
File: TSF118
===
NAME: Colley's Run: see Canaday-I-O/Michigan-I-O/Colley's Run I-O [Laws C17] (File: LC17)
===
NAME: Collier Lad, A: see The Collier Lad (Lament for John Sneddon/Siddon) (File: HHH110)
===
NAME: Collier Lad, The (Lament for John Sneddon/Siddon)
DESCRIPTION: The singer tells her tale of grief: Her love, John (Sneddon), is a collier. She dreams a dream of his death. In the morning, she learns that he has died in a cave-in. They were soon to be married and to travel to America. But he will return no more
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: mining death love separation marriage emigration dream mourning
FOUND_IN: Ireland Britain
REFERENCES: (2 citations)
SHenry H110, p. 144, "A Collier Lad" (1 text, 1 tune)
Morton-Maguire 25, pp. 64-65,114,166-167, "The Handsome Collier Lad" (1 text, 1 tune)
Roud #921
RECORDINGS:
John Maguire, "The Handsome Collier Lad" (on IRJMaguire01)
CROSS_REFERENCES:
cf. "The High Blantyre Explosion" [Laws Q35] (theme, characters?)
ALTERNATE_TITLES:
Lament for John Sneddon
Johnny Siddon
File: HHH110
===
NAME: Collier Laddie, The
DESCRIPTION: The singer (or someone) sees a bonnie lass, and steps up to court her. She rejects him; she loves a collier laddie. He goes to her father, offering land and wealth. She still says no. Years later, he turns up poor and begs at the door of girl and collier
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord); some of the verses were known to Burns, but it is possible they float
KEYWORDS: love courting beauty rejection marriage begging
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, pp. 40-42, "The Collier Laddie" (1 text, 1 tune)
DT, COLLAD COLLAD2*
Roud #3787
File: Ord040
===
NAME: Collier's Bonnie Lassie, The
DESCRIPTION: "The collier has a daughter" of great beauty. "A laird he was that sought her, Rich baith in lands and money." (She declares that she is too young and black to love a laird, and that she will have a man "the colour o' my daddie")
AUTHOR: unknown
EARLIEST_DATE: 1803 (Scots Musical Museum, #47)
KEYWORDS: mining love rejection nobility
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
MacColl-Shuttle, p. 24, "The collier's bonnie lassie" (1 short text, 1 tune)
Roud #8410
NOTES: There are several early printed texts of this (reportedly Herd, Thomson, Johnson, etc.). Comparing the _Scots Musical Museum_ version with MacColl's version, I have to think they are recensionally different -- the _Museum_ version is a very flowery description of how the laird courts the girl, with no real ending; the MacColl text has her reject him.
I suspect the _Museum_ text is one of its rewrites (not by Burns), and a weak one. But it's possible that the folk process improved a weak song.
The tunes, apart from one measure in the middle, are note-for-note identical. - RBW
File: MacCS24
===
NAME: Collier's Rant, The
DESCRIPTION: As the singer and his marra/marrer (workmate) go to work, they meet the devil; the singer knocks off his horns and feet. The lights go out, the workmate goes the wrong way, and "Old Nick got me marra and I got the tram." He regrets the loss of his friend.
AUTHOR: Tommy Armstrong ?
EARLIEST_DATE: 1812 (Bell)
LONG_DESCRIPTION: As the singer and his marra/marrer/marrow (workmate) are going to work, they meet the devil; the singer knocks the devil's horns and feet off with his pick. He breaks his bottle and spills the drink; the lights go out, the workmate goes the wrong way, and "Old Nick got me marra and I got the tram." He regrets the loss of his friend. Cho: "Follow the horses, Johnnie me laddie...Hey, lad, lie away, me canny lad-o"
KEYWORDS: fight death mining work friend worker Devil
FOUND_IN: Britain(England(North))
REFERENCES: (3 citations)
Stokoe/Reay, pp.  74-75, "The Collier's Rant" (1 text, 1 tune)
MacColl-Shuttle, p. 15, "The Collier's Rant" (1 text, 1 tune)
DT, COLRRANT
Roud #1366
RECORDINGS:
Bob Davenport, "The Collier's Rant" (on IronMuse1)
Pete Elliott, "The Collier's Rant" (on Elliotts01)
File: RcTColRa
===
NAME: Colonel Sharp
DESCRIPTION: A girl tells her lover that she was seduced by Colonel Sharp. Both are humiliated; they agree Sharp must die. They pursue the colonel; the man kills Sharp. He is taken and condemned to die. The two kill themselves
AUTHOR: unknown
EARLIEST_DATE: 1915
KEYWORDS: homicide seduction suicide punishment
HISTORICAL_REFERENCES: 1824 - Murder of Colonel Sharp
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Leach, pp. 790-792, "Colonel Sharp" (1 text)
Roud #4110
NOTES: This song is item dF38 in Laws's Appendix II.
Leach reports that this ballad is factually accurate except that the two lovers attempted suicide by poison rather than with a knife, and that the young man lived to be hung. - RBW
File: L790
===
NAME: Colonel Shelby
DESCRIPTION: "Colonel Shelby, Colonel Shelby, I do not think it right For you to charge on Dardanelle At such a time of night. This old coat, I don't want it, I guess I'll have to run, I've not got sword or pistol Nor even a shotgun"
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: Civilwar soldier desertion
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 247, "Colonel Shelby" (1 text)
Roud #7713
NOTES: Colonel (later Brigadier General) Joseph O. "Jo" Shelby (1830-1897) was one of those romantic figures so common in the Confederate cavalry. Born in Kentucky (see [no author listed; John S. Bowman, executive editor], _The Civil War Almanac_ World Almanac Publishing, 1983, p. 375), he cut his teeth in the Kansas conflict (see Shelby Foote, _The Civil War: A Narrative_, Volume I: Fort Sumter to Perryville, Random House, 1958, p. 784). He  first commanded cavalry under Sterling Price in Missouri, and served most of the war in the Trans-Mississippi.
When the war ended, Shelby fled to Mexico rather than surrender. According to the _Civil War Almanac_, he took about 600 troopers with him, and tried to prop up the French-backed government of the Emperor Maximilian. When Maximilian fell, Shelby returned to Missouri (1867).
Like so many cavalry officers, he deliberately cut a dashing figure. This may have led to the disillusionment shown by his subordinate here.
Shelby seems to have inspired at least one other fragment of a song. Fred W. Allsopp's _Folklore of Romantic Arkansas, Volume II_ (1931), p. 222, has a stanza "Jo Shelby's at your stable door, Hide your mule, hide your mule... There's something up and hell's to pay, When Shelby's on a raid...." This is said to be an addition to the Union song "Hide Your Mule," which does not seem to have entered tradition.
Dardanelle is near Russellville, Arkansas, a little north of the halfway point of a line between Fort Smith and Little Rock. It probably goes without saying that there was no major battle there. My guess is that this refers to some event in the summer or fall of 1862. In June of that year, Shelby was a colonel organizing a cavalry brigade in northwestern Arkansas to take part in an invasion of Missouri. He fought at the battle of Prairie Grove, still in northwestern Arkansas, in late 1862 (for background on that battle, see the notes to "Prairie Grove"). By the middle of 1863, he was wounded in fighting in Helena, Arkansas, far east of Dardanelle, and he was promoted Brigadier General that fall.
The picture of unarmed Confederates is all too accurate. Price's Missouri militia was initially armed mostly with fowling pieces brought by the soldiers themselves, and the Confederates never did manage to build much of a munitions industry. To a great extent they had to depend on captured Federal weapons. And the earlier in the war, the poorer their equipment. This adds to the impression that Randolph's fragment describes something that happened in 1862. - RBW
File: R247
===
NAME: Colonial Experience
DESCRIPTION: The singer, newly arrived in Sydney, sees sights unlike any he's seen before. He also experiences firsthand the heat and drought, and has to work very hard. The mosquitoes and ants are always pestering him. It's an uncomfortable, laborious life
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson, _Old Bush Songs_)
KEYWORDS: work Australia
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 60-61, "Colonial Experience" (1 text, 1 tune -- a reworked version)
Paterson/Fahey/Seal, pp. 111-113, "Colonial Experience" (1 text)
Roud #9110
File: FaE060
===
NAME: Colorado Trail, The
DESCRIPTION: "Eyes like the morning star, Cheeks like a rose, Laura was a pretty girl, God almighty knows. Weep, all ye little rains, Wail, winds, wail, All along, along, along The Colorado trail."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: love beauty nonballad
FOUND_IN: US(MW)
REFERENCES: (5 citations)
Sandburg, p. 462, "The Colorado Trail" (1 text, 1 tune)
Scott-BoA, p. 262, "The Colorado Trail" (1 text, 1 tune)
Lomax-FSNA 211, "Colorado Trail" (1 text, 1 tune)
Silber-FSWB, p. 45, "The Colorado Trail" (1 text)
DT, COLORADT*
Roud #6695
RECORDINGS:
Poplin Family, "Eyes Like Cherries" (on Poplin01, mixing verses of "The Colorado Trail," "Liza Up in a Simmon Tree," and others)
Pete Seeger, "Colorado Trail" (on PeteSeeger30)
NOTES: Lee Hays added several verses to this beautiful little tune, and many singers have recorded them, or added others of their own. The only traditional lyrics, however, are those given above, taken from a horse wrangler who was hospitalized in Duluth, Minnesota and printed by Sandburg. And even those were slightly dubious until confirmed by the Poplin recording. - RBW
The Poplin recording has a chorus which is almost identical to the verse of "Colorado Trail," and to a verse from Bradley Kincaid's recording of "Liza Up in a Simmon Tree." The rest of the song, however, is completely different; I put it here because I couldn't find a better place. - PJS
File: San462
===
NAME: Colored School Song: see Walkin' in the Parlor (File: Wa177)
===
NAME: Colour of Amber, The
DESCRIPTION: "The colour of amber was my true love's hair." "Many a time [his lips] they've been pressed to mine. I'd fish and catch him "with a line and hook" and never part. It's in vain. I'll never be a maid again.
AUTHOR: unknown
EARLIEST_DATE: 1974 (recording, Mary Ann Haynes)
KEYWORDS:  courting love betrayal hair floatingverses nonballad fishing lyric
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1716
RECORDINGS:
Mary Ann Haynes, "The Colour of Amber" (on Voice11)
NOTES: "The Colour of Amber" is the reverse of "Black Is the Color" with the usual floating verse from the woman's point of view. It is tempting to lump this with, say, "Fair and Tender Ladies," but the amber and fishing verses make it stand aside for me. Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 11" - 11.9.02, refers to John Ashton's _Real Sailor Songs_ "The Sailor Boy" [Ashton/Sailor *63] as another version; that does have the amber verse but is a version of "The Sailor Boy"(I) [Laws K12]. "Fair and Tender Ladies" would be a closer match than that. - BS
File: RcColAmb
===
NAME: Colter's Candy: see Coulter's Candy (File: MSNR154)
===
NAME: Columbia on Our Lee: see Britannia on Our Lee (File: SWMS049)
===
NAME: Columbia the Free
DESCRIPTION: The singer was born in America. His "pack is all over American earth. My blood is as Irish as Irish can be." He is ashamed that the "tyrants" control "our poor plundered Ireland." He waits for the summons to return to Ireland with his rifle.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: emigration America Ireland nonballad patriotic
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 2, pp. 2-3,99,155, "Columbia the Free" (1 text, 1 tune)
Roud #2926
NOTES: It is a curiosity that, in the late nineteenth century, the Irish in America were often more militant in favor of liberty than the Irish still at home. (Look at how many of the Fenian exploits were organized in America.) One can only speculate at the reasons: The Irish in America were not experiencing the slow liberalization that occurred in Ireland, they had more money and didn't have to scrabble as hard for a living -- and, of course, their ancestors included most of the worst troublemakers who simply could not stomach British rule.
For an example of such, see the notes to "Erin's Lovely Lee."
The Fenians would eventually plan an invasion of Ireland; as usual, nothing much came of it. - RBW
File: MoMa002
===
NAME: Columbia, the Gem of the Ocean (Britannia, the Pride of the Ocean)
DESCRIPTION: "Oh, (Columbia/Britania) the (gem/pride) of the ocean... Thy banners make tyranny tremble When borne by the red, white, and blue." The singer boasts of his nation's success in war and its liberty
AUTHOR: unknown
EARLIEST_DATE: 1843 (sheet music)
KEYWORDS: patriotic nonballad 
FOUND_IN: US Britain
REFERENCES: (2 citations)
Silber-FSWB, p. 44, "Columbia, the Gem of the Ocean" (1 text)
Fuld-WFM, pp. 176-177+, "Columbia, the Gem of the Ocean"
BROADSIDES:
Bodleian, Harding B 26(565), "Red, White and Blue", J. Moore ["Poet's Box"] (Belfast), 1846-1852 ; also Firth b.25(217) View 2 of 2 [difficult to read], Harding B 15(255b)[some lines illegible], Harding B 11(3246), Harding B 11(3401), "[The] Red, White, and Blue"; Firth b.26(377), "Britannia! the Pride of the Ocean"; Harding B 11(396), "Nelsons Last Sigh" or "The Red White & Blue"
LOCSheet, sm1844 410890, "Columbia the Gem of the Ocean", Osbourn's Music Saloon (Philadelphia), 1844; also sm1846 411040, "Columbia the Land of the Brave" (tune)
LOCSinging, cw104810, "Red, White & Blue" ("Oh, Columbia, the Gem of the Ocean"), J. Andrews (New York), 1853-1859; also sb40454a, "Red, White & Blue"; cw10102a, cw101030, cw101040, "Columbia the Gem of the Ocean"  
NLScotland, L.C.Fol.178.A.2(015), "Red, White, and Blue", 1849, Mclntosh (Calton[Glasgow?]); also L.C.1269(175a), "Britannia, the Pride of the Ocean"
CROSS_REFERENCES:
cf. "Dixie, the Land of King Cotton" (tune)
ALTERNATE_TITLES:
The Red, White and Blue
NOTES: Fuld reports considerable controversy about the origin of this song: It is probably not possible, at this time, to tell with certainty whether the original is the American "Columbia, the Gem of the Ocean" or the British "Britannia, the Pride of the Ocean."
The earliest printed version, called "Columbia the Land of the Brave," was printed in 1843 and credited to George Willig. In 1852, a copy of "Brittania the Gem of the Ocean" was filed at the British Museum; it credits the song to D[avid]. T. Shaw (who sang the American version). This version, however, was not filed in the stationer's register.
The song has also been credited to Stephen Joseph Meany (words) and Thomas E. Williams (music; died 1854) (cf. Spaeth, _A History of Popular Music in America_, p. 98, who dates their "Britannia" version to 1854), and to the performer Thomas A. Beckett, but substantiating evidence is lacking in both cases. If you want the full details, you'd best see both Spaeth and Fuld. - RBW
The 1844 sheet music, LOCSheet sm1844 410890 notes "A Popular Song as sung by Mr Blankman & Mr Shaw." The 1846 sheet music LOCSheet sm1846 411040, and broadside LOCSinging cw101030 make David T. Shaw the writer.
The 1849 broadside NLScotland L.C.Fol.178.A.2(015) third verse refers to "the memory of Nelson" (1758-1805). The 1856 broadside NLScotland L.C.1269(175a) third verse refers to "the mem'ry of Napier": "This could be either Naval Commander Charles Napier (1786-1860) or more likely, as the tribute appears to be posthumous, General sir Charles Napier (1782-1853), who achieved significant military victories in the Indian sub-continent." Broadside Bodleian Harding B 26(565) refers to "the memory of heroes." Broadside Bodleian Firth b.25(217) View 2 of 2 appears to refer to Charlie Napier. The remaining Bodleian broadsides -- Harding B 15(255b), Harding B 11(3246), Harding B 11(3401), Firth b.26(377) and Harding B 11(396) -- refer to Nelson. The "Columbia" versions refer to "they."
Broadside LOCSinging cw104810: 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: FSWB044
===
NAME: Columbus Stockade Blues
DESCRIPTION: "Way down in Columbus, Georgia, I want to go back to Tennessee. Way down in Columbus stockade, my friends all turned their backs on me. So you can go and leave me if you want to...." The singer laments his imprisonment and the loss of his love
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Tom Darby & Jimmie Tarlton)
KEYWORDS: prison separation chaingang
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Warner 137, "'Way Down in Columbus, Georgia" (1 text, 1 tune)
Silber-FSWB, p. 65, "Columbus Stockade Blues" (1 text)
DT, COLSTKD
Roud #7480
RECORDINGS:
Bud & Joe Billings [pseud. for Frank Luther & Carson Robison], "Columbus Stockade Blues" (Victor V40031, 1929)
Cliff Carlisle, "Columbus Stockade Blues" (Champion 45186, c. 1935)
Tom Darby & Jimmie Tarlton, "Columbus Stockade Blues" (Columbia 15212-D, 1927)
Flannery Sisters, "Columbus Stockade" (Decca 5256, 1936)
J. E. Mainer Band, "Columbus Stockade" (on LomaxCD1705)
CROSS_REFERENCES:
cf. "Dear Companion (The Broken Heart; Go and Leave Me If You Wish To, Fond Affection)" (tune)
NOTES: Apparently a rework of an English lost love song, "Go and Leave Me" [which we have indexed as "Dear Companion" - PJS]. Frank Proffitt heard it sung by Blacks on a chain gang, and it has become a staple of the bluegrass repertoire. Its English origin has been completely forgotten in these traditions, even though the original lost love song is said to be widely known in the British Isles.
Silber credits this to Woody Guthrie; while Guthrie may have played with it a bit, clearly he was not the sole author. - RBW
Given the various 78 recordings, Silber's clearly wrong.... I'd guess Carlisle's recording was the source of the song's popularity in bluegrass. - PJS
File: Wa137
===
NAME: Comber Ballad, The: see The Next Market Day (File: FSWB158B)
===
NAME: Come A' Ye Jolly Ploo'men Lads
DESCRIPTION: "O come a' ye jolly ploomen lads That works amang the grun'." The singer tells of his happy life and work. He attends a hiring fair, works six months in a bothy, and shocks the minister by singing out when he weds Mary-Anne
AUTHOR: unknown
EARLIEST_DATE: 1985 (recording, the Stewarts of Blair)
KEYWORDS: work food humorous marriage
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (0 citations)
Roud #6855
RECORDINGS:
Belle, Sheila, and Cathie Stewart, "Come A' Ye Jolly Ploo'men Lads" (on SCStewartsBlair01)
File: RcCAYJPL
===
NAME: Come All Good People: see The Silver Dagger (I) [Laws G21] (File: LG21)
===
NAME: Come All My Old Comrades: see A Health to the Company (Come All My Old Comrades) (File: CrSe222)
===
NAME: Come All Ye Fair: see Fair and Tender Ladies (File: R073)
===
NAME: Come All Ye Fair and Tender Ladies: see Fair and Tender Ladies (File: R073)
===
NAME: Come All Ye Fair and Tender Ladies (II): see The Silver Dagger (I) [Laws G21] (File: LG21)
===
NAME: Come All Ye False Lovers
DESCRIPTION: "Come all ye false lovers That love all alike; Give love-ly attention, And my counsel take." The singer will wait for Johnny to return, however long it takes. He eventually arrives, and they are married.
AUTHOR: unknown
EARLIEST_DATE: 1967
KEYWORDS: love separation return
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Combs/Wilgus 135, pp. 147-148, "Come All Ye False Lovers" (1 text)
Roud #4297
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there
NOTES: This piece is clearly composite; there are many floating lyrics, and it shifts from first to third person in the middle. It appears to be a pastiche of Riley ballads (though the theme of disguise has been lost), with the moral ("Beware of false lovers; (don't ever give up on your true love") at the beginning.
Since it cannot be identified with any particular Riley ballad, I have perforce given it its own classification. - RBW
File: CW147
===
NAME: Come All Ye Jolly Ice-Hunters
DESCRIPTION: "Come all ye jolly ice-hunters and listen to my song; I hope I won't offend you; I don't mean to keep you long." The sealer Daniel O'Connell leaves Tilton Harbour March 14, 1833. Captain William Burke gets the badly damaged ship through a storm
AUTHOR: unknown
EARLIEST_DATE: 1927 (Doyle)
KEYWORDS: hunting sea ship storm
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Greenleaf/Mansfield 122, "Come All ye Jolly Ice-Hunters" (1 text)
Ryan/Small, p. 17, "Come All Ye Jolly Ice-Hunters" (1 text, 1 tune)
ST GrMa122 (Partial)
Roud #6345
CROSS_REFERENCES:
cf. "The Wreck of the Steamship Ethie" (theme)
NOTES: Greenleaf/Mansfield notes, per G.S. Doyle that "This song was written in 1833. It is about the oldest song of a sealing nature now in existence." - BS
Roud lumps this with "The Wreck of the Steamship Ethie." The two of course share plot components as well as some stylistic elements, but this one is apparently about a much older incident. Still, I have been cautious; I don't think we can trust Doyle's 1833 date for the song; it appears to be derived from a date found in Doyle's first stanza. - RBW
File: GrMa122
===
NAME: Come All Ye Lonesome Cowboys
DESCRIPTION: "Come all you (lonesome/jolly) cowboys... Now I'm going to leave you, To never return again." He recalls the sad parting from his mother, and  the girl who promised to marry him. After all his rambling, he is leaving the boys forever (dying? going home?)
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph; recordings, Frank Jenkins, Buell Kazee)
KEYWORDS: cowboy parting separation farewell
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 180, "Come All Ye Lonesome Cowboys" (2 texts, 2 tunes)
Ohrlin-HBT 58, "Come All Ye Western Cowboys" (1 text, 1 tune)
Fife-Cowboy/West 59, "Roving Cowboy" (1 text, 1 tune, Kazee's text, which is short)
Roud #5482 and 11077
RECORDINGS:
Frank Jenkins, "Roving Cowboy" (c. 1927; on BefBlues2)
Buell Kazee, "The Roving Cowboy"(Brunswick 156, 1927; Brunswick 436, 1930; Supertone S-2043, 1930; on KMM)
Clay Walters, "Come All You Roving Cowboys" (AFS, c. 1937; on KMM)
Jack Webb, "The Roving Cowboy" (Victor V-40285, 1930)
ALTERNATE_TITLES:
The Jolly Cowboy
NOTES: This is a definite problem piece. Roud splits it in two: #5482, which we might call "Come All You Lonesome Cowboys," (represented e.g. by the Randolph texts) and #11077, "Come All You Roving Cowboys" (represented by the Fife/Kazee text).
The problem is the Clay Walters version, which is a mish-mash of everything including perhaps some "Texas Rangers" material. Paul Stamler couldn't decide what to do with it; neither could I. So I'm lumping two songs until we get some better samples. - RBW
File: R189
===
NAME: Come All Ye Maids and Pretty Fair Maidens: see Fair and Tender Ladies (File: R073)
===
NAME: Come All Ye Melancholy Folks: see Old Time Cowboy (Melancholy Cowboy) (File: TF19)
===
NAME: Come All Ye Southern Soldiers: see Texas Rangers, The [Laws A8] (File: LA08)
===
NAME: Come All Ye Unmarried Men: see William and Nancy (II) (Courting Too Slow) [Laws P5] (File: LP05)
===
NAME: Come All Ye Western Cowboys: see Come All Ye Lonesome Cowboys (File: R189)
===
NAME: Come All You Bold Canadians: see Brave General Brock [Laws A22] (File: LA22)
===
NAME: Come All You Fair and Handsome Girls: see Come All You Fair and Tender Girls (File: WB2080)
===
NAME: Come All You Fair and Tender Girls
DESCRIPTION: Willie courts the narrator, asks her to go with him. She consents, but when they are far from home, he sends her back, saying it's his nature to ramble
AUTHOR: unknown
EARLIEST_DATE: 1908 (collected by Olive Dame Campbell, in SharpAp)
KEYWORDS: courting elopement abandonment
FOUND_IN: US(Ap,SE)
REFERENCES: (4 citations)
SharpAp 103, "Come All You Young and Handsome Girls" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 321-326, "Come All You Fair and Handsome Girls" (5 texts, with local titles "Come All You Fair and Handsome Girls," (no title), "Fair and Handsome Girls," "Fair and Handsome Girls," (no title); the "E" text appears likely to be some other song, of the vast "Rye Whiskey/Wagoner's Lad" type; 1 tune on p. 442)
Wyman-Brockway II, p. 80, "Come All You Young and Handsome Girls" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 49, "Sweet Willie" (1 text, 1 tune)
ST WB2080 (Partial)
Roud #3606
RECORDINGS:
Banjo Bill Cornett, "Sweet Willie" (on MMOK, MMOKCD)
Green Maggard, "Come All You Fair and Handsome Girls" (AFS, 1934; on KMM)
CROSS_REFERENCES:
cf. "The Fair Flower of Northumberland" [Child 9] (plot)
cf. "Fair and Tender Ladies" (lyrics)
NOTES: Is it possible this is a ballad from which "Fair and Tender Ladies" has descended, with the narrative removed? It has warning verses at the beginning, although not those normally associated with "Fair and Tender Ladies." -PJS
File: WB2080
===
NAME: Come All You Fair and Tender Ladies: see Fair and Tender Ladies (File: R073)
===
NAME: Come All You Fair and Tender Ladies (I): see Fair and Tender Ladies (File: R073)
===
NAME: Come All You Friends and Neighbors
DESCRIPTION: "Come all you friends and neighbours, For you know that you are born to die, Come view my situation As helpless here I lie." The singer, in a "weakened condition," asks "never let me seek in vain." He hopes to be where "consumption And fever is no more."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: death religious disease
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 561, "Come All You Friends and Neighbors" (1 short text)
Roud #11884
CROSS_REFERENCES:
cf. "Lonesome Dove (I - The Minister's Lamentation)" (theme)
File: Br3561
===
NAME: Come All You Jack-Pine Savages
DESCRIPTION: Singer describes a visit to "Dr. Jones" (probably not a real doctor). He has a toothache; "Dr. Jones" gives him six prescriptions, he eats sixteen potatoes and a couple of loaves of bread, and he's cured. He tells listeners to take ills to "Dr. Jones."
AUTHOR: Probably Dent Bailey
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: disease medicine healing doctor
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 20, "Come All You Jack-Pine Savages" (1 text)
Roud #4064
NOTES: As "Come All You Jack Pine Savages," this song is item dC43 in Laws's Appendix II. - RBW
File: Be020
===
NAME: Come All You JackPine Savages: see Come All You Jack Pine Savages (File: Be020)
===
NAME: Come All You Maidens: see Fair and Tender Ladies (File: R073)
===
NAME: Come All You Poor Men of the North
DESCRIPTION: "Come all you poor men of the north... There is easier ways of gaining wealth... Go and dig the gold that lies in California."  The singer describes California's wondrous climate and asks why poor can't have gold as well as rich
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: travel nonballad gold
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 348-349, "Come All You Poor Men of the North" (1 text)
Roud #7772
NOTES: Belden's informant claimed that California miners sang this piece. I find this close to unbelievable. (Of course, that might explain why no one else has recorded the piece in tradition: It bears no relationship to reality.) I'm almost tempted to suggest that it was written by a land speculator eager to latch onto stupid people's property by inducing them to head west. - RBW
File: Beld348
===
NAME: Come All You Roman Catholics
DESCRIPTION: Father McFadden is in Derry jail. Sub-inspector Martin had arrested him after Sunday Mass. "David ... by the Lord's command" killed Martin by sling shot "The people laughed and cheered" to see Martin taken away. "The Devil met him at the gates"
AUTHOR: unknown
EARLIEST_DATE: 979 (Tunney-StoneFiddle)
KEYWORDS: violence homicide prison clergy police Devil
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, pp. 13-14, "Come All You Roman Catholics" (1 text)
McBride 28, "Father McFadden" (1 text, 1 tune)
Roud #9459
NOTES: McBride: "[Father McFadden] formed local branches of the Land League in West Donegal."
See the reference to the 1888 imprisonment of Father McFadden of Donegal in Derry Prison "for an agrarian speech" (source: Chapters of Dublin History site, _Letters and Leaders of my Day_ Chapter XXII "Parnellism and Crime" (1887-8), by T.M. Healy). The description there has no "David" and sling shot. Instead, thinking that Martin had struck McFadden with his drawn sword, the congregants rooted up the pailing from McFadden's garden and "battered in Martin's skull." Some of the attackers were arrested with McFadden. The story of the convictions, plea bargaining and sentencing is told there from the defense attorney's viewpoint. - BS 
File: TSF013
===
NAME: Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.)
DESCRIPTION: "Come all you (Virginia) girls and listen to my noise; Don't you court no West Virginia boys; If you do, your fortune will be Johnny cake and venison and sassafras tea." Concerning the dangers of courting and marrying boys from (somewhere)
AUTHOR: unknown
EARLIEST_DATE: 1841 (sheet music)
KEYWORDS: courting hardtimes warning humorous
FOUND_IN: US(Ap,Ro,So)
REFERENCES: (14 citations)
Belden, pp. 426-428, "Texan Boys" (1 text plus a fragment probably not part of this song)
Randolph 342, "The Arkansas Boys" (3 texts, 2 tunes); also (perhaps with some mixture) 466, "The Old Leather Bonnet" (1 text, 1 tune)
Randolph/Cohen, pp. 277-278, "The Arkansas Boys" (1 text, 1 tune -- Randolph's 342A)
BrownIII 328, "The Carolina Crew" (1 fragment, thought by the editors to be this song); 336, "If You Want to Go A-Courtin'" (1 text, clearly mixed; the first three stanzas are this song, the next four something completely unrelated about a fight and a very bad meal)
Sandburg, pp. 128-129, "Hello, Girls"; "Kansas Boys" (2 texts, 1 tune)
MHenry-Appalachians, p. 95, "The Hunter's Song" (1 fragment)
Lomax-FSUSA 11, "When You Go A-Courtin'"; 12, "The Texian Boys" (2 texts, 2 tunes)
Fife-Cowboy/West 9, "Johnny Cake" (4 texts, 1 tune, though the "B" text is clearly "Little Fight in Mexico" and the "C" text is also quite distinct)
LPound-ABS, 81, pp. 175-176, "Cheyenne Boys" (1 text)
JHCox 58, "The Tucky Ho Crew" (1 text -- a very mixed version which is only partly this song, but the rest doesn't look like anything I know. It may be a conflation with an otherwise lost ballad)
SharpAp 75, "If You Want to Go A-courting" (4 texts, 4 tunes)
Silber-FSWB, p. 173, "Kansas Boys" (1 text)
DT, WHNCORT1* WHNCORT2* WHNCORT3* WHNCORT4* WHNCORT5*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), p. 207, "The Old Leather Bonnet" (1 text, fairly full but missing the opening verse)
Roud #4275
RECORDINGS:
Al Hopkins & his Buckle Busters, "West Virginia Gals" (Brunswick 318, 1929; rec. 1928)
Cousin Emmy, "Cousin Emmy's Blues" (also issued as "Come All You Virginia Gals")  (Decca 24213, 1947)
Riley Puckett, "The Arkansas Sheik"  (Columbia 15686-D, 1931; rec. 1928)
New Lost City Ramblers, "The Arkansas Sheik" (on NLCR14)
Pete Seeger, "Texian Boys" (on PeteSeeger07, PeteSeeger07a)
SAME_TUNE:
Ballad of Harriet Tubman (by Woody Guthrie) (Greenway-AFP, pp. 90-92)
ALTERNATE_TITLES:
California Boys
East Virginia Girls
Missouri Boys
Hello Girls
Mississippi Gals
The Mormon Boys
Free Nigger (title used in the 1841 sheet music)
De Free Nigger
NOTES: Randolph's "Old Leather Bonnet" text at first appears independent of the other versions of this song. But if one simply assumes that it has lost the first verse, the rest fits well.
The Fifes offer deep psychological explanations for some parts of this piece. I incline to believe it means what it says. - RBW
File: R342
===
NAME: Come All You Warriors
DESCRIPTION: Lay down your arms! Father Murphy will "cut down cruel Saxon persecution" He excels Caesar, Alexander and Arthur. His victories are listed until Enniscorthy. If the French had come we would have won. But we still have our pikes and guns.
AUTHOR: unknown
EARLIEST_DATE: 1798 (Zimmermann)
KEYWORDS: battle rebellion Ireland clergy patriotic
HISTORICAL_REFERENCES: May 26, 1798 - Beginning of the Wexford rebellion
May 27, 1798 - The Wexford rebels under Father John Murphy defeat the North Cork militia
June 5, 1798 - The Wexford rebels attack the small garrison (about 1400 men, many militia) at New Ross, but are repelled
June 21, 1798 - The rebel stronghold a Vinegar Hill is taken, and the Wexford rebellion effectively ended
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 10, "Come All You Warriors" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Father Murphy (I)" (subject of Father Murphy) and references there
NOTES: The claim that the Irish would have won is sadly typical of the 1798. But the real problem is that the Irish rebels of the time did *not* have many guns; they often fought nearly unarmed. For examples of this, see the notes to "Father Murphy."
File: Zimm010
===
NAME: Come All You Worthy Christian Men
DESCRIPTION: The singer warns Christians to behave properly, remembering Job and Lazarus. First verse: "Come all you worthy Christian men That dwell upon this land, Don't spend your time in rioting, Remember you're but man...."
AUTHOR: unknown
EARLIEST_DATE: 1904
KEYWORDS: warning religious Bible
FOUND_IN: Britain(England(South))
REFERENCES: (3 citations)
Sharp-100E 91, "Come All You Worthy Christian Men" (1 text, 1 tune)
OBC 60, "Job" (1 text, 4 tunes)
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 47, "Come All You Worthy Christian Men" (1 text, 1 tune)
Roud #815
CROSS_REFERENCES:
cf. "Rounding the Horn" (tune)
NOTES: The story of Lazarus is a parable of Jesus, recounted in Luke 16:19-31  (the Lazarus of John 11, 12 is unrelated). Thus there never was an actual Lazarus who lay at a rich man's door; he was simply an example.
The case of Job is, to say the least, more complicated. The Bible does indeed report that he was "the richest [man] in the east" (Job 1:3), that "he was brought to poverty" (Job 1:13-19), and that he "soon got rich again" (Job 42:10f.). But it can hardly be said that Job bore all this uncomplainingly; most of Job chapters 3-30 are devoted to his complaints! - RBW
File: ShH91
===
NAME: Come All You Young Men
DESCRIPTION: "Come all you young men and listen unto me, Never hang your shirt on a green briar tree, The leaves they will wither and the branches decay, And the graybacks will hatch out and pack your shirt away." A series of humorous warnings
AUTHOR: unknown
EARLIEST_DATE: 1938 (Randolph)
KEYWORDS: humorous parody clothes bug
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 418, "Come All You Young Men" (1 text plus 1 fragment, 2 tunes)
Roud #7684
NOTES: This gives all the evidence of being a parody of one of the "rejected lover" type songs -- but there are other elements mixed in, so it's hard to say if there was only *one* source. - RBW
File: R418
===
NAME: Come All You Young of Wary Age
DESCRIPTION: "Come all you young of wary (every) age, Give hearing to my song." A young man sets out to visit a friend, but falls from his horse and dies. He was alone, so no other details are known. His family and neighbours grieve; his mother says "his work is done"
AUTHOR: unknown
EARLIEST_DATE: 1936 (Randolph)
KEYWORDS: horse death family funeral grief
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 705, "Come All You Young of Wary Age" (1 text)
BrownII 285, "Man Killed by Falling From a Horse" (1 text)
Roud #7373 and 6640
NOTES: There was a note attached to Brown's transcript of this song saying that it happened in Richmond county, but given the song's appearance in Randolph (and it is certainly the same song) implies that this is just folklore. Particularly since Randolph's informant also claimed the event was local. - RBW
File: R705
===
NAME: Come All Young People (The Dying Lovers)
DESCRIPTION: Listeners are called to hear the story of two lovers. He comes to her door, but her parents turn him away. She mourns, and no doctor can cure her. At last the parents let him come, but she dies for love and is buried. He then dies also
AUTHOR: unknown
EARLIEST_DATE: 1916 (Brown)
KEYWORDS: love separation death mourning doctor warning
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 73, "Come All Young People" (1 text)
Roud #563
NOTES: The theme of this song, obviously, is commonplace, but the editors of the Brown collection cannot trace it to any particular song (they suspect broadside origin), and I am similarly unable to find a relative. (Roud lumps it with Laws P12, but Laws does *not* equate them.)
The first stanza, for what it's worth, runs
Come all young people far and near,
A lamentation you shall hear
Of a young man and his true love
Whom he adored and sworn to love.
The song ends with the usual warning to parents against separating lovers. - RBW
File: BrII073
===
NAME: Come Along, My Own True Love: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: Come and Go with Me to That Land
DESCRIPTION: "Come and go with me to that land (x3)... where I'm bound." "There ain't no moanin' in that land." "There ain't no bowin' in that land." "There ain't no kneelin' in that land." "There ain't no Jim Crow in that land."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: religious nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 371, "Come And Go With Me To That Land" (1 text)
DT, COMEGO
File: FSWB371
===
NAME: Come and Kiss Me, Robin
DESCRIPTION: "Come and kiss me, Robin, Come and kiss me now, Oh he came and kissed me, And he came and kissed me With my hands milking the cow!"
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: love
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 785, "Come and Kiss Me, Robin" (1 fragment)
Roud #5521
NOTES: Randolph speculates that this may be related to Sandburg's item "The Pretty Girl Milkin' the Cow." They're both fragments, so it's possible -- but I don't see any clear links.
Similarly, Roud links this with the fragment "John, Come Kiss Me Now" in Chappell/Wooldridge II (pp. 268-269). Possible, but I need a lot more evidence. - RBW
File: R785
===
NAME: Come Away from that Old Man
DESCRIPTION: "Come away from that old man! He will kill you if he can. Come away, o-oh!"
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: death age
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 208, "Come Away from that Old Man" (1 fragment)
NOTES: This was given to Brown as a hog-call, but I have this feeling in my gut that this is a fragment of "Matty Groves" -- that these are the words Musgrave/Matty hears when Lord Arnold's horn sounds. But with only three lines, this can't be proved. - RBW
File: Br3208
===
NAME: Come Back to Erin
DESCRIPTION: The singer's sweetheart has left Killarney for England. He seems surprised that "my heart sank when clouds came between us... Oh, may the angels, oh, waking and sleeping Watch o'er my bird in the land far away." Does she think of me?
AUTHOR: Charlotte Alington Barnard ("Claribel") (1830-1869)
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 11(965)) 
KEYWORDS: courting emigration separation nonballad Ireland
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Dean, pp. 79-80, "Come Back to Erin" (1 text)
O'Conor, p. 103, "Come Back to Erin" (1 text)
Roud #13846
BROADSIDES:
Bodleian, Harding B 11(965), "Come Back to Erin", J. Harkness (Preston), 1840-1866; also Firth c.12(253), 2806 c.8(238), Harding B 15(49a), Johnson Ballads 1898, 2806 b.11(224), Firth c.12(253), "Come Back to Erin"; 2806 c.8(237), "Come Back to Erin, Mavourneen, Mavourneen"
NOTES: According to Sigmund Spaeth, _A History of Popular Music in America_, p. 143, Claribel "managed to turn out both words andmusic of a great many ballads that found immediate favor on both sides of the Atlantic. Her first song to make it mark here was called _Janet's Choice_, appearing in London in 1860, although its American publication was delayed until 1871.... [She] made her most lasting impression with _Come Back to Erin_ (1868), which is still heard with honest preasure and often regarded as an Irish folk-song. Mrs. Barnard was a woman of some musical education, but depended chiefly on her intuitive expression of the sentimentality of her day."
I do not know how to reconcile Spaeth's statement that the song was published in 1868 with the broadside which seems to come from at least two years earlier. Perhaps the broadside was pirated from one of Claribel's performances? - RBW
File: OCon103
===
NAME: Come By Here
DESCRIPTION: 'Someone's sick; Lord, come by here (x3), Oh, Lord, won't you come by here." "Someone's dying; Lord, come by here." "Someone's in trouble...." 
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious disease death
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 621, "O Lord, Won't You Come by Here?" (1 text)
Roud #11924
CROSS_REFERENCES:
cf. "Kum By Yah" (form)
File: Br3621
===
NAME: Come Down to Tennessee
DESCRIPTION: "Come down to Tennessee (Ride er ole grey horse). Yaller gal's de gal for me (Ride er ole grey horse). Kiss her under de mulberry tree (Ride er ole grey horse). Oh my, nigger, don't you see, Better come to Tennessee?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: courting horse
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 183, (no title) (1 fragment)
File: ScaNF183
===
NAME: Come Down with the Killock
DESCRIPTION: "Come down with the killock And out with the line; Of fish about here, boys, There is a good sign." The ship sails; it's "not like the fools Who are hunting for fat." The singer decides fishing is better than sealing: "Off to the ice Go fools in a rush."
AUTHOR: unknown
EARLIEST_DATE: 1916 (Murphy, The Seal Fishery)
KEYWORDS: ship hunting fishing nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 26, "Come Down with the Killock" (1 text)
File: RySm026B
===
NAME: Come Down, You Bunch of Roses, Come Down: see Blood Red Roses (File: Doe022)
===
NAME: Come Home, Father: see Father, Dear Father, Come Home with Me Now (File: R308)
===
NAME: Come List to a Ranger (The Disheartened Ranger)
DESCRIPTION: "Come list to a ranger, you kind-hearted stranger... Who fought the Comanches away from your ranches And followed them far o'er the Western frontier." He complains of the hard conditions he suffered, and warns the listener to keep watch for Comanches
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax, Cowboy Songs)
KEYWORDS: Indians(Am.) fight hardtimes
FOUND_IN: US(So,SW)
REFERENCES: (3 citations)
Randolph 181, "Come List to a Ranger" (1 text, 1 tune)
Logsdon 7, pp. 55-57, "Texas Ranger's Lament" (1 text, 1 tune)
DT, COMELIST*
Roud #5481
ALTERNATE_TITLES:
Disheartened RangerThe 
NOTES: The Texas Rangers were initially founded during the period of the Texas Rebellion, as the defense force of the new county. And Texas, from the moment it declared independence to the time it joined the United States, had budget problems. So it would be little surprise to find a particular soldier ill-paid.
Several of the versions, such as Logsdon's, seem to go back to this period; the Ranger declares that he is quitting and going back to the "States." Other versions just sound like standard soldier complaints. It's not really clear which is original. - RBW
File: R181
===
NAME: Come On Up to Bright Glory
DESCRIPTION: "You don't hear me prayin' here, you can't find me nowhere/Come on up to bright glory, I'll be waitin' up there" Other verses zip in "when I preach," "when I shout," etc.
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, Rich Amerson)
KEYWORDS: 
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #10977
RECORDINGS:
Rich Amerson, "Come On Up to Bright Glory" (on NFMAla4)
CROSS_REFERENCES:
cf. "If You Miss Me at the Back of the Bus" (tune, structure)
NOTES: This is, of course, the song from which the freedom song "If You Miss Me at the Back of the Bus" was adapted; interestingly enough, the latter seems to have originated in Alabama, where this song was collected. - PJS
File: RcCOUtBG
===
NAME: Come on, Boys, and Let's Go to Hunting
DESCRIPTION: Chorus: "Come on, boys, let's go to huntin', Dog in the Woods, and he done treed sump'n."
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: hunting dog
FOUND_IN: US(So)
REFERENCES: (1 citation)
Botkin-SoFolklr, p. 743, "Come on, Boys, and Let's Go to Hunting" (1 text, 1 tune)
File: BSoF743
===
NAME: Come On, My Pink, an' Tell Me What You Think: see Late Last Night When Willie Came Home (Way Downtown) (File: CSW166)
===
NAME: Come Over and See Me Sometime
DESCRIPTION: Floating-verse song, known mostly by the chorus: "Won't you come over and see me sometime (x2). Eat your breakfast 'fore you start, take your dinner in your hand, and leave before it's suppertime."
AUTHOR: unknown
EARLIEST_DATE: 1937 (Scarborough)
KEYWORDS: food nonballad floatingverses
FOUND_IN: 
REFERENCES: (1 citation)
Scarborough-SongCatcher, p. 48, (no title) (1 fragment)
Roud #4947
File: ScaSC048
===
NAME: Come Raise Me in Your Arms, Dear Brother
DESCRIPTION: The  singer has been mortally wounded in battle by his brother. The singer (apparently a Unionist) asks how his brother could oppose his father (also a Unionist). He asks his brother to bring the news to mother -- but not reveal who did the killing
AUTHOR: E. Bowers and P. B. Isaacs
EARLIEST_DATE: c. 1928 (recording, James Ragan & Oliver Beck)
KEYWORDS: Civilwar battle death brother farewell
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Randolph 235, "Come Raise Me in Your Arms, Dear Brother" (1 text, 1 tune)
Randolph/Cohen, pp. 208-210, "Come Raise Me in Your Arms, Dear Brother" (1 text, 1 tune -- Randolph's 235)
MHenry-Appalachians, pp. 214-215, "Write a Letter to Mother" (1 text)
Rorrer, p. 91, "Write a Letter to My Mother" (1 text)
Roud #7708
RECORDINGS:
Charlie Poole and the North Carolina Ramblers, "Write a Letter to My Mother" (Columbia 15711-D, 1930)
James Ragan & Oliver Beck, "Write a Letter to My Mother" (Challenge 390, c. 1928)
File: R235
===
NAME: Come Sweet Jane: see Sweet Jane [Laws B22] (File: LB22)
===
NAME: Come Thou Fount of Every Blessing (I)
DESCRIPTION: "Come thou fount of every blessing, Tune my heart to sing thy praise. Streams of mercy, never ceasing, Call for songs of loudest praise." "Teach me some melodious sonnet, Sung by flaming tongues above." etc.
AUTHOR: Words: Robert Robinson (1735-1790)
EARLIEST_DATE: 1835 (Sacred Harp)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp, 66-67, "Come Thou Fount of Every Blessing" (1 text, 1 tune)
Roud #15066
CROSS_REFERENCES:
cf. "We Will Walk Through the Streets of the City"
cf. "This Old World" (tunes)
NOTES: This text by Robinson (1735-1790) is among the most popular of all shape note lyrics; in the Sacred Harp, for instance, we find it used with "Olney," "Family Circle," "Restoration," and "Warrenton" -- plus, with the first line "Come THY fount of every blessing," the tune "Rest for the Weary."
In the Missouri Harmony, it has the tunes "Olney," "New Monmouth," and "Hallelujah."
The standard tune seems to be "Olney;"  in Jackson's White Spirituals in the Southern Uplands, it occurs only with "Olney" (#40), as one of two possible texts for that tune. Nonetheless, the text travels a lot, and has acquired various tunes and choruses; see the cross-references.
If I undertand Johnson correctly, he believes the original tune to have been "Nettleton," which he credits to John Wyeth (1770-1858), though "Nettleton" of course is also associated with the name of Asahel Nettleton.
The scriptural references are interesting. "Flaming tongues" is almost certainly related to the Pentecost incident of speaking in tongues (Acts 2:3).
The second verse says, "Here I'll raise my Ebenezer." There are three mentions of Ebenezer in 1 Samuel. In 4:1, the Israelites gather at Ebenezer to fight the Philistines -- and, as the following verses tell, are roundly defeated. The Ark of the Covenant is captured, an the Philistines take it from Ebenezer to Ashdod (5:1). Later, after an Israelite victory over the Philistines, Samuel sets up a stone near Ebenezer, which the Bible renders "stone of help" (7:12; P. Kyle McCarter, in the Anchor Bible volume _1 Samuel_, p. 146, notes that the root, and hence the meaning, is not entirely clear at this time,but "stone of the helper" and "stone of the warrior," both possible, also would be good cultic terms for someone with Samuel's militant theology). Both sites could have suited Robinson's purpose; the battle in 1 Samuel 3 was a last stand by the Israelites, which fits someone "making [his] Ebenezer," and of course the symbolism of 7:12 is obvious.
It is not obvious that the two are the same place. It is, of course, possible that 4:1 and 5:1 call the spot "Ebenezer" after the name Samuel later gave it -- in fact, since Ebenezer sounds rather deserted, it would seem likely. Except that the Philistines generally beat up on the Israelites until the time of Saul. Samuel seems to have been something of a Skanderbeg: He could protect the land the Israelites held, and maintain a scratchy independence, but he could not regain territory. Odds are that the two Ebenezers are distinct. - RBW
File: NEctfoeb
===
NAME: Come Thou Fount of Every Blessing (II): see We Will Walk Through the Streets of the City (File: Br3562)
===
NAME: Come to Shuck Dat Corn Tonight
DESCRIPTION: "Come to shuck dat corn tonight, Come to shuck with all your might, Come for to shuck all in sight, Come to shuck dat corn tonight." "Come to shuck dat golden grain, Where dere's enough dere ain't no pain...."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 198, "Come to Shuck Dat Corn Tonight" (1 short text)
File: Br3198
===
NAME: Come to the Bower
DESCRIPTION: Come to the land of the Irish heroes: O'Neill, O'Donnell, Lord Lucan, O'Connell, Brian and St Patrick. Visit Dublin and the battlefields. "Will you come and awake our lost land from its slumber and her fetters we will break ... come to the bower"
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: Ireland nonballad patriotic
HISTORICAL_REFERENCES: June 5, 1646 - Battle of Benburb. Owen Roe O'Neill defeats Robert Munroe
June 5, 1798 - Battle of New Ross - Wexford rebels attack the small garrison (about 1400 men, many militia) at New Ross, but are repelled
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn 96, "Come to the Bower" (1 text, 1 tune)
DT, COMEBOWR
Roud #3045
CROSS_REFERENCES:
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: Among the historical characters mentioned in this song:
O'Donnell - Probably "Red Hugh" O'Donnell, leader of the 1594 war against the English; for his career see, e.g., "O'Donnell Aboo (The Clanconnell War Song)."
O'Neill - There were many O'Neills of significance for Irish history; the likeliest, given the context, is Hugh O'Neill, Earl of Tyrone, ally of Red Hugh O'Donnell (again, see the notes to "O'Donnell Aboo (The Clanconnell War Song)").
O'Connell - Obviously Daniel O'Connell, the campaigner for Irish rights; there are at least two songs bearing his name, and many more which allude to him, e.g. "By Memory Inspired" and "A Nation Once Again."
Brian -  Brian Boru, winner of the Battle of Clontarf; see "Remember the Glories of Brian the Brave."
Owen Roe - Owen Roe O'Neill (c. 1582-1649), nephew of Red Hugh O'Neill; he served for a time in the Netherlands, then fought against the English in Ireland in the 1640s, though he did not cooperate very well with other Nationalist leaders.
Munroe - Robert Munroe, a Scottish general who was defeated by Owen Roe O'Neill at Benburb. - RBW
File: OLoc096
===
NAME: Come to the Fair
DESCRIPTION: "The sun is a-shining to welcome the day" of the fair. The happy time is described. Listeners are encouraged: "Hey, ho, come to the fair."
AUTHOR: Words: Helen Taylor / Music: Easthope Martin
EARLIEST_DATE: 1917 (sheet music)
KEYWORDS: nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Fuld-WFM, p. 178, "Come to the Fair"
NOTES: Fuld notes that this is "[f]requently mistaken for a folksong"; it is on this basis that I include the piece. - RBW
File: Fuld178
===
NAME: Come to the Hiring: see The Hiring of the Servants (File: RcHirOTS)
===
NAME: Come Write Me Down (The Wedding Song)
DESCRIPTION: Man offers gold and pearls; woman refuses, saying she'll never be at any young man's call. He tells her t he'll find another. He picks up his hat to leave, but she changes her mind. They are married the next day; "she'll prove his comfort day and night"
AUTHOR: unknown
EARLIEST_DATE: 1891 (Baring-Gould MS, as "The Scornful Dame")
LONG_DESCRIPTION: "Come write me down the powers above/That first created a man to love." Man offers gold and pearls; woman refuses, saying she'll never be at any young man's call. He tells her to "go your way, you scornful dame"; he'll find another. He picks up his hat to leave, but, as could be predicted, she changes her mind. They are married the next day; "she'll prove his comfort day and night"
KEYWORDS: courting love marriage wedding dialog lover
FOUND_IN: Britain(England(South)) Canada(Newf)
REFERENCES: (3 citations)
Kennedy 126, "Come Write Me Down the Powers Above" (1 text, 1 tune)
Peacock, pp. 571-572, "Oh Write Me Down, Ye Powers Above" (1 text, 1 tune)
DT, COMWRIT1
Roud #381
CROSS_REFERENCES:
cf. "Corydon and Phoebe" (plot)
ALTERNATE_TITLES:
Oh Write Me Down, Ye Powers Above
The Scornful Dame
NOTES: Like "Corydon and Phyllis," whose plot is virtually identical, this no doubt began life as a minstrel piece or "rural romance" broadside. But it's entered tradition, with over half-a-dozen collections cited by Kennedy. The song has long been associated with the Copper family of Rottingdean, Sussex, having been collected from them as early as 1899, but it is also found in Dorset, Hampshire, Devon -- and Newfoundland.
It is distinguished from "Corydon and Phyllis" by the characteristic phrases quoted in the [long description]. - PJS
File: K126
===
NAME: Come Write Me Down The Powers Above: see Come Write Me Down (The Wedding Song) (File: K126)
===
NAME: Come Ye That Fear the Lord
DESCRIPTION: "Come ye that fear the Lord (x2), I have something for to say about the narrow way, For Christ the other day saved my soul (x2)." The singer recalls how Jesus came to free him, how others call him "undone," but how he looks forward to salvation 
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, pp. 201-202, "Come Ye That Fear the Lord" (1 text)
ST Fus201 (Partial)
Roud #16371
File: Fus201
===
NAME: Come, All Ye Roving Rangers: see Texas Rangers, The [Laws A8] (File: LA08)
===
NAME: Come, Butter, Come
DESCRIPTION: "Come, butter, come! De King and de Queen Is er-standin' at de gate, Er-waitin' for some butter An' a cake. Oh, come, butter, come!" A different version: "Come, butter come (x2), Peter stands at the gate, Waiting for a butter cake, Come, butter, come"
AUTHOR: unknown
EARLIEST_DATE: 1656 (Ady's A Candle in the Dark, according to Opie-Oxford2)
KEYWORDS: worksong nonballad food royalty
FOUND_IN: US
REFERENCES: (3 citations)
Scarborough-NegroFS, p. 215, (no title) (1 short text); p. 287, (no title) (1 short text, from Brand's Antiquities)
Opie-Oxford2 85, "Come, butter, come" (1 text)
Baring-Gould-MotherGoose #491, p. 213, "(Come, butter, come)"
Roud #18167
NOTES: The reference to Peter at the gate is sometimes interpreted as referring to Peter trying to get into heaven. But the logical assumption is surely that it is a reference to Acts chapter 12. Peter had been imprisoned by Herod Agrippa I, and was freed by an angel. He went to the home of Mary mother of John Mark, and knocked at the gate (12:13). The maid Rhoda was so shocked that she was very slow to answer. - RBW
Opie-Oxford2: "Although this centuries-old charm was still in superstitious use at the time, it was set to music in 1798 as a 'Bagatelle for Juvenile Amusement.'" - BS
File: ScNF215B
===
NAME: Come, Emily: see The Jealous Lover (II) (File: E104)
===
NAME: Come, Gang Awa' With Me
DESCRIPTION: "Oh come, my love, the moon shines bright Across the rippling sea... Come gang awa' with me. 'Tis many a night since last we met... Then say ere yonder stars shall set You'll gang awa' with me. "...I pledge myself to thee... Forever thine I'll be"
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: love courting travel
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 783, "Come, Gang Awa' With Me" (1 short text, 1 tune)
Roud #7415
File: R783
===
NAME: Come, Life, Shaker Life
DESCRIPTION: "Come, life, Shaker life, come, life eternal, Shake, shake out of me all that is carnal. I'll take nimble steps, I'll be a David, I'll show Michael twice how he behaved."
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: Bible religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 37, "Come, Life, Shaker Life" (1 text, 1 tune)
Roud #6669
NOTES: Although every text of this song I have seen refers to "Michael," the correct name is "Michal." Michal was the younger daughter of Saul, who loved and was married to David (1 Samuel 18:20f.) and saved him from her father (1 Sam. 19:11f.).
Later, however, when David had become king, David brought the Ark of the Covenant to Jerusalem. During its progress, "David danced before YHWH with all his might" (2 Sam. 6:14). And "Michal daughter of Saul looked out... and saw King David leaping and dancing... and she despised him in her heart" (2 Sam. 6:16).
David and Michal apparently were never reconciled; when she scolded him, David's response was that the girls would like what he was doing (! - 2 Sam. 6:22). "And Michal the daughter of Saul had no child until the day of her death" (2 Sam. 6:23). - RBW
File: LoF037
===
NAME: Come, Love, Come, the Boat Lies Low
DESCRIPTION: "Come, love, come, and go with me, I'll take you down about Tennessee. Open up the window, oh love do, Listen to the music I'm playing for you, Come, love, come, the boat lies low,...."  The girl is urged to float "on the Old Ben Joe"
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: love courting home river floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, pp. 90-91, "Come, Love, Come, the Boat Lies Low" (1 text, 1 tune)
Roud #10033
RECORDINGS:
Eleazar Tillet, "Come Love Come" (on USWarnerColl01) [a true mess; the first verse is "Nancy Till", the chorus is "Come, Love, Come, the Boat Lies Low," and it uses part of "De Boatman Dance" as a bridge.)
NOTES: Another collection -- at least in Wheeler's version -- of mostly floating material. But I suspect the chorus ("Come, love, come, the boat lies low, Lies high and dry on the Ohio...") is characteristic of something rather longer. - RBW
File: MWhee090
===
NAME: Come, My Little Roving Sailor: see Wheel of Fortune (Dublin City, Spanish Lady) (File: E098)
===
NAME: Come, My Love: see Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)
===
NAME: Come, Polly, Pretty Polly: see Pretty Polly (II) [cf. Laws P36] (File: LP36B)
===
NAME: Come, Pretty Polly: see Pretty Polly (II) [cf. Laws P36] (File: LP36B)
===
NAME: Come, Rain, Come
DESCRIPTION: The singer hopes, "Come, rain, come, rain, come... To keep back the Yankees Until our ranks are filled up by recruits." The hungry singer complains, "I'm alone in my shanty, And rations they are scanty." He hopes for more and better food
AUTHOR: unknown
EARLIEST_DATE: 1943 (Brown)
KEYWORDS: food Civilwar
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 385, "Come, Rain, Come" (1 text)
Roud #11753
NOTES: Mud is, of course, the soldier's constant foe, but worse for the side on the offensive; hence the Confederates would appreciate bad weather more than the Unionists. There is no hint that this is a reference to the Army of the Potomac's "Mud March" of December 1862, but it would fit -- the weather stopped General Ambrose Burnside's advance cold.
Neither side had very good rations; the transportation systems of the time just weren't up to it. But at least the Union troops usually had enough to eat. Not so the Confederates, who were constantly hungry, especially as the war dragged on (which resulted in the loss of much farming land, the ruin of still more land, and the breakdown of the southern railroads). The hunt for food described here is quite true-to-life. - RBW
File: Br3385
===
NAME: Come, Ye Sinners
DESCRIPTION: "Come ye sinners poor and needy, Weak and wounded, sick and sore, Jesus ready stands to save you, Full of pity, love and pow'r. He is able, he is willing, He is able, doubt no more."
AUTHOR: Joseph Hart?
EARLIEST_DATE: 1926 (Randolph; dated to 1759 in the Sacred Harp)
KEYWORDS: religious Jesus
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 623, "Come, Ye Sinners" (1 text, 1 tune)
Roud #7555
NOTES: Randolph states that this is sung to the tune of "Go Tell Aunt Rhody." There is a similarity, but it is not the same tune (for one thing, this has two parts).
In the Sacred Harp, this appears with the tune "Beach Spring," which isn't even close to "Aunt Rhody." - RBW
File: R623
===
NAME: Comely Young Dame, The: see My Bonny Brown Jane (File: HHH613)
===
NAME: Comet
DESCRIPTION: "Comet! It makes your teeth turn green. Comet! It tastes like gasoline. Comet (it/will) make you vomit, So get some Comet and vomit today."
AUTHOR: Music: "Colonel Bogey March" by Kenneth J. Alford, 1916
EARLIEST_DATE: 1986
KEYWORDS: nonballad parody humorous
FOUND_IN: US
REFERENCES: (1 citation)
Pankake-PHCFSB, p. 38, "Comet" (1 text, tune referenced)
NOTES: I make the assumption that, if I learned a kids's song from a source other than my parents or school, it qualifies as a folk song. This seems to fit that bill. - RBW
File: PFCF038a
===
NAME: Comfort and Tidings of Joy: see Somerset Carol (File: FSWB377B)
===
NAME: Comical Ditty, A (Arizona Boys and Girls)
DESCRIPTION: "Come all you good people, I pray you draw near... A comical ditty you shortly shall hear." The song notes how the boys dress up to court the ladies, and the girls dress up to court the men, but neither can get married of their own power
AUTHOR: unknown
EARLIEST_DATE: 1913 (Belden)
KEYWORDS: courting poverty clothes family
FOUND_IN: US(Ap,MW,SE,So,SW)
REFERENCES: (5 citations)
Belden, p. 430, "Comical Ditty" (1 text)
Randolph 461, "The Boys Around Here" (1 text, 1 tune)
JHCox 57, "A Comical Ditty" (1 text)
Logsdon 20, pp. 133-135, "They're Down and They're Down" (1 text, 1 tune)
DT, COMDITTY
Roud #4868
CROSS_REFERENCES:
cf. "Putting on Airs" (theme)
NOTES: Despite the title, this song does not strike me as in any way comic -- bitterly pathetic is more like it. Such slight humor as it has derives from its snarling sarcasm, but even this is too strong to be really effective.
I did not initially link the Randolph song with Cox's; they are shown with distinctly different metrical patterns, and Randolph's text isn't quite as sarcastic. But upon seeing more versions, it appears that they are just extremes of a constellation of forms. - RBW
File: JHCox057
===
NAME: Coming Around the Horn
DESCRIPTION: "Now, miners, if you listen, I'll tell you quite a tale." The singer goes around Cape Horn to California, and describes the seasickness, bad food, long calms, and other poor conditions. Arriving in California, he finds his money was left in the States
AUTHOR: unknown
EARLIEST_DATE: 1855 ("Put's Original California Songster")
KEYWORDS: ship travel hardtimes
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 429-420, "Coming Around the Horn" (1 text)
Roud #15539
CROSS_REFERENCES:
cf. "Dearest May" (tune)
File: LxA429
===
NAME: Coming Down the Flat
DESCRIPTION: "If a body meet a body coming down the flat, Should a body 'Joe' a body, for having on a hat? Some wear caps, some wise-awakes, but I prefer a hat, Yet everybody cries out 'Joe!' coming down the flat." About the types of hats Australians wear
AUTHOR: Charles Thatcher?
EARLIEST_DATE: 1984
KEYWORDS: clothes parody Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Fahey-Eureka, pp. 96-97, "Coming Down the Flat" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Coming Through the Rye" (tune & meter)
File: FaE096
===
NAME: Coming Round the Mountain (I): see She'll Be Coming Round the Mountain (File: San372)
===
NAME: Coming Round the Mountain (II -- Charming Betsey)
DESCRIPTION: "She'll be coming round the mountain, charming Betsey; She'll be coming round the mountain, Cora Lee; If I never see you any more, Pray God remember me." The song usually compares the homes, vehicles, etc. of the rich and poor
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: separation money nonballad
FOUND_IN: US(Ap,SE,So)
REFERENCES: (4 citations)
Randolph 436, "Charming Betsey" (1 text, 1 tune)
Randolph/Cohen, pp. 335-336, "Charming Betsey" (1 text, 1 tune -- Randolph's 436)
BrownIII 256, "All Around the Mountain, Charming Betsy" (2 short texts); also 17, "I Wouldn't Marry" (7 text (some short) plus 6 excerpts, 1 fragment, and mention of 5 more, of which "the "A" text appears to mix this with "I Won't Marry an Old Maid" and "Raccoon")
DT, COMRNDMT*
Roud #7052
RECORDINGS:
Fiddlin' John Carson, "Charming Betsy" (OKeh 40363, 1925)
Cleve Chaffin & the McClung Brothers, "Rock House Gamblers" (c. 1930; on RoughWays1)
Georgia Organ Grinders, "Charming Betsy" (Columbia 15415-D, 1929)
Davis & Nelson, "Charming Betsy" (QRS 9011, c. 1929)
Land Norris, "Charming Betsy" (OKeh 45033, c. 1926; rec. 1925)
Virgil Perkins & Jack Sims, "Goin' Around the Mountain" (on AmSkBa)
Henry Thomas, "Charming Betsy" (Vocalion 1468, 1930 [rec. 1929]; on Cornshuckers2)
CROSS_REFERENCES:
cf. "She Gets There Just the Same (Jim Crow Car)" (floating verses)
File: R436
===
NAME: Coming Through the Rye
DESCRIPTION: "Gin a body meet a body comin' through the rye, Gin a body kiss a body, need a body cry?" The singer remarks that no one knows her swain, but notes that all the lads smile at her in the rye. She observes that she has a love whom she keeps secret
AUTHOR: unknown (adapted by Robert Burns)
EARLIEST_DATE: 1796 (Stationer's Register)
KEYWORDS: love courting bawdy nonballad farming
FOUND_IN: Britain
REFERENCES: (3 citations)
Silber-FSWB, p. 140, "Comin' Through the Rye" (1 text)
Fuld-WFM, pp. 178-179, "Comin' Thro' the Rye"
DT, COMTHRYE*
Roud #5512
RECORDINGS:
Edith Helena, "Comin' Thro' the Rye" (Gramophone & Typewriter Co. 3348, n.d. but pre-1907)
Nevada Vanderveer, "Comin' Through the Rye" (Bell 1117/Bell S-77, c. 1923)
Ruth Vincent, "Comin' Thro' the Rye" (Columbia 30024, c. 1906)
SAME_TUNE:
Coming Through the Rye (Cold Cuts) (Pankake-PHCFSB, p. 11; DT, COMTHRY2)
NOTES: Fuld observes that the earliest copies of this song (including the text known to Burns) were bawdy, and the Digital Tradition text is one of these.
There is a version of this in the Wilder family tradition (_By the Shores of Silver Lake_, chapter 15), but it looks imperfectly Scottish, as if learned from print. - RBW
File: FSWB140B
===
NAME: Common Bill
DESCRIPTION: The singer says Bill "isn't charming," and is "altogether green." He courts her relentlessly, to her scorn. At last he says that he will kill himself if she does not wed him. Citing the Bible's injunction against killing, she consents
AUTHOR: unknown
EARLIEST_DATE: 1893 (Broadwood & Maitland)
KEYWORDS: courting marriage
FOUND_IN: US(MW,NE,SE,So) Britain(England)
REFERENCES: (13 citations)
Randolph 119, "Common Bill" (2 texts)
Eddy 57, "Common Bill" (2 texts, 1 tune)
Gardner/Chickering 178, "Common Bill" (1 text, 1 tune)
Linscott, pp. 187-188, "Common Bill" (1 text, 1 tune)
BrownII 195, "Common Bill" (1 text plus 1 excerpt and mention of 3 more)
Hudson 57, pp. 173-174, "Common Bill" (1 text)
Scarborough-SongCatcher, pp. 308-310, "Common Bill" (2 texts, 1 tune on pp. 437-438)
Sandburg, pp. 62-63, "Common Bill" (1 text, 1 tune)
Lomax-ABFS, pp. 325-326, "Hardly Think I Will" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 76, "Silly Bill" (1 text, 1 tune)
LPound-ABS, 104, pp. 214-215, "I Will Tell You of a Fellow" (1 text)
Silber-FSWB, p. 172, "Common Bill" (1 text)
DT, CMMNBILL*
Roud #442
RECORDINGS:
I. G. Greer w. Mrs. I. G. Greer, "Common Bill" (AFS; on LC14)
Hill Billies, "Silly Bill" (OKeh 40294, 1925)
McGee Brothers, "Charming Bill" (Vocalion 5166, 1927)
McGee Brothers & Todd, "Common Bill" (on CrowTold02)
New Lost City Ramblers, "Common Bill" (on NLCR10)
Ernest Thompson & Connie Sides, "Silly Bill" (Columbia 15002-D, rec. 1924)
CROSS_REFERENCES:
cf. "Barney O'Hea" (theme)
File: R119
===
NAME: Common Sailors
DESCRIPTION: "Don't you call us common men, We're as good as anybody that's on shore." We bring "silks and satins" for girls, cigars for "young gents," and no one appreciates us.
AUTHOR: unknown
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: commerce pride sailor
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 24, "Common Sailors" (1 text, 1 tune)
File: LeBe024
===
NAME: Companions, Draw Nigh: see Dying From Home and Lost (Companions, Draw Nigh) (File: R609)
===
NAME: Company Cook, The
DESCRIPTION: "The company cook had a greasy look, A nasty galoot was he, His only shirt was stiff with dirt...." The cook is "an autocrat," but "the stuff we got to put in the pot Was too often fit for swill." One day he dies and is buried; they expect he is in hell
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: cook death army
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 551-552, "The Company Cook" (1 text)
Roud #15544
NOTES: Makes me think of "The Bastard King of England," but the dependence seems to be merely a matter of vague allusions. - RBW
File: LxA551
===
NAME: Complainte de Springhill, La (The Lament of Springhill)
DESCRIPTION: French. February 21, 1891: In Nova Scotia you will never forget the underground devastation in the Springhill mine. We are told that one hundred and thirty appeared before God.
AUTHOR: unknown
EARLIEST_DATE: 1959 (Creighton-Maritime)
KEYWORDS: foreignlanguage grief death mining disaster
HISTORICAL_REFERENCES: Feb 21, 1891 - Springhill Disaster
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Creighton-Maritime, p. 183, "La Complainte de Springhill" (1 text, 1 tune)
DT, SPRINGH3*
CROSS_REFERENCES:
cf. "Springhill Mine Disaster (1891)" (subject)
NOTES: February 21, 1891: Springhill Coal Mine explosion kills 125 men. (Source: our roots/nos racines (Canada's local histories online) _Story of the Springhill Colliery Explosion_ : comprising a full and authentic account of the great coal mining explosion at Springhill Mines, Nova Scotia, February 21st, 1891, including a history of Springhill and its collieries_ by R.A.H. Morrow.) - BS
This was not the last disaster in the Springhill coal mines; Peggy Seeger and Ewan MacColl documented the 1958 tragedy in "Springhill Mine Disaster." - RBW
File: CrMa183
===
NAME: Complications of Life, The
DESCRIPTION: "This life here is a mixture of its troubles and its joys, All the way to ripe old age from tiny girls and boys; With many complications...." The singer tells of courting girls, of music, of toys, farm animals, a bad marriage, life's other trials
AUTHOR: probably assembled by John Daniel Vass
EARLIEST_DATE: 1958 (collected by Shellans from John Daniel Vass)
KEYWORDS: hardtimes animal dog chickens mother humorous wife marriage separation army farming
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Shellans, pp. 45-46, "The Complications of Life" (1 text, 1 tune)
Roud #7328
File: Shel045
===
NAME: Concerning Charlie Horse
DESCRIPTION: Nine men go to pull Charlie horse's drowned body from Angle Pond where he had fallen through the ice. The men braved hunger to do the job "with two stout dories and a couple of ropes" and "gave him a decent send-off." The crew are all named.
AUTHOR: Omar Blondahl
EARLIEST_DATE: 1959 (NFOBlondahl03)
KEYWORDS: burial drowning moniker horse
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Blondahl, pp. 18-19, "Concerning Charlie Horse" (1 text, 1 tune)
RECORDINGS:
Omar Blondahl, "Concerning Charlie Horse" (on NFOBlondahl03)
CROSS_REFERENCES:
cf. "The Return of Charlie Horse" (subject)
NOTES: From _Omar Blondahl's Contribution to the Newfoundland Folksong Canon_ by Neil Rosenberg in Canadian Journal for Traditional Music (1991):
"Another single paired 'Concerning Charlie Horse' and 'The Return of Charlie Horse,' two songs about a party involving the retrieval and burial of Charlie, the horse who fell through the ice of Angle Pond in Mahers near St. John's in the spring of 1956. 'Concerning Charlie Horse,' which Blondahl co-authored along with a local man, who along with Blondahl was one of ten named in the song, was a hit in St. John's and is a good example of a moniker song which achieved popularity in part because listeners could identify the names and nicknames of the men in it." - BS
File: Blon018
===
NAME: Concerning One Summer in Bonay I Spent
DESCRIPTION: The singer -- and others from all over Newfoundland -- congregated in "Bonay" one summer for wood "rhind" and fishing. The singer pokes fun at the girls that went along and at the men dressing up to meet them.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Doyle)
KEYWORDS: courting work fishing
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Doyle2, p. 33, "Concerning One Summer in Bonay I Spent" (1 text, 1 tune)
Doyle3, p. 21, "Concerning One Summer in Bonay I Spent" (1 text, 1 tune)
Blondahl, p. 29, "Concerning One Summer in Bonay" (1 text, 1 tune)
Roud #7292
RECORDINGS:
Omar Blondahl, "Concerning One Summer in Bonay" (on NFOBlondahl03)
NOTES: Doyle mentions that the song was written by a "simple fisherman" and that "Bonay" is in the Strait of Belle Isle which separates Newfoundland from Labrador. - SH
File: Doy33
===
NAME: Condemned Men for the Phoenix Park Murders, The
DESCRIPTION: "On the evidence of a notorious wretch Far worse than they have been, Those men they are condemned to die" "Counsels for the Crown ... have well succeeded in their plan ... For basely British gold" Carey is cursed as "the cause of all this woe"
AUTHOR: unknown
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: execution homicide trial Ireland political
HISTORICAL_REFERENCES: Chronology of the Phoenix Park murders (source: primarily Zimmermann, pp. 62, 63, 281-286.)
May 6, 1882 - Chief Secretary Lord Frederick Cavendish and the Under Secretary Thomas Henry Burke are murdered by a group calling themselves "The Invincible Society."
January 1883 - twenty seven men are arrested.
James Carey, one of the leaders in the murders, turns Queen's evidence.
Six men are condemned to death, four are executed (Joseph Brady is hanged May 14, 1883; Daniel Curley is hanged on May 18, 1883), others are "sentenced to penal servitude," and Carey is freed and goes to South Africa.
July 29, 1883 - Patrick O'Donnell kills Carey on board the "Melrose Castle" sailing from Cape Town to Durban.
Dec 1883 - Patrick O'Donnell is convicted of the murder of James Carey and executed in London (per Leach-Labrador)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann, pp. 28,63, "Lines Written on the Condemned Men for the Phoenix Park Murders" (2 fragments)
BROADSIDES:
Bodleian, Harding B 26(364), "Lines Written on the Condemned Men for the Phoenix Park Murders" ("Miserable indeed must those poor men be"),unknown, n.d.
CROSS_REFERENCES:
cf. "The Phoenix Park Tragedy" (subject: the Phoenix Park murders) and references there
NOTES: Zimmermann p. 62: "The Phoenix Park murders and their judicial sequels struck the popular imagination and were a gold-mine for ballad-writers: some thirty songs were issued on this subject, which was the last great cause to be so extensively commented upon in broadside ballads."
Zimmermann pp. 28 and 63 are fragments; broadside Bodleian Harding B 26(364) is the basis for the description. - BS
File: BrdCMPPM
===
NAME: Condescending Lass, The: see I Am a Pretty Wench (File: BGMG082)
===
NAME: Coney Isle
DESCRIPTION: Verses that ought to be floating if they aren't already: "Some folks say that a preacher won't steal/I caught three in my corn field"; "Make that feather bed... Old man Brown gonna stay all night." Chorus: "I'm on my way, I'm going back to Coney Isle."
AUTHOR: Frank Hutchison
EARLIEST_DATE: 1927 (recording, Frank Hutchison)
KEYWORDS: humorous nonballad floatingverses
FOUND_IN: 
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 181, "Coney Isle" (1 text, 1 tune)
RECORDINGS:
Lester Pete Bivins, "I'm Goin' Back to Coney Isle" (Bluebird B-6950, 1937)
Roscoe Holcomb, "Coney Isle" (on Holcomb1, MMOKCD)
Frank Hutchison, "Coney Isle" (OKeh 45083, 1927)
CROSS_REFERENCES:
cf. "Rosie, Darling Rosie" (floating lyrics)
cf. "Take a Drink On Me" (words)
cf. "Uncle Eph's Got the Coon" (words)
cf. "Some Folks Say that a Preacher Won't Steal" (lyrics)
ALTERNATE_TITLES:
Alabam
NOTES: The "Coney Isle" referred to was Coney Island amusement park in Cincinnati, Ohio, not the better-known Coney Island in New York. - PJS
File: CSW181
===
NAME: Confederate "Yankee Doodle"
DESCRIPTION: "Yankee Doodle had a mind to whip the southern traitors Because they didn't choose to live on codfish and potatoes... And so to keep his courage up he took a drink of brandy." The song notes that even the brandy didn't help at Bull Run
AUTHOR: unknown
EARLIEST_DATE: 1936 (Hudson)
KEYWORDS: Civilwar battle parody derivative
HISTORICAL_REFERENCES: July 21, 1861 - First battle of Bull Run fought between the Union army of McDowell and the Confederates under Johnston and Beauregard
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 249, "Confederate 'Yankee Doodle'" (1 text)
Lomax-ABFS, pp. 521-525, "Yankee Doodle" (4 texts, 1 tune, of which the third is this version)
Hudson 122, pp. 262-263, "Yankee Doodle" (1 text)
DT, YNKDOOD2*
Roud #7715
CROSS_REFERENCES:
cf. "Yankee Doodle" (tune) and references there
File: R249
===
NAME: Connaught Man, the
DESCRIPTION: The singer rambles from Connaught to the big cities of Ulster. He has various confrontations with city slickers, assumes a pub will give him credit, and winds up in a fight. He lands in prison. Once released, he vows to roam no more
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: rambling prison home fight drink money
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H219, pp. 177-178, "The Connaught Man" (1 text, 1 tune)
Roud #13538
File: HHH219
===
NAME: Connaught Man's Trip to Belfast, The: see The Poor Chronic Man (File: FSC118)
===
NAME: Connecticut Peddler, The
DESCRIPTION: "I'm a peddler, I'm a peddler, I'm a peddler from Connecticut... And don't you want to buy?" He offers "many goods you never saw before," such as pins, "tracts upon popular sins," and many sorts of seeds.
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: commerce money travel nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 317-320, "The Connecticut Peddler" (1 text, 1 tune)
Roud #15533
File: LxA317
===
NAME: Connla
DESCRIPTION: In Irish Gaelic; dialog; woman asks, "Who's that down there tapping the window?", "...kindling the fire?", "...drawing the blanket off me?", "...breaking down fences?". In every case the reply is "'It's I, myself', says Connla"
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Mary Joyce)
KEYWORDS: sex dialog foreignlanguage
FOUND_IN: Ireland
REFERENCES: (1 citation)
DT, CUNNLDR
RECORDINGS:
Mary Joyce, "Connla" (on Lomax42, LomaxCD1742)
ALTERNATE_TITLES:
Cunnla
NOTES: I haven't used the keyword "bawdy", despite the subject matter, because it isn't. - PJS
File: DTcunnld
===
NAME: Connlach Ghlas an Fhomhair (Green Harvest Stubble, The)
DESCRIPTION: Gaelic. Singer wishes he and his sweetheart were wed and on a ship sailing west. Everyone has other plans for her but he would oppose even the King of Spain. He sent her a letter to complain. "She promptly replied that her heart's love was truly mine" 
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: foreignlanguage love nonballad emigration royalty
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, pp. 166-167, "Connlach Ghlas an Fhomhair" (1 text)
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 113-114, "Coinligh Ghlas' An Fhomhair" ("Green Harvest Stubble") [Gaelic and English]
NOTES: Tunney-StoneFiddle includes both the Gaelic and Paddy Tunney's English translation. However, I used Bell/O Conchubhair for the description because I thought I understood it better.
The text of the last verse, in both Gaelic and English, differ between Tunney-StoneFiddle and Bell/O Conchubhair. Tunney has the singer hear from gossips that she will wed soon; his advice is to delay "till Easter day When we'll be safe beyond their sight and wicked spite far, far away." - BS
The reference to the King of Spain is interesting. The Kings of Spain were the "Most Catholic Monarchs," and hence potentially the most likely to be helpful to the Catholics of Ireland, so opposing them would be particularly galling to a fervent Catholic -- but by the time emigration to America was common, Spain had fallen into extreme weakness and was no useful ally to anyone. Maybe the reference is just a leftover memory of the days of the Armada and the English/Spanish wars. - RBW
File: TSF166
===
NAME: Conroy's Camp
DESCRIPTION: (The company sets out for camp and) arrives at Waltham, where they stop to drink. The singer describes the several men in the crew.
AUTHOR: unknown
EARLIEST_DATE: 1966 (Fowke)
KEYWORDS: travel drink logger moniker
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke-Lumbering #46, "Conroy's Camp" (1 text, tune referenced)
Roud #4558
CROSS_REFERENCES:
cf. "How We Got Up to the Woods Last Year" (tune, lyrics, theme)
NOTES: Like so many lumbering songs, this is a "moniker song" devoted mostly to listing the men in the crew-- though, in this case, it catalogs their behavior on their way to camp rather than their behavior *in* camp. - RBW
File: FowL46
===
NAME: Constant Farmer's Son, The [Laws M33]
DESCRIPTION: Her parents consent to let their daughter marry a farmer, but her brothers will not agree. The brothers take the farmer out and murder him, claiming he has fled with another girl. The daughter finds the body, has her brothers executed, and dies of grief
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Harding B 11(3995))
KEYWORDS: homicide family
FOUND_IN: Britain(England(South)) US(MA,MW) Canada(Mar,Newf) Ireland
REFERENCES: (10 citations)
Laws M33, "The Constant Farmer's Son"
FSCatskills 47, "The Constant Farmer's Son" (1 text, 1 tune)
SHenry H806, pp. 434-435, "The Constant Farmer's Son" (1 text, 1 tune)
Morton-Maguire 17, pp. 40-41,108,163, "The Constant Farmer's Son" (1 text, 1 tune)
LPound-ABS, 32, pp. 76-78, "The Constant Farmer's Son" (1 text)
Creighton/Senior, pp. 141-142, "Constant Farmer's Son" (1 text, 1 tune)
Creighton-Maritime, p. 118, "The Constant Farmer's Son" (1 text, 1 tune)
Lehr/Best 25, "Constant Farmer's Son" (1 text, 1 tune)
Mackenzie 26, "The Constant Farmer's Son" (1 text)
DT 309, CONSTFRM  (JEALBRO5 incorrectly listed as Laws M32)
Roud #675
RECORDINGS:
Josie Connors, "Constant Farmer's Son" (on IRTravellers01)
Tom Lenihan, "Constant Farmer's Son" (on IRClare01)
John Maguire, "The Constant Farmer's Son" (on IRJMaguire01)
James McDermott, "The Constant Farmer's Son" (on IRHardySons)
BROADSIDES:
Bodleian, Harding B 11(3995), "The Merchant's Daughter and Constant Farmer's Son," J. Pitts (London), 1819-1844; also Johnson Ballads 1223, Harding B 16(148a), Firth c.18(183), Johnson Ballads 1947, Harding B 11(2402), "The Merchant's Daughter and Constant Farmer's Son"; Johnson Ballads 2675, "Merchant's Daughter" or "Constant Farmer's Son" ("It's of a merchant's daughter in London town did dwell"); 2806 b.9(265), "The Constant Farmer's Son"
CROSS_REFERENCES:
cf. "The Bramble Briar (The Merchant's Daughter; In Bruton Town)" [Laws M32]
NOTES: At the end of Tom Lenihan's version on IRCLare01, the brothers' bodies are given to doctors "for to practice by" "but Mary's thoughts both night and day On her dead love did run; In the madhouse cell poor Mary dwells For her constant farmer's son." See the notes to "A Maid in Bedlam" for other women driven to the asylum. - BS
File: LM33
===
NAME: Constant Lover, The
DESCRIPTION: "Although my parents me disdain, For loving of my own dear honey," the singer vows to be faithful. He lists all the things he would disdain were he allowed to woo the girl. He concludes that not even the honeycomb is as sweet as she
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 86, "The Constant Lover" (1 text)
Roud #5564
NOTES: This song, literary in a rather obnoxious way, mentions both King Caesar's rents (though the Roman Empire did not use landrents as such) and Hero and Leander. The latter story tells of the young man Leander who swam every night to meet his love Hero, but who one night became lost and drowned; when she found his body, she drowned herself. The story comes from an ancient Greek poem, but was more popular in recent times; Marlowe, Byron, and Chapman were among the many who wrote on the theme. - RBW
File: Ord086
===
NAME: Constant Lovers (II), The: see Rise Up Quickly and Let Me In (The Ghostly Lover) (File: Ord089)
===
NAME: Constant Lovers, The [Laws O41]
DESCRIPTION: The sailor promises to marry the girl after he makes one more trip. His mother threatens to disinherit him for this, but he points out that she had been a serving girl herself until his father had raised her. He promises to be faithful to the girl
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(166))
KEYWORDS: sailor travel mother promise
FOUND_IN: Canada(Mar,Newf) Ireland
REFERENCES: (7 citations)
Laws O41, "The Constant Lovers"
SHenry H634, p. 472, "One Penny Portion" (1 text, 1 tune)
OLochlainn-More 4, "One Penny Portion" (1 text, 1 tune)
Lehr/Best 95, "A Sailor Courted" (1 text, 1 tune)
Creighton-NovaScotia 49, "A Sailor Courted" (1 text, 1 tune)
Creighton-Maritime, pp. 44-45, "A Sailor Courted a Farmer's Daughter" (1 text, 1 tune)
DT 595, SAILCOUR
Roud #993
BROADSIDES:
Bodleian, Harding B 28(166), "The Constant Lovers" ("A sailor courted a farmer's daughter"), W. Armstrong (Liverpool), 1820-1824; also Harding B 11(3519), Firth c.13(259), 2806 c.17(79), 2806 c.17(78), Harding B 11(146), Harding B 11(147), Johnson Ballads 2079, Harding B 20(235), Firth c.26(62), Firth c.12(195), Firth c.12(290), Harding B 11(678), Harding B 11(677), "The Constant Lovers"; Harding B 11(2670) [15 8-line verses], "A New Song"; Harding B 16(108d), "Hard-Hearted Mother"; Harding B 4(87)[part 1: 9 8-line verses; part 2: 10 8-line verses; 7 8-line verses], Harding B 4(88), "The Goodhurst Garland. In Three Parts"; Harding B 25(1682), "The Sailor and the Farmer's Daughter"
NLScotland, APS.4.95.15(3), "The Sailor and Farmer's Daughter," unknown, c.1830
File: LO41
===
NAME: Constant Sorrow: see Man of Constant Sorrow (File: CSW113)
===
NAME: Constitution and the Guerriere, The [Laws A6]
DESCRIPTION: Captain Dacres of the Guerriere expects to defeat the Americans as easily as Britain has defeated the French. Captain [Isaac] Hull's Constitution, however, easily defeats the British ship
AUTHOR: unknown
EARLIEST_DATE: 1812 (broadside)
KEYWORDS: sea war battle ship
HISTORICAL_REFERENCES: Aug 19, 1812 - the 44-gun Constitution defeats and captures the 38-gun Guerriere
FOUND_IN: US(Ap,MA)
REFERENCES: (14 citations)
Laws A6, "The Constitution and the Guerriere"
Colcord, pp. 130-132, "The Constitution and the Guerriere" (1 text, 1 tune)
Harlow, pp. 184-186, "The Constitution and the Guerriere" (1 text, 1 tune)
Friedman, p. 291, "The Constitution and the Guerriere" (1 text)
Scott-BoA, pp. 108-110, "The Constitution and the Guerriere" (1 text, 1 tune)
Lomax-ABFS, pp. 507-509, "Constitution and Guerriere" (1 text, 1 tune)
Lomax-FSNA 21, "Yankee Doodle Dandy-O" (1 text, 1 tune)
Botkin-NEFolklr, pp. 544-546, "The Constitution and the Guerriere" (1 text, 1 tune)
Shay-SeaSongs, pp. 161-164, "The Constitution and the Guerriere" (1 text, 1 tune)
JHCox 60, "The Constitution and the Guerriere (Hull's Victory)" (1 text)
Darling-NAS, pp. 159-161, "The Constitution and the Guerriere" (1 text)
Silber-FSWB, p. 286, "The Constitution and Guerriere" (1 text)
DT 362, CONSTGUR*
ADDITIONAL: C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 309. "The Constitution and Guerriere" (1 text)
Roud #626
RECORDINGS:
Warde Ford, "Proud Dacus and Captain Hull (Captain Hull and proud Dacus)" [fragment] (AFS 4202 A4, 1938; tr.; in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "The Chesapeake and the Shannon (I)" [Laws J20]
cf. "Iron Merrimac" (subject)
cf. "Yankee Tars" (subject)
NOTES: Despite the alternate title "Yankee Doodle Dandy-O," this is obviously not to be confused with "Yankee Doodle." The tune is, in fact, related to "The Bonnie Lass of Fyvie-O (Pretty Peggy)"; some copies call it "The Landlady of France."
The United States declared war on Britain in 1812 due to British behavior at sea (impressing seamen off American ships -- for which see e.g. "The Chesapeake and the Shannon (I)" [Laws J20] -- and stopping American ships bound for the continent, among other things). Under ordinary circumstances, the Americans could not hope to beat Britain -- but, just as in the Revolutionary War, Britain had other things on its mind. In this case, Napoleon. Most of the British navy had to stay near France to combat the possibility of invasion. As a result, the Americans decided to send out their tiny navy -- only five frigates, though they were high-quality ships, and some smaller vessels -- to protect their merchant ships against such British ships as were operating out of Halifax and Newfoundland. In the end, most of the American fleet would end up bottled up in port.
Before that could happen, though, the _Constitution_ went out commerce-raiding (July 12, 1812). It very nearly ended up being a short trip. Despite their preoccupation with France, the British had one significant task force in the Americas, built about the ship of the line H.M.S. _Africa_ (see Walter R. Borneman, _1812: The War that Forged a Nation_, p. 81; also Donald R. Hickey, _The War of 1812_, pp. 93-94). That fleet came upon _Constitution_, but the wind died before they could engage, and the _Constitution_ managed to get away by kedging her  anchor plus putting as many men as possible in longboats to row her away. _Constitution_ made it to Boston, then set out again (Borneman, p. 84). She then met the _Guerriere_, one of the ships from the _Africa_ fleet now operating on her own.
The _Guerriere_ freely went into battle with the _Constitution_, apparently in the belief that the Americans didn't know how to handle ships. This was a bad move. Although the _Constitution_ had only slightly more guns, it was a much better-built ship, and its weight of broadside was significantly larger; few frigates had long guns (that is, guns capable of firing a ball over long distances) heavier than an 18-pounder, but the _Constitution_ had many 24-pounders -- a weight typical of ships of the line (see Fletcher Pratt, _The Compact History of the United States Navy_, p. 36; p. 8. According to Lincoln P. Paine (_Ships of the World: An Historical Encylopedia_ Houghton Mifflin, 1997), the _Constitution_ initially had fully 30 of these ship-killers and 20 32-pounders carronades -- short-range guns designed to kill people more than ships  No wonder some charged that the ship was really a ship of the line!). According to John K. Mahon, _The War of 1812_, p. 57, the _Constitution_ had a broadside of 684 pounds, the British of 556 -- and the American ship had 456 crew to 272 on the British frigate. The British sailors probably were more experienced -- but they simply weren't very numerous.
The American ship-handling was in fact imperfect (Borneman, p. 86), which meant that the two ships actually came in contact for a time, but the _Guerriere_ was quickly dismasted; eventually she surrendered and proved so badly damaged that she had to be burned.
The _Constitution_ would win additional battles in the War of 1812, but this was the only victory for skipper Isaac Hull (1773-1843), who afterward requested and was given a shore command (Mahon, p. 59).
The ""Captain Hull" of the Warde Ford version is of course the aforementioned Isaac Hull (1773-1843), who commanded the _Constitution_ during the battle. "Dacus" is James R. Dacres (1788-1853), the commander of the _Guerriere_. Lest he be thought incompetent, it should be noted that he obtained command at a very young age, and would later in the war capture the _Leo_. He was really more of a "test case" for the British belief that their seamanship (so demonstrated at Trafalgar) made them inherently better than the Americans. Though he would later blame his defeat on the fact that his vessel was an inferior ship captured from the French (Borneman, p. 88).
The "super frigates" did cause a significant reaction on the British side; in addition to the _Constitution_, the ship _United States_ had easily dealt with the _Macedonian_ (Hickey, pp. 94-96). The British questioned whether the American ships could really be called frigates rather than ships of the line (Hickey, p. 98), and caused the British to design heavy frigates of their own and to order their frigates to avoid American frigates if possible (Hickey, pp. 99). They also gave their light frigates orders to stay out of one-on-one engagements (Mahon, p. 59).
It's fortunate for the Americans that their ships were successful, because they weren't cheap. According to David S. Heidler and Jeanne T. Heidler, editors, _Encyclopedia of the War of 1812_, 1997 (I use the 2004 Naval Institute Press edition), the _Constitution's_ "final price of $302,718.84 represented a 260 percent cost overrun from original appropriations."
The victory was very important in American politics. To that point, the Americans had done very badly in the war, being utterly defeated on the Canadian front (see, e.g., "Brave General Brock" [Laws A22] and "The Battle of Queenston Heights"). The _Constitution's_ victory, while of no real significance, is credited with helping President James Madison to re-election in November 1812. It was a very close thing; had Pennsylvania gone for De Witt Clinton, Madison would have been turned out of office, and there was genuine concern that he *would* lose there (Hickey, p. 105)- RBW
File: LA06
===
NAME: Contented Countryman, The
DESCRIPTION: "Who would like a jovial count-e-rie life? Happy am I with my home and wife." The singer describes how his life "just suits me": They call him poor, but he has the larks and the clear sky and a loving wife. He would not "change for a crown-ed king."
AUTHOR: unknown
EARLIEST_DATE: before 1900 (broadside, Bodleian Firth c.26(85))
KEYWORDS: home work farming nonballad
FOUND_IN: Britain(England(Lond)
REFERENCES: (1 citation)
Kennedy 245, "The Contented Countryman" (1 text, 1 tune)
Roud #1847
RECORDINGS:
Jimmy Knights, "Out With My Gun in the Morning" (on Voice18)
BROADSIDES:
Bodleian, Firth c.26(85), "Out With My Gun in the Morning" ("I live a jovial country life"), T. Pearson (Manchester), 1850-1899; also 2806 c.16(112), "Out With My Gun in the Morning"
CROSS_REFERENCES:
cf. "The Brisk and Bonny Lass (The Brisk and Bonny Lad)" (theme)
cf. "Country Life" (theme)
NOTES: Kennedy lists several other collections of what he says are this song -- but given the generic nature of this song and Kennedy's willingness to lump, I can't bring myself to trust him without seeing them. - RbW
File: K245
===
NAME: Contented Wife and Answer, The: see The Happy Marriage (File: HHH753)
===
NAME: Conversation with Death (Oh Death)
DESCRIPTION: Death approaches the young person who is "unprepared for eternity." (S)he tries to buy Death off. It doesn't work. Death describes how it takes everyone and snuffs out their lives. The soon-to-be-dead person bids farewell
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Vernon Dalhart)
KEYWORDS: death bargaining dialog Hell
FOUND_IN: US(Ap,SE,So)
REFERENCES: (2 citations)
Randolph 663, "Conversation with Death" (1 text)
DT, OHDEATH*
Roud #4933
RECORDINGS:
Rich Amerson, "Death Have Mercy" (on NFMAla4)
Dock Boggs, "Oh Death" (on Boggs1, BoggsCD1)
Al Craver [pseudonym for Vernon Dalhart], "Conversation with Death" (Columbia 15585-D, 1930; rec. 1928)
Rev. Anderson Johnson, "Death in the Morning" (Glory 4015, rec. 1953; on Babylon)
Charlie Monroe's Boys, "Oh Death" (Bluebird B-8092, 1939)
Charley] Patton & [Bertha] Lee, "Oh Death" (Vocalion 02904, 1935; rec. 1934)
Dock Reed & Vera Hall Ward, "Death is Awful" (on NFMAla5) (on ReedWard01)
Berzilla Wallin, "Conversation with Death" (on OldLove)
CROSS_REFERENCES:
cf. "Death and the Lady" (theme)
cf. "Bury Me Not on the Lone Prairie" (tune of one version)
cf. "Oh Death (III)" (lyrics)
ALTERNATE_TITLES:
Death Is Awful
NOTES: It is possible that this is a Holy Roller version of "Death and the Lady," but there are enough differences that I decided I had to separate them. There may be a "missing link" out there somwhere, though. - RBW
I think Boggs' version may well be the missing link you seek. A very similar version was recorded by the blues singer Charley Patton. Or it could be Vernon Dalhart's recording, but certainly the Boggs and Patton versions are fairly close to "Death and the Lady." - PJS
File: R663
===
NAME: Convict Maid, The
DESCRIPTION: "You lads and lasses all attend to me While I relate my tale of misery; By hopeless love I was once betrayed, And now I am, alas, a convict maid." Her lover had her rob her master's store; now she is sentenced for seven years. She regrets her error
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: robbery transportation love punishment
FOUND_IN: Australia
REFERENCES: (4 citations)
Paterson/Fahey/Seal, pp. 58-60, "The Convict Maid" (1 text)
Fahey-Eureka, p. 26, "The Convict Maid" (1 text, 1 tune)
Manifold-PASB, p. 19, "The Convict Maid" (1 text, 1 tune)
DT, CONVCTMD*
Roud #5479
CROSS_REFERENCES:
cf. "The Croppy Boy (I)" [Laws J14] (tune)
File: FaE026
===
NAME: Convict of Clonmel, The
DESCRIPTION: A convict, sentenced to be hanged, thinks of his past, playing at hurley and dancing. "No boy of the village Was ever yet milder." Now his horse is loose, his hurley at home, his ball is played with and the girls are dancing. He will be forgotten.
AUTHOR: English words by J.J. Callanan
EARLIEST_DATE: 1845 (Duffy)
KEYWORDS: crime execution prison sports dancing nonballad
FOUND_IN: Ireland
REFERENCES: (5 citations)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, pp. 342-343, "The Convict of Clonmell"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 193-194, "The Convict of Clonmel" (1 text)
Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 41-42, "The Convict of Clonmel" (1 text)
Charles Gavan Duffy, editor, The Ballad Poetry of Ireland (1845), pp. 117-118, "TheConvict of Clonmell"
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 188-189, 496-497, "Convict of Clonmell"
Roud #6993
RECORDINGS:
Robert Cinnamond, "The Gaol of Clonmel" (on IRRCinnamond01) (fragment; only the first verse)
Liam Clancy, "The Convict of Clonmel" (on IRLClancy01)
CROSS_REFERENCES:
cf. "Bold Thady Quill" (subject of hurling) and references there
NOTES: Clonmel is in County Tipperary, Ireland. 
Hayes, after saying simply that he does not know the hero of the song, has a long note explaining the popularity of hurling and defending the game from English detractors.
Hayes's note on this is an exact quote from Duffy, who may in turn be quoting Callanan.
Duffy makes Callanan the translator from the Irish. - BS
According to _Granger's Index to Poetry_ (which cites this five times), the poem was not written by Callanan, but rather translated from an (unknown but modern) Irish source; this of course agrees with Duffy.
Hurling was said to be nearly extinct before being revived in 1870. Since it was played in only a few places before that, a good history of the sport might help us make a good guess as to the person referred to here. (Unless of course it's some petty criminal, but it doesn't sound that way.) The leaders of the 1848 rebellion were all spared the gallows, so it must refer to something earlier. Emmet's rebellion, maybe?
There is a certain amount of confusion about this author. Most sources list his name as James Joseph Callanan, but he is also sometimes listed under the name "Jeremiah" (and, yes, it is known that it is the same guy). Most sources agree that he was born in 1795, but his death date seemingly varies; Hoagland and MacDonagh/Robinson give 1829. He wrote some poetry of his own, but is probably best known for his translations from Gaelic. Works of his found in this index include "The Convict of Clonmel," "The Outlaw of Loch Lene," "Sweet Avondu," "The Virgin Mary's Bank," "Gougane Barra," and a translation of "Drimindown." - RBW
File: RcConvCl
===
NAME: Convict of Clonmell, The: see The Convict of Clonmel (File: RcConvCl)
===
NAME: Convict Song: see Buddy Won't You Roll Down the Line (File: ADR98)
===
NAME: Convict's Return, The
DESCRIPTION: "It's just ten long years ago they dragged me from my wife...." Convicted of murder, the prisoner plans an escape, only to find his family and his strength gone. He is reprieved when his innocence is established; he happily goes home
AUTHOR: Leonard Nelson
EARLIEST_DATE: 1931 (recording, Jack Mahoney)
KEYWORDS: trial punishment reprieve freedom
FOUND_IN: Australia US
REFERENCES: (1 citation)
Meredith/Anderson, pp. 68-69, "The Convict's Return" (1 text, 1 tune)
RECORDINGS:
Jack Mahoney, "The Convict's Return" (Columbia 15712-D, 1932; rec. 1931)
File: MA068
===
NAME: Coo Coo Bird, The: see The Cuckoo (File: R049)
===
NAME: Coo-Coo (Peacock Song)
DESCRIPTION: "Coo-coo, coo-oo-oo, Coo-coo, coo-oo-oo. Coo-coo, coo-ah-li-ah."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: bird nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, p. 237, "Coo-Coo (Peacock Song)" (1 short text, 1 tune)
NOTES: Said to be the acceptance song sung by the peacock after it was elected to be queen of the birds. (One might point out, however, that peacocks are male...). - RBW
File: San237
===
NAME: Cook's Choice, The: see The Greasy Cook (Butter and Cheese and All, The Cook's Choice) (File: CoSB236)
===
NAME: Cooks of Torbay, The
DESCRIPTION: "Come all ye young fellows wherever ye be I'll sing ye a verse on the cooks of Torbay." The sealing ship Ellen goes up the Gulf. The captain gives the cook grief for only cooking two meals for the day. The insulted cook has his son make the meal
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: hunting sea ship humorous cook
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Greenleaf/Mansfield 148, "The Cooks of Torbay" (1 text)
Ryan/Small, p. 113, "The Cooks of Torbay" (1 text)
ST GrMa148 (Partial)
Roud #7575
NOTES: Torbay is about seven miles north of St John's. - BS
File: GrMa148
===
NAME: Coolgardie Miner, The: see English Miner, The (The Coolgardie Miner, Castles in the Air) (File: MA115)
===
NAME: Coolie's Run-I-O: see Canaday-I-O/Michigan-I-O/Colley's Run I-O [Laws C17] (File: LC17)
===
NAME: Coon Can: see The Coon-Can Game [Laws I4] (File: LI04)
===
NAME: Coon-Can Game, The [Laws I4]
DESCRIPTION: The singer is so disturbed by his woman's unfaithfulness that he cannot even play cards. He takes a train, sees the woman, and shoots her. He is arrested, convicted, and left to lament his fate
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: homicide train trial prison crime robbery prisoner
FOUND_IN: US(Ap,SE,So)
REFERENCES: (6 citations)
Laws I4, "The Coon-Can Game"
Scarborough-NegroFS, pp. 87-89, "The Coon-Can Game" (1 text, 1 tune)
Sandburg, pp. 301-311, "Coon Can (Poor Boy)" (1 text, 1 tune)
Darling-NAS, pp. 237-238, "Poor Boy in Jail" (1 text)
Silber-FSWB, p. 70, "Poor Boy" (1 text, which appears to be mostly this song but with an ending partly derived from "The Maid Freed from the Gallows")
DT 688, POORBOY
Roud #3263
RECORDINGS:
Dock Boggs, "Poor Boy in Jail" (on Boggs2, BoggsCD1)
CROSS_REFERENCES:
cf. "The Boston Burglar" [Laws L16] (floating lyrics)
NOTES: This song should not be confused with the blues "Poor Boy, or Poor Boy Long Ways from Home"; the two songs are unrelated. Also, although [the version in the Folksinger's Wordbook] has picked up a pair of verses from "The Maid Freed from the Gallows", it's otherwise a completely separate song, and one unique in my experience. - PJS
File: LI04
===
NAME: Cooper Milton
DESCRIPTION: "It was on one Thursday morning, a while before noon, When John came in from work and said, 'You've met your doom.'" John kills his wife Flossie and her lover Cooper Milton. John is sentenced to 99 years in Nashville
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: homicide infidelity husband wife children
FOUND_IN: US
REFERENCES: (1 citation)
Burt, p. 44, "(Cooper Milton)" (1 text)
CROSS_REFERENCES:
cf. "Jesse James (I)" [Laws E1] (lyrics)
NOTES: This seems almost an anthology of killing songs, e.g. it refers to "Jesse James" in the line "Flossie leaves eight children to mourn for her life." But Burt seems to think it's historical, though she cites no background facts. - RBW
File: Burt044
===
NAME: Cooper of Fife, The: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Coortin' in the Kitchen: see Courting in the Kitchen [Laws Q16] (File: LQ16)
===
NAME: Copshawholm Fair
DESCRIPTION: In April people come from mountain and glen to Copshawholm Fair. There are pedlars, jugglers, and exotic foods. Hiring negotiations are described. When hiring is over there's fiddling and dancing, drinking and fighting.
AUTHOR: David Anderson
EARLIEST_DATE: 1868 (Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 5" - 25.8.02)
KEYWORDS: fight work dancing drink food music nonballad
FOUND_IN: Britain(England(North))
REFERENCES: (0 citations)
Roud #9139
RECORDINGS:
Bob Forrester, "Copshawholm Fair" (on Voice05)
CROSS_REFERENCES:
cf. "The Hiring Fairs of Ulster" (subject)
cf. "The Feeing Time (I)" (subject) and references there
cf. "The Wild Hills o' Wannie" (tune, according to Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 5" - 25.8.02)
NOTES: Hall, notes to Voice05: "'Copshawholm Fair' ... was last held in 1912." - BS
File: RcCpswFr
===
NAME: Corbitt's Barkentine
DESCRIPTION: On Aug. 30, 1883, the Corbitt begins her voyage. One of the crew moans about being assigned to such a vessel. The captain makes sure she sails with all possible speed. Passing many ships, she reaches the Indies, Boston, and Nova Scotia
AUTHOR: unknown
EARLIEST_DATE: 1937
KEYWORDS: ship travel
HISTORICAL_REFERENCES: c. 1875-1890 - Career of the fast triangle-trader "George E. Corbitt"
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 189-191, "Corbitt's Barkentine" (1 text, 1 tune)
Roud #4086
NOTES: This song is item dD43 in Laws's Appendix II. - RBW
File: Doe189
===
NAME: Cordwood Cutter, The: see The Backwoodsman (The Green Mountain Boys) [Laws C19] (File: LC19)
===
NAME: Corinna, Corinna
DESCRIPTION: "Corinna, Corinna, where you been so long? (x2) Ain't had no lovin' since you've been gone." "Corinna, Corinna, where'd you stay last night? Your shoes ain't buttoned...." "I love Corinna, tell the world I do, And I hope someday babe, you'll love me too."
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Blind Lemon Jefferson)
KEYWORDS: courting infidelity loneliness
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-FSNA 312, "Corinna" (1 text, 1 tune)
Silber-FSWB, p. 76, "Corinna, Corinna" (1 text)
Roud #10030
RECORDINGS:
Alabama Washboard Stompers, "Corrine, Corrina" (Vocalion 1630, 1931)
Arthur (Brother-in-Law) Armstrong, "Corinna" (AAFS 3987 B1)
Ashley and Abernathy, "Corrina, Corrina" (Banner 32427/Oriole 8129/Romeo 5129/Perfect 12800, 1931; on GoingDown)
[Clarence] Ashley & [Gwen] Foster "Corrine, Corrina" (Perfect 12800, 1932)
Tom Bell, "Corinna" (AAFS 4068 B2)
Milton Brown & his Musical Brownies, "Where You Been So Long, Corrine?" (Bluebird B-5808, 1935)
Cliff Bruner's Texas Wanderers, "Corrine Corrina" (Decca 5350, 1937)
Matt Caldwell, "Corinna" (AAFS 1421 B2)
Cab Calloway, "Corrine, Corrina" (Perfect 15551, 1932)
Bo Carter [pseud. for Bo Chatmon] [& Charlie McCoy], "Corinne, Corrina" (Brunswick 7080, 1929; Vocalion 02701, 1934)
Clint Howard et al, "Corrina, Corrina" (on Ashley03)
Frankie "Half Pint" Jaxon, "Corinne Blues" (Vocalion 1424, 1929)
Blind Lemon Jefferson, "Corrina Blues" (Paramount 12367, 1926; on Jefferson01, JeffersonCD01) [as is typical of blues, this is not "pure" Corinna, but the last verse clearly comes from this song]
Bascom Lamar Lunsford, "Corinna" (AAFS 1797 A2)
Jonesie & James Mack & Nick Robinson, "Corinna" (AAFS 1047 A3)
Wingy Manone & his orchestra, "Corinne Corrina (Where You Been So Long)" (Bluebird B-10289, 1939/Mongomery Ward M-8355, 1940)
Bob Nichols & Hugh Cross, "Corinne, Corrina" (Columbia 15480-D, 1929)
Leo Soileau and his Aces "Corrine, Corrina" (Decca 5101, 1935)
Lottie Stankey & Frank Starnes, "Corinna" (AAFS 3317 A1)
Tampa Red, "Corrine Blues" (RCA Victor 20-2432, 1947 -- presumably a reissue)
Taylor & Anderson, "Corrine, Corrine" (Supertone 9646, 1930)
Sonny Terry [pseud., Saunders Terrell], "Women's Blues (Corrina)" (on Terry01)
Saul Tippins, "Corinna" (AAFS 705 B)
Joe Turner, "Corrine Corrina" (Atlantic 1088, 1956)
Turner Brothers, "Connene, Corrina" [sic?] (Radio Artists 203, n.d.)
Mr. & Mrs. Crockett Ward, Fields & Frances Ward, "Corinna" (AAFS 4083 A3)
NOTES: Lomax reports that this "also occurs as Alberta or Roberta." If so, they are not the songs usually found under these names [i.e. "Alberta, Let Your Hair Hang Low"]. - PJS, RBW
It should be noted that many do think them related, and Roud appears to lump them. But the form is simply too different in my book. - RBW
File: LoF312
===
NAME: Cork Leg, The
DESCRIPTION: "A tale I will tell, without any flam -- In Holland dwelt Mynheer von Clam." Clam, wealthy and self-indulgent, kicks a begger and breaks his leg. A surgeon amputates. Clam has a replacement made -- which has a mind of its own and will not stop running
AUTHOR: Henry Glassford Bell
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(3925))
KEYWORDS: humorous wordplay injury doctor technology
FOUND_IN: Britain(Scotland) Ireland
REFERENCES: (4 citations)
Ford-Vagabond, pp. 332-334, "The Cork Leg" (1 text)
Hayward-Ulster, pp. 47-48, "The Cork Leg" (1 text)
Spaeth-WeepMore, pp. 144-145, "The Cork Leg" (1 text, 1 tune)
DT, CORKLEG*
Roud #4376
BROADSIDES:
Bodleian, Harding B 11(3925), "The Cork Leg" ("A tale I tell now without any flam"), J. Catnach (London), 1813-1838 ; also Harding B 25(419), Firth c.26(295) [final lines illegible], Harding B 11(4289), Harding B 11(2604), Harding B 11(2605), "The Cork Leg"
Murray, Mu23-y4:039, "The Cork Leg," unknown, 19C
File: FVS332
===
NAME: Cork Men and New York Men, The
DESCRIPTION: "Of the gallant Cork men Mixed with New York men. I'm sure their equal can never be found." They "boldly enter" (Ireland?) with arms, and John Bull pursues them, but are not caught. Their deeds are to be celebrated
AUTHOR: T. D. Sullivan (1827-1914)
EARLIEST_DATE: 1962 (Galvin)
KEYWORDS: Ireland ship
FOUND_IN: 
REFERENCES: (1 citation)
PGalvin, pp. 89-90, "The Cork Men and New York Men"
CROSS_REFERENCES:
cf. "The British Man-of-War" (subject of certain texts)
NOTES: It would appear (though the evidence is murky) that this refers to one of the less-disastrous exploits of the Fenians (who are most noted for their failed attempts to free Ireland by absurd methods such as invading Canada).
In 1867, at the time of the Fenian Rising in Ireland (for the context of which see, among other things, "James Stephens, the Gallant Fenian Boy" and "The Smashing of the Van (I)"), a call went out for ships to run guns from the United States to the rebels.
Eventually the ship the _Jacknell Packet_, a brig of 200 tons, was acquired for the purpose (see Robert Kee, _The Bold Fenian Men_, being Volume II of _The Green Flag_, p. 43). The Fenians managed to come up with about 5000 firearms, three cannon, and 38 officers with commissions from the "Irish Republic."
On April 21, 1867, the ship's name was changed to _Erin's Hope_. She eventually reached Sligo Bay -- where the Fenian officer Richard O'Sullivan Burke (for whom see "Burke's Dream" [Laws J16]) told them there was no one to accept the weapons.
The ship then blundered around Ireland looking for someone who wanted the guns. It never found such a place. A few of the men eventually went ashore, where many of them were arrested. The ship itself made it home -- but it accomplished nothing at all.
Sullivan is the author of a number of Irish patriotic poems, of which "God Save Ireland" is probably the best-known. - RBW
File: PGa089
===
NAME: Cork National Hunt, The: see Bold Reynard the Fox (Tallyho! Hark! Away!) (File: DTReynrd)
===
NAME: Cork's Good Humoured Faces
DESCRIPTION: "For good-humoured faces, Cork once beat all places" but politics has soured them. With Olden's shaving soap "lathering chops, ill-blood stops" Peter of Russia smoothed his subjects' manners by having them shave. Even the devil was improved by a shave.
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: commerce humorous nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 165-167, "Cork's Good Humoured Faces" (1 text)
CROSS_REFERENCES:
cf. "Ballinafad" (tune, according to Croker-PopularSongs)
NOTES: Croker-PopularSongs: "A specimen of the ingenious manner in which a witty manufacturer in Cork of an excellent shaving soap, and other articles, that really require no puffing, contrives to attract attention to his inventions." - BS
There were three Tsars Peter of Russia: Peter I "the Great" (16772-1725; co-tsar from 1682; sole tsar from 1696); his grandson Peter II (1715-1730; tsar from 1727); and another grandson or Peter I, Peter III (1728-1762; tsar briefly in 1762 before being eposed and murdered by his wife Catherine II "the Great"). Given the poor records of Peter II and Peter III, we must assume Peter I is meant -- the more so since he was a westernizer. - RBW
File: CrPS165
===
NAME: Cork's Own Town (I)
DESCRIPTION: "They may rail at the city where first I was born, But it's there they've the whisky, and butter and pork.." Cork's localities and specialies are described: Fishamble's food, Blackpool's leather, groves of Blarney's groves, Glanmire's shops ....
AUTHOR: unknown
EARLIEST_DATE: 1825 (_Cork Southern Reporter_, according to Croker-PopularSongs)
KEYWORDS: commerce drink food nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 158-164, "Cork's Own Town" (1 text)
CROSS_REFERENCES:
cf. "They May Rail at This Life" (tune, according to Croker-PopularSongs)
cf. "Cork's Own Town (II)" (subject and some line fragments)
NOTES: There's no question that "Cork's Own Town (I)" and "Cork's Own Town (II)" are related. They share a few slightly different lines. For example:
"Cork's Own Town (I)," "Och! Fishamble's the Eden for you, love, and me!" is the last line of the first verse and "Cork is the Eden...." for the other verses; "Cork's Own Town (II)," "Aarrh! Cork is the Eden for you love, and me!" is the last line of each verse.
"Cork's Own Town (I)," "If you want to behold the sublime and the beauteous, Put your toes in your brogues and see sweet Blarney Lane"; "Cork's Own Town (II)," "If you want to behold the sublime and the foolish Fix your toes in your brogues an[sic] walk down the Parade"
Nevertheless, while both catalog the Cork neighborhoods and attributes, they say different things about different neighborhhods. While neither is very serious "Cork's Own Town (II)" verges on parody. 
Croker-PopularSongs: "The Editor has no doubt that the authorship may be correctly assigned to the writer of 'O! Blarney Castle, my Darling', and the subsequent song entitled 'Darling Neddeen.'" But, at "O! Blarney Castle, my Darling" he "has no doubt" that its author also wrote "Saint Patrick's Arrival." See that song if you are interested in Croker's speculations there." - BS
File: CrPS158
===
NAME: Cork's Own Town (II)
DESCRIPTION: Cork excels London, Paris, Milan, and Constantinople. Cork's localities and specialies are described: Victoria Park's trees, Fishamble-lane's food, Paradise for "the saint and the sinner," .... We have "the Polis to keep us from drinkin' and fightin'"
AUTHOR: unknown
EARLIEST_DATE: 19C (broadside, Bodleian 2806 c.8(8))
KEYWORDS: commerce drink food derivative nonballad
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, 2806 c.8(8), "A new and favourite song on 'Cork's own town'" ("They may talk about London, Paris and Milau[sic] ..."), Haly (Cork), 19C
CROSS_REFERENCES:
cf. "Cork's Own Town (I)" (subject and some line fragments)
NOTES: Broadside Bodleian 2806 c.8(8) is the basis for the description.
One line should be useful in dating the text: "May the names of our Council and Mayor shine resplendent, In the Portable Gas of the new company." "Portable Gas" companies condensed oil gas into liquid; for example, London Portable Gas Company was chartered in 1827 (source: Privy Council Office site) - BS
File: BdCoOwT2
===
NAME: Corn Pone
DESCRIPTION: "Corn pone, fat meat, All I ever gets to eat. Better, better than I ever gets at home." The prisoner describes clothes, ben, shackles -- all described as better than what he has at home. He tells his girl, "Chain gang good enough for me."
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: chaingang prison work poverty hardtimes nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Greenway-AFP, pp. 111-112, "Corn Pone" (1 text)
File: Grnw111
===
NAME: Corn Rigs (Rigs o' Barley)
DESCRIPTION: "It fell upon a Lammas night, When corn rigs are bonie, Beneath the moon's unclouded light I held awa to Annie." The singer declares he will never forget that night, and describes how the two embraced
AUTHOR: Robert Burns
EARLIEST_DATE: before 1784 (cf. Kinsley, Burns, Complete Poems & Songs)
KEYWORDS: courting nonballad
FOUND_IN: 
REFERENCES: (1 citation)
DT, CORNRIGS*
Roud #1024
BROADSIDES:
NLScotland, L.C.1270(001), "Amang the Rigs o' Barley," unknown, c. 1845
CROSS_REFERENCES:
cf. "Barley Raking (Barley Rigs A-Raking)"
File: DTcornri
===
NAME: Corn Shucking Song
DESCRIPTION: "Cowboy on middle the island, ho, meleety, ho! (x2)" "Missus eat the green persimmon." "Mouth all drawed up in a pucker." "Stayed so till she went to supper."
AUTHOR: unknown
EARLIEST_DATE: 1855 (Putnam's Monthly)
KEYWORDS: work nonballad food slave
FOUND_IN: US
REFERENCES: (1 citation)
Darling-NAS, p. 325, "Corn Shucking Song" (1 text)
File: DarNS325
===
NAME: Corn-Shucking Song
DESCRIPTION: "Oh, de fus news ye know de day'll be a-breakin', Heydo! Ho O! Up 'n down de banjo, And de fire be a-burnin' an de ash cake a-bakin'." The hen (?) will crow, the boss will call everyone to work; the negro is advised to get to work
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: work food
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 202, "Corn-Shucking Song" (1 text)
File: Br3202
===
NAME: Cornbread When I'm Hungry: see (references under) Moonshiner (File: San142)
===
NAME: Corncraik Amang the Whinny Knowes, The: see The Echo Mocks the Corncrake (File: HHH018b)
===
NAME: Cornfield Holler
DESCRIPTION: "Sometimes I think my woman, she too sweet to die. Den sometimes I think she ought to be buried alive."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: love nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, p. 191, "Cornfield Holler" (1 text, 1 tune)
Roud #15579
File: LxA191
===
NAME: Cornish May Carol: see Padstow May Day Song (File: K086)
===
NAME: Corporal Casey
DESCRIPTION: The singer was happy but uneasy at home until enlisted by Corporal Casey. He treated the singer roughly but was soon killed in battle. "Thinks I, you are quiet, and I shall be aisy, So eight years I fought without Corporal Casey."
AUTHOR: George Colman?
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 25(422)) 
KEYWORDS: army battle recruiting death humorous
FOUND_IN: 
REFERENCES: (2 citations)
O'Conor, p. 21, "Corporal Casey" (1 text)
DT, (IRISHWSH*)
BROADSIDES:
Bodleian, Harding B 25(422), "Corporal Casey", Wm. Armstrong (Liverpool), 1820-1824; also Harding B 11(3683), Harding B 15(62b), Harding B 15(63a), "Corporal Casey"
CROSS_REFERENCES:
cf. "The Irish Washerwoman" (tune)
File: OCon021
===
NAME: Corporal Schnapps: see Poor Schnapps (File: R218)
===
NAME: Corpus Christi Carol, The
DESCRIPTION: We find ourselves looking into a bower in a high hall. In the bower lies a sorely wounded knight surrounded by odd symbols -- dogs licking the blood, a stone on which "Corpus Christi" is written, etc.
AUTHOR: unknown
EARLIEST_DATE: before 1537 (Hill MS., Balliol Coll. Oxf. 354, folio 165b)
KEYWORDS: injury religious carol knight
FOUND_IN: Britain(England)
REFERENCES: (9 citations)
Leach, pp. 691-692, "Over Yonder's a Park (Corpus Christi)" (2 texts)
OBB 100, "The Falcon" (1 text)
OBC 61, "Down in Yon Forest" (1 text, 1 tune)
Hodgart, p. 38, "Corpus Christi" (1 text)
Stevick-100MEL 99, "(Lully, Lullay, Lully, Lullay)" (1 text)
Darling-NAS, pp. 42-43, "All Bells in Paradise (Corpus Chisti)" (1 text)
Silber-FSWB, p. 382, "Down In Yon Forest" (1 text)
ADDITIONAL: Brown/Robbins, _Index of Middle English Verse_, #1132
Walter de la Mare, _Come Hither_, revised edition, 1928; #480, "Lully, Lulley" (1 text)
ST L691 (Full)
Roud #1523
NOTES: "Corpus Christi" is Latin for "(the) body of Christ"
The feast of Corpus Christi (not necessarily connected with this ballad) occurs on Thursday of the week after Whitsuntide
Most of the symbols in this song seem to come from pagan (or, at best, late Christian) myths, but in John 19:34 we read that, when Jesus's side was pierced, "immediately [there came out] water and blood." (Compare also 1 John 5:6-8.)
Many other speculations about this song have been proposed. One source (cited anonymously in J. B. Trapp, _Medieval English Literature_, p. 425), apparently following Greene, argues that it has to do with Henry VIII abandoning Catherine of Aragon for Anne Boleyn. This seems more than somewhat farfetched, given that the last dated entry in the Hill Manuscript are from 1536 and the songs thought to be much older.
Another theory connects the song with the grail legend. This makes somewhat more sense; the wounded knight is then the Fisher King, whose wounds would not heal until a hunter for the grail came. That, perhaps, ties into Celtic legend.
Another theory connects it with the "body and blood" of Christ in the Eucharist. - RBW
File: L691
===
NAME: Corunna's Lone Shore (Wandering Nellie)
DESCRIPTION: "Do you weed for the woes of poor wandering Nellie? I love you for that, but I love now no more. All I had long ago lies entomb'd with my Billy, Whose grave rises green on Corunna's lone shore." She describes his battle death, wishing to see his ghost
AUTHOR: Andrew Sharpe
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: love death soldier battle burial ghost separation mourning
HISTORICAL_REFERENCES: Jan 16, 1809 - Battle of Corunna. Marshal Soult of France, who has pursued Sir John Moore's British force some 400 km. through the winter, at last attack the British force. The outnumbered English repel the French and are able to evacuate their army, but Moore and many others are slain
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 81-83, "Corunna's Lone Shore" (1 text)
Roud #13114
File: FVS081
===
NAME: Corydon and Phoebe
DESCRIPTION: Corydon (Colin) asks Phoebe (Phyllis) why she flees. She is afraid for her reputation. He says they're not alone; she says she will die a virgin. He replies that he'd come to ask for her hand in marriage, but will seek another. She accepts his hand
AUTHOR: unknown
EARLIEST_DATE: 1755? ("The New Ballads Sung by Mr Lowe and Miss Stevenson at Vauxhall London 1755")
LONG_DESCRIPTION: Corydon (Colin) asks Phoebe (Phyllis) why she makes haste ahead of his pursuit. She replies that she's scarcely sixteen and afraid for her reputation. He points out that they're not alone, so her reputation's safe; she replies that flattery or no, she will die a virgin. He replies that he'd come to ask for her hand in marriage, but since she has slighted him, he's giving up and will seek another. She bids him stay, accepts his hand, and promises "the girl you thought cruel will always prove kind"
KEYWORDS: age hardheartedness courting love marriage virginity dialog lover
FOUND_IN: Britain(England(Lond,South) Canada(Newf)
REFERENCES: (3 citations)
Kennedy 125, "Colin and Phoebe" (1 text, 1 tune)
Peacock, pp. 510-511, "Bold Escallion and Phoebe" (1 text, 1 tune)
DT, C&PHOEBE
Roud #512
RECORDINGS:
Harry Cox, "Colin and Phoebe" (on HCox01)
Pop Maynard, "Colin and Phoebe" (on Voice06)
BROADSIDES:
Bodleian, Harding B 28(77), "Colin and Phoebe" ("Well met, dearest Phoebe, O why in such haste"), W. Armstrong (Liverpool), 1820-1824; also Harding B 16(56a), Firth c.18(208), Firth c.18(209), Harding B 11(1182), Firth b.26(168), 2806 c.17(74), Harding B 15(48b), Firth b.25(75), Harding B 11(1376), Harding B 11(640), Harding B 11(639), Johnson Ballads 15, "Colin and Phoebe"
CROSS_REFERENCES:
cf. "Pastoral Elegy" (theme)
cf. "Come Write Me Down (The Wedding Song)" (plot)
NOTES: She offers the "I will never marry" ploy; he counters with the "I'll marry someone else" gambit. Check and mate. 
No question that this is a piece with its origin in minstrelsy and "rural romance" broadsides. But Kennedy cites over half-a-dozen collections from folk tradition, including the indexed version by Harry Cox, and I say that more than qualifies it as a folk song. - PJS
It should be noted that the mere presence of characters with these approximate names does not make a poem this song. Nicolas Breton, for instance, published "Phillida and Coridon" in 1591 in _The Honourable Entertainment given to the Queen's Majesty in Progress at Elvetham_); it's the same plot, but told in the third person: "In the merry month of May, In a morn by break of day, Forth I walked by the wood side Whenas May was in his pride. There I spied all alone Phillida and Coridon."
Similarly, John Chalkhill published a "Coridon's Song" ("Oh, the sweet contentment The countryman doth find. High trolollie Lolly loe, That quiet contemplation Possesseth all my mind: Then care away, And wend along with me") around 1600.
Again, Dyer published "Corydon to his Phyllis" ("Alas, my heart! mine eye hath wronged thee, Presumptuous eye, to gaze on Phyllis' face... Poor Corydon, the nymph, whose eye doth move thee , Doth love to draw, but is not drawn to love thee") in _The Phoenix Nest_ (1593).
In _England's Helicon_ (1600) we have "Phyllida's Love-Call to Her Corydon, and His Replying" (A dialog: Phyllida" Corydon, arise, my Corydon! Titan shineth clear." Corydon: "Who is it that calleth Corydon? Who is it that I hear?"); this piece has no author, but has a contemporary musical setting. - RBW
File: K125
===
NAME: Cosher Bailey's Engine
DESCRIPTION: "Cosher Bailey had an engine, It was always wanting and mending." Tall tales of Bailey, the engine (bought second-hand, and capable of "four miles an hour"), his sister, brother, daughter, education, and death
AUTHOR: unknown
EARLIEST_DATE: Late 1940s (recording, Ewan MacColl)
LONG_DESCRIPTION: Railroader Cosher Bailey's locomotive is described, along with his sister, brother, daughter, and escapades. At least half of the verses are double entendre, in a cleaned-up sort of way -- e.g. "Cosher Bailey had a daughter/Who did things she shouldn't oughta/She was quite beyond the pale/But over that we'll draw a veil." He dies (maybe) and is refused entrance into Hell
KEYWORDS: train humorous family funeral death sex railroading bawdy Devil
FOUND_IN: Britain(Wales)
REFERENCES: (3 citations)
MacColl-Shuttle, pp. 17-18, "Cosher Bailey's engine" (1 text (edited), 1 tune)
Silber-FSWB, p. 31, "Cosher Bailey's Engine" (1 text)
DT, COSHERB*
CROSS_REFERENCES:
cf. "Mochyn Du  (The Black Pig)" (tune)
cf. "Was You Ever See?" (tune, structure)
NOTES: I suspect there are verses out there considerably more bawdy than these. - PJS
As well as some of the "blatantly obviously cleaned up" variety -- witness this from the Digital Tradition:
Cosher Bailey's brother Matthew
Had a job at cleaning statues
But when he was cleaning Venus
He slipped and broke his elbow.
In fact, the notes in MacColl-Shuttle, derived from A. L. Lloyd,  admit that there are many ribald verses.
According to those notes, Bailey was an ironmaster who in 1846 built the Taff Vale railroad. Legend has it that he drove the first train on the line and got stuck in a tunnel -- obviously something that invited some really dirty verses. Bailey is said to have died in 1872, by which time railroads had obviously been entirely vindicated. - RBW
File: FSWB031A
===
NAME: Cospatrick: see Gil Brenton [Child 5] (File: C005)
===
NAME: Cottage With the Horseshoe o'er the Door
DESCRIPTION: The singer will soon return to his old home, "the cottage with the horse-shoe o'er the door." His father is dead and buried and his mother weeps there alone, but he thinks of the happy days of his youth.
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: emigration return death Ireland nonballad father mother
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 18, "Cottage With the Horseshoe o'er the Door" (1 text, 1 tune)
Roud #3075
ALTERNATE_TITLES:
Horseshoe over the Door
File: McB1018
===
NAME: Cotton Field Song: see Mister Rabbit (File: LxU006)
===
NAME: Cotton Mill Blues (I): see Hard Times in the Mill (File: SBoA274)
===
NAME: Cotton Mill Colic
DESCRIPTION: "I'm a-gonna starve, ev'rybody will, You can't make a livin' in a cotton mill." The singer talks of the poor wages and hard conditions. He tells how people offer merchandise on easy terms, then repossess it when he can't pay. He works without ever resting
AUTHOR: unknown
EARLIEST_DATE: 1926
KEYWORDS: work hardtimes poverty warning
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Lomax-FSNA 148, "Cotton Mill Colic" (1 text, 1 tune)
Botkin-SoFolklr, p. 731, "Cotton Mill Colic" (1 text, 1 tune)
DT, CTNCOLIC*
Roud #6688
RECORDINGS:
David McCarn, "Cotton Mill Colic" (Victor V-40274, 1930)
Pete Seeger, "Cotton Mill Colic" (on PeteSeeger13, AmHist1)
CROSS_REFERENCES:
cf. "Dollar Down and a Dollar a Week" (theme)
File: LoF148
===
NAME: Cotton Mill Song, The
DESCRIPTION: The singer takes his love for a walk. "She said she loved me dearly and to me she would prove true." "Well now we are to marry for she has named the day ... we'll bring the children up like us to work in the Cotton Mill" if her parents will have him.
AUTHOR: unknown
EARLIEST_DATE: 1989 (Leyden)
KEYWORDS: courting marriage
FOUND_IN: Ireland
REFERENCES: (1 citation)
Leyden 11, "The Cotton Mill Song" (1 text, 1 tune)
Roud #16945
NOTES: Leyden: "The mill referred to in this song is probably the Springfield Cotton Mill built by Stevenson and Company in 1805, one of the earliest large-scale mills in Ulster and the last cotton spinning mill in Ireland when it closed in 1919." - BS
File: Leyd011
===
NAME: Cotton Needs Pickin'
DESCRIPTION: "Cotton needs pickin' so bad (x3), I'm gonna pick all over this world." The field worker describes how he contracted with the boss to raise the cotton, but now the boss is finding excuses not to pay him
AUTHOR: unknown
EARLIEST_DATE: 1918
KEYWORDS: work slave poverty money trick
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Lomax-FSNA 281, "Cotton Needs Pickin'" (1 text, 1 tune)
Roud #16391
NOTES: Since the first verse of this song refers to slaves being freed, it would appear to date to the period immediately after the Civil War. The Union forces had freed the slaves -- but the freedmen had no job they could do except work the fields. The landowners built up an elaborate system (Black Codes, Jim Crow laws) for keeping the Blacks working -- perhaps even at a lower cost, since they no longer had to pay for food and lodging. - RBW
File: LoF281
===
NAME: Cotton the Kid
DESCRIPTION: Cotton seems "a nice kid... Until he became a rolling stone at the age of seventeen." After a brief career as a thief, the sheriff "come got him and threw him in jail." Cotton escapes and vanishes; the singer advises against trying to catch him
AUTHOR: unknown
EARLIEST_DATE: 1934 (Randolph)
KEYWORDS: outlaw thief prison escape
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 171, "Cotton the Kid" (1 text)
Roud #4097
NOTES: This song is item dE37 in Laws's Appendix II. - RBW
File: R171
===
NAME: Cotton Wool Pie
DESCRIPTION: "It's about a pie social. It should take the cake." Jim sells the pies but Tom could find none for him. He assumed the last was for him from his beau but found it filled with wool. "No pie to devour, no sweetheart had he."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Creighton-Maritime)
KEYWORDS: courting trick food party humorous
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, pp. 206-207, "Cotton Wool Pie" (1 text, 1 tune)
Roud #2722
RECORDINGS:
Omar Blondahl, "Cotton Wool Pie" (on NFOBlondahl04)
NOTES: Blondahl04: "It should be explained in the following song that two girls loved the same man. Now, when a pie social was planned one of the girls baked a pie and filled it with cotton wool. She intended to shift the pies and so break up the rival affair." It appears she was successful. 
Blondahl04 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "Cotton Wool Pie" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
File: RcCoWoPi
===
NAME: Cotton-Eyed Joe
DESCRIPTION: "If it hadn't been for Cotton-eyed Joe, I'd have been married a long time ago." "Where did you come from, where did you go...." Stanzas describe country life, fiddle playing, and attempts to outshine Cotton-eyed Joe
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Dyke's Magic City Trio)
KEYWORDS: fiddle music nonballad
FOUND_IN: US(SE)
REFERENCES: (5 citations)
BrownIII 104, "Page's Train Run So Fast" (1 text)
Scarborough-NegroFS, pp. 69-70, "Cotton-Eyed Joe" (1 text, 1 tune)
Lomax-ABFS, pp. 262-263, "Cotton-Eyed Joe" (1 text, 1 tune)
Silber-FSWB, p. 35, "Cotton-Eyed Joe" (1 text)
DT, COTTNEYE*
Roud #942
RECORDINGS:
Arthur "Brother-in-Law" Armstrong, "Cotton-Eyed Joe" (AFS 3979 B2, 1940)
Granville Bowlen, "Cotton Eyed Joe" [instrumental] (on MMOK, MMOKCD)
Fiddlin' John Carson, "Cotton Eyed Joe" (OKeh 45122, 1927)
Carter Brothers and Son, "Cotton-Eyed Joe" (Vocalion 5349, 1929; on GoingDown)
Dyke's Magic City Trio, "Cotton-Eyed Joe" (Brunswick 120, 1927)
Spud Gravely & Glen Smith, "Cotton Eye Joe" (on HalfCen1)
New Lost City Ramblers, "Cotton-Eye Joe" (on NLCR10)
Elmo Newcomer, "Cotton Eyed Joe" (CroMart 101, n.d. but prob. late 1940s - early 1950s)
Pope's Arkansas Mountaineers, "Cotton-Eyed Joe" (Victor 21469, 1928)
Bookmiller Shannon, "Cotton-Eyed Joe" (on LomaxCD1707)
Gid Tanner & his Skillet Lickers, "Cotton-Eyed Joe" (Columbia 15283-D, 1928)
Art Thieme, "Cotton-Eyed Joe" (on Thieme03)
Bob Wills & his Texas Playboys, "Cotton-Eyed Joe" (Columbia 37212, c. 1947)
NOTES: Primarily a fiddle tune, with the sort of chaotic words one would expect of such a piece. I assume "Cotton-Eyed Joe" stands for something, but I've never heard an explanation. - RBW
It's been suggested that Cotton-Eyed Joe was a local character who was blind due to cataracts or another eye disease such as trachoma. - PJS
File: LxA262
===
NAME: Cotton's Patch (I)
DESCRIPTION: "Oh, quite early in March, I remember the date, I left for the ice the seals to locate." Finally the pilots find "the main patch" of seals. They return and bargain with Mr. Bowring. At last the merchants strike a deal
AUTHOR: presumably Johnny Burke
EARLIEST_DATE: 1960 (Burke's Ballads)
KEYWORDS: hunting technology commerce pilot
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 120, "Cotton's Patch (I)" (1 text)
CROSS_REFERENCES:
cf. "Cotton's Patch (II)" (subject)
NOTES: This is based on an incident of 1922, when Australian Sydney Cotton and Newfoundlander Sydney Bennett made a deal seek the "Main Patch" (main herd) of seals by air.
For the aftermath of the hunt, see "Cotton's Patch (II)" - RBW
File: RySm120
===
NAME: Cotton's Patch (II)
DESCRIPTION: "We got up steam the ninth of March" to seek Cotton's patch. "Oh, didn't we ramble, scramble, But the devil a sign of Cotton's patch we found." After many ships seek in vain, the singer says the only patch they saw "was the patch on Tapper's trousers"
AUTHOR: presumably Johnny Burke
EARLIEST_DATE: 1960 (Burke's Ballads)
KEYWORDS: hunting technology commerce pilot ship humorous
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 121, "Cotton's Patch (II)" (1 text)
CROSS_REFERENCES:
cf. "Cotton's Patch (I)" (subject)
cf. "Didn't He Ramble" (lyrics, form, probably tune)
NOTES: This is based on an incident of 1922, when Australian Sydney Cotton and Newfoundlander Sydney Bennett made a deal seek the "Main Patch" (main herd) of seals by air.
For the pilots' own search for the Patch, see "Cotton's Patch (I)" - RBW
File: RySm121
===
NAME: Couldn't Raise No Sugar Corn: see Whoa Back, Buck (File: LxU067)
===
NAME: Coulter's Candy
DESCRIPTION: "Ally, bally, ally bally bee, Sittin' on yer mammy's knee, Greetin' for anither bawbee, Tae buy mair Coulter's candy." The parents feed the slender boy on candy, say he will grow up to go to sea, or will later buy candy for them
AUTHOR: unknown
EARLIEST_DATE: 1948 (Montgomerie)
KEYWORDS: mother father food
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Montgomerie-ScottishNR 154, "Colter's Candy" (1 short text)
DT, COULTR COULTR2
NOTES: Murray Shoolbraid's notes in the Digital Tradition cite Buchan to the effect that "Coulter" was in fact a Scottish candy-seller named Robert Coltart who was active around 1900. This is the most substantial description I've seen of who Coulter/Colter was -- but I've heard performers cite other sources. So I suppose it's not quite proved. - RBW
File: MSNR154
===
NAME: Councillor's Daughter, The: see The Lawyer Outwitted [Laws N26] (File: LN26)
===
NAME: Countersigns, The
DESCRIPTION: Forecastle song. Verses quote John Paul Jones, Admiral Farragut, and Captain Lawrence (of the Chesapeake), citing their actions and bravery. Each verse concludes with "And that was the Navy of long, long ago." Sung to the tune of "Spanish Ladies."
AUTHOR: unknown
EARLIEST_DATE: 1926 (The Book of Navy Songs)
KEYWORDS: foc's'le navy sailor
FOUND_IN: US
REFERENCES: (1 citation)
Colcord, p. 135, "The Countersigns" (1 text, 1 tune)
ST Col135 (Partial)
CROSS_REFERENCES:
cf. "Spanish Ladies" (tune) and references there
NOTES: For John Paul Jones (1747-1792) and the declaration "I have not yet begun to fight," see the notes to "Paul Jones's Victory" [Laws A4]. For James Lawrence (1781-1813) and his folly in command of the _Chesapeake_, see "The Chesapeake and the Shannon (I)" [Laws J20]. There is some irony in the fact that this song mentions him being carried belowdecks (to the surgeon) when wounded -- but ignores the fact that this caused the midshipman who did it to be court-martialed and discharged.
David Glasgow Farragut (1801-1870) began the Civil War as a navy captain awaiting orders, but ended up (perhaps by luck as much as anything else) in charge of the fleet destined to attack New Orleans. Being, fortunately, a pretty good sailor, he captured the city -- the first really big Union success of the war (for which see, e.g., "The New Ballad of Lord Lovell (Mansfield Lovell)." His next few operations, against Vicksburg, were less successful (Vickburg was effectively impossible to attack by river), but he still was given command of the next major naval assault on a Gulf Coast city, the 1864 attack on Mobile Bay.
Despite being a lesser city than New Orleans, it was a much tougher nut to crack; the defences of New Orleans had been badly and hastily built. Farragut had wanted to go after Mobile at once, but the Navy department disagreed. They felt Farragut would need ironclads, and all of those were tied up at Charleston and other places (see Curt Johnson & Mark McLaughlin, _Civil War Battles_, p. 127).
By the time the Navy department changed its mind, their initial assessment had been made correct. Initially nearly defenseless, by August 5, 1864, when Farragut attacked, Mobile Bay was properly fortified, with only one sea channel, forts on each side, and a small fleet including the ironclad _Tennessee_ waiting -- and the harbor entrance sown with mines. (In those days, when the self-propelled torpedo had not been invented, such mines were called "torpedoes"). Farragut's fleet tried to enter the bay -- and watched a monitor hit a mine and sink almost instantly. (The things were hardly seaworthy, after all.)
Most of the fleet stopped -- right under the guns of the harbor forts. Farragut, lashed to the mast, knew what he had to do: He had to get through the channel, even if the mines took more ships. So he ordered "Damn the torpedoes! Full speed ahead." (See James M. McPherson, _Battle Cry of Freedom_, p. 761. The Union fleet made it into the harbor, and after a hard battle captured the city.
We note that no one seems to mention the signal "For God's sake" that Farragut wanted to send after one of his own ships did its best to ram and sink him (see Curt Johnson & Mark McLaughlin, _Civil War Battles_, p. 134.)
At first, the North didn't think much of the victory; Farragut had lost over 300 men and a monitor (see Bruce Catton, _Never Call Retreat_, p. 371). But in fact it was a severe blow, since the Confederacy lost its last major Gulf Coast port; all that was left were a few heavily-blockaded East Coast ports and some minor harbors in Texas, too far from the rail net to do much good. The North eventually woke up; Farragut became first Vice Admiral and then Admiral -- the first such in American history (just as U. S. Grant was the first full General). And Farragut's words passed into folklore. - RBW
File: Col135
===
NAME: Counties of Arkansas, The
DESCRIPTION: "There's Benton, Carroll, Marion, Boone in a line...." The song describes the various counties of Arkansas, with chorus exhorting the students to make Arkansas "The banner state for enterprise, good schools, and moral law" and praising Ouachita county
AUTHOR: Annie Coble Wilson?
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: nonballad derivative
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 876, "The Counties of Arkansas" (1 text)
Roud #7541
CROSS_REFERENCES:
cf. "The Bonnie Blue Flag" (tune & meter) and references there
NOTES: Reported to have been written by Annie Coble Wilson for use by her school in Camden (in Ouachita County). It will come as no surprise that it seems not to have been used outside the state. - RBW
File: R876
===
NAME: Counting Song, The: see One Man Shall Mow My Meadow (File: ShH100)
===
NAME: Country Blues
DESCRIPTION: Floating verses; singer is in jail, possibly dying, lamenting his fate and hard living.
AUTHOR: Unknown, possibly Homer Crawford; add'l verses by Dock Boggs
EARLIEST_DATE: 1927 (recording, Dock Boggs)
KEYWORDS: captivity crime prison death floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Asch/Dunson/Raim, p. 90, "Country Blues" (1 text, 1 tune)
Roud #428
RECORDINGS:
Dock Boggs, "Country Blues" (Brunswick 131A, 1927; on AAFM3, RoughWays1) (on Boggs1, BoggsCD1)
New Lost City Ramblers, "Country Blues" (on NLCR05) (on NLCR16)
CROSS_REFERENCES:
cf. "Darling Corey" (words, tune)
cf. "Moonshiner" (words)
cf. "Sweet Heaven" (words)
cf. "Sweet Heaven (II)" (floating lyrics)
ALTERNATE_TITLES:
Give Me Corn Bread When I'm Hungry
Hustling Gamblers
NOTES: This is ALMOST a nonballad, but not quite; there is a hint of narrative. And while most of the verses show up elsewhere, this song as a gestalt comes squarely from its performer, Dock Boggs. -PJS
Some people consider this a version of "Darling Corey," the tune is very close and they share a lot of lyrics. But I tentatively agree with Paul: There are several unrelated verses on the front, and *they* make this a separate song.
Roud lumps the piece with "I Wonder Where's the Gambler" [Laws H22]. It may perhaps have been inspired by fragments of that song. - RBW
File: ADR90
===
NAME: Country Carrier, The: see My Rattlin' Oul' Grey Mare (File: HHH664)
===
NAME: Country Courtship, The
DESCRIPTION: Dialog: "When shall we get married"? "As soon as time comes." "What shall I wear to the wedding?" "Thee wold print frock an' thee yepron." "How shall we go to the wedding?" "Thee's got two fine legs to walk wi' I."  And so on for many verses
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd, according to Opie-Oxford2)
KEYWORDS: courting love marriage wedding bargaining
FOUND_IN: Britain(England(South,North))
REFERENCES: (2 citations)
Kennedy 127, "The Country Courtship" (1 text, 1 tune)
Opie-Oxford2 43, "When shall we be married" (2 texts)
Roud #313
CROSS_REFERENCES:
cf. "Buffalo Boy" (plot, structure, lyrics)
ALTERNATE_TITLES:
When Shall We Get Married?
My Old Sweet Nichol
NOTES: As far as I'm concerned, Kennedy's right -- "Buffalo Boy" is a version of this song, despite the different endings. (Doubly so, given the title of the Stonemans' recording, "The Mountaineer's Courtship.") However, as each is known independently, I'm inclined to split them anyway. Better check out both.
Meanwhile, Kennedy includes several citations that I would *not* class as versions of this song, and they've made me cautious; for "Earliest Date" I've taken the first one that seemed verifiably the same song. - PJS
File: K127
===
NAME: Country Garden, The: see The Vicar of Bray (File: ChWII122)
===
NAME: Country Girl, The (The Fair Maid of the West)
DESCRIPTION: The "country girl" goes to the fair, and asks the merchant for a bonnet. Having no other money, she pays with her maidenhead. She goes home and tells her mother, who tells her to get it back. The merchant lays her down again and gives it back
AUTHOR: unknown
EARLIEST_DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: sex humorous bawdy mother trick virginity clothes
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 42, pp. 219-221, "The Country Girl" (1 text, 1 tune)
Roud #10099
CROSS_REFERENCES:
cf. "The Widow of Westmoreland's Daughter" (theme of regaining maidenhead)
NOTES: Logsdon thinks this a version of "The Fair Maid of the West Who Sold Her Maidenhead for a High-Crowned Hat." Obviously it has the same introduction. Yet the plot is the same as "The Widow of Westmoreland's Daughter." Personally, I suspect these are the same song (or, rather, that this and "The Fair Maid" are both worn-down forms of the "Widow"); the theme of having sex once to lose a maidenhead, and then having it again (perhaps with positions reversed) to regain seems unlikely to have been independently invented. But I'm splitting them tentatively until more versions turn up. - RBW
File: Logs042
===
NAME: Country Ham and Red Gravy: see I Know a Boarding-House (File: R479)
===
NAME: Country I Was Born In, The
DESCRIPTION: The singer has left Donegal and is bound for America "where I'm told a man he's paid there for his labour." In Ireland he has seen people starving or "hurled by the landlord from their door." No matter where he goes he will always think of home.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: emigration work hardtimes America nonballad political landlord
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 53, pp. 149-150,176, "The Country I Was Born In" (1 text, 1 tune)
Roud #2936
File: MoMa053
===
NAME: Country Life
DESCRIPTION: The singer describes the joy of living and working in the country, reporting "I like to rise when the sun she rises, Early in the morning... And hurrah for the life of the country boy." He describes the work done on the farm in each season
AUTHOR: unknown
EARLIEST_DATE: 1976
KEYWORDS: home farming nonballad
FOUND_IN: Britain
REFERENCES: (1 citation)
DT, COUNTRYL*
CROSS_REFERENCES:
cf. "The Brisk and Bonny Lass (The Brisk and Bonny Lad)" (theme)
cf. "The Contented Countryman" (theme)
cf. "I Like to Be There" (form, lyrics) 
File: DTcountry
===
NAME: County Jail (I), The
DESCRIPTION: "As I was standing on a corner, Not doing any harm, Along came a policeman And took me by the arm." The singer ends in prison. He watches the bedbugs and cockroaches play ball. The food is terrible: "The coffee tastes like tobacco juice"
AUTHOR: unknown
EARLIEST_DATE: 1939 (Gardner/Chickering)
KEYWORDS: prison police food hardtimes floatingverses bug
FOUND_IN: US(MW) Canada(Newf)
REFERENCES: (2 citations)
Gardner/Chickering 147, "The County Jail" (1 text)
Lehr/Best 106, "They Locked Me Up in Bonavist' Jail" (1 text, 1 tune)
ST GC147 (Partial)
Roud #3673
CROSS_REFERENCES:
cf. most other prison songs, especially "Song of an Old Time Jailbird" (theme of hard times in prison and the dangers posed by bugs)
NOTES: Nearly every part of this has parallels elsewhere, but the combination, particularly the bedbug/cockroach contest, seems to be unique. - RBW
Lehr/Best's tune is close to the usual one and the cockroaches and bedbugs playing ball are replaced by "a hundred and fifty bedbugs playing a game of ball." It has "coffee like tobacco juice and bread so hard as steel." Close enough for me. - BS
File: GC147
===
NAME: County Jail (II)
DESCRIPTION: "I used to live a glorious life [until]... they piped into a railroad mail And carried me off to County Jail." The singer recounts the rules, initiation, awful food, beds; Jonah was better off in the whale; "glorious times in County Jail" 
AUTHOR: unknown
EARLIEST_DATE: before 1860 (broadside, Bodleian Firth b.26(213))
KEYWORDS: violence food prisoner ordeal 
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
Mackenzie 148, "Kirtle Gaol" (1 text, 1 tune)
O'Conor, pp. 121-122, "County Jail" (1 text)
Roud #964
BROADSIDES:
Bodleian, Firth b.26(213), "County Gaol" ("Good people all give ear I pray"), A. Ryle and Co. (London) , 1845-1859; also Harding B 11(730), Harding B 11(729), "County Gaol"; Harding B 20(32), "County Jail"; Firth c.17(76), "Duke St. Gaol"; Firth c.26(19), Firth c.17(73), "Wakefield Gaol"; 2806 c.16(234), Harding B 13(292), "Preston Gaol"; Harding B 11(2000), "Kirkdale Goal [sic]"; 2806 c.16(63), "Kirkdale Gaol"; Harding B 11(233), "Bellevue Goal [sic]"; 2806 c.8(201), "The Humours of the County Jail "
LOCSinging, sb10045a, "County Jail," H. De Marsan (New York), 1864-1878; also sb40474a, "X"
CROSS_REFERENCES:
cf. "The Cryderville Jail" (theme)
NOTES: Mackenzie says his title of "Kirtle Gaol" "is a contraction, or corruption, of 'Kirkdale.'"
Mackenzie lists a number of broadside versions including O'Conor pp. 121-122. He lists American copies of "County Jail" which are not indexed yet. The versions of this that I've seen do not have the bedbug vs cockroach sporting event but do insist that Jonah was better off inside the whale and Lazarus in his shroud was better dressed.
The Bodleian broadsides agree in the details except for the location of the jail.
Broadside LOCSinging sb10045a: 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: Mack148
===
NAME: County Jail (III): see Lonesome Road (File: San322)
===
NAME: County of Limerick Buck-Hunt, The
DESCRIPTION: Twenty huntsmen and their hounds hunt a buck. He is killed in the hills after a four hour chase. "Nothing was wanting That poor hungry huntsman could wish ... For every man was a dish." There was drinking and dancing; many of the ladies are named.
AUTHOR: Pierce Creagh (source: Croker-PopularSongs)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: hunting dancing drink party moniker animal dog horse
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 238-242, "The County of Limerick Buck-Hunt" (1 text)
NOTES: Croker-PopularSongs seems to date the event and the writing of the song in the first half of the eighteenth century. - BS
File: CrPS238
===
NAME: County of the Innocent, The: see The Drowning of Young Robinson (File: HHH585)
===
NAME: County of Tyrone, The
DESCRIPTION: Desiring freedom from his parents, the singer sets out for (Newry/Dover). He meets a girl and, after assuring her of his character, convinces her to elope to Tyrone. They are pursued, but escape by ship. His parents welcome him home
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: work home family love travel elopement
FOUND_IN: Ireland
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 218-220, "The County of Tyrone" (1 text, 1 tune)
SHenry H153a/b, p. 480-481, "The County Tyrone" (1 text, 1 tune)
Roud #1991
RECORDINGS:
Robert Cinnamond, "The County Tyrone" (on IRRCinnamond03)
BROADSIDES:
Bodleian, Harding B 17(305a), "Sweet Jane of Tyrone" ("My father oft told me he would not controul me"), J. Pitts (London), 1819-1844; also Harding B 11(3947), Harding B 11(932), 2806 b.11(57), "Sweet Jane of Tyrone"; Firth b.25(475), Harding B 11(2563), Harding B 11(2563), 2806 c.15(252), Harding B 28(34), 2806 b.11(144), "County of Tyrone"; Harding B 28(34), "County Tyrone" 
File: SWMS218
===
NAME: County Tyrone, The: see The County of Tyrone (File: SWMS218)
===
NAME: Court House: see Behind These Stone Walls (File: R165)
===
NAME: Court of Cahirass, The
DESCRIPTION: Katey, a nobleman's daughter in the Court of Cahirass, is sought by many Dublin lords. She is beautiful and charitable to the sick and needy but has only frowns and coldness for the singer, who loves her. "How fatal the day when we first met each other"
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: love rejection beauty nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 173-175, "The Court of Cahirass" (1 text)
NOTES: Croker-PopularSongs: "The chaplain [of the chapel belonging to the Carbery family] falling desperately in love with the daughter of Lord Carbery, and being disappointed, hanged himself in the chapel, which soon afterwards went to decay. This unfortunate lover had composed [this song] which is still recollected by the country people. Unluckily for the romance of this storey the name Katey occurs ... and five manuscript copies of the song, procured through various channels, though differing materially in many lines, all retain that name. It is therefore impossible to reconcile this with the facts, that the only daughter of the first Lord Carbery was named Anne; the only daughter of the second lord, Frances Anne; and the only daughter of the third, Juliana." - BS
File: CrPS173
===
NAME: Court of Conscience in Cork, The
DESCRIPTION: The Cork court is above a meat-market. Some find happiness below "to purchase a beefsteak," others above in justice. "Thus, 'twixt the market-scales and those of law, A strong similitude exists"
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: commerce nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 167-168, "The Court of Conscience in Cork" (1 text)
File: CrPS167
===
NAME: Court of King Caractacus, The: see references under The Wild Man of Borneo (File: K311)
===
NAME: Courte Paille, La
DESCRIPTION: Canadian French: A sailing crew has been seven years at sea, and is starving. They draw straws to decide which one of them they will kill and eat. The Captain is chosen, but asks a cabin boy to take his place. At the last moment, the boy spies land
AUTHOR: unknown
EARLIEST_DATE: 1937
KEYWORDS: cannibalism sea sailor disaster reprieve foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 41-43, "La courte paille" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Ship in Distress" (plot) and references there
File: FMB041
===
NAME: Courtin' in the Stable (The Workin' Steer)
DESCRIPTION: Jock sets out to meet Kate by the gate of the farm where she works. She being late, and he being drunk, he mistakes a steer for his girl and sets out to kiss her. He thinks she has turned to a steer, but she arrives to correct him; eventually they wed
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting drink animal marriage
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 227-228, "Courtin' in the Stable" (1 text)
Roud #3793
CROSS_REFERENCES:
cf. "Doran's Ass" [Laws Q19] (plot)
cf. "Jock Gheddes and the Soo" (plot)
File: Ord227
===
NAME: Courting Among the Kye: see Carries and Kye (Courting Among the Kye) (File: Ord037)
===
NAME: Courting Cage, The: see The Courting Case (File: R361)
===
NAME: Courting Case, The
DESCRIPTION: Man comes courting a woman. She reminds him that she told him never to return. He offers her his "very fine house," his "very fine farm," his "very fine horse," etc.; (she rejects them all because he is a gambler/drunkard/whatever).
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: gambling courting dialog money rejection
FOUND_IN: US(Ap,MW,SE,So)
REFERENCES: (12 citations)
Lomax-FSNA 104, "The Gambling Suitor" (1 text, 1 tune)
Randolph 361, "The Courting Cage" (1 text, 1 tune)
BrownIII 3, "The Courting Cage" (2 texts)
Chappell-FSRA 120, "The Drunkard's Courtship" (1 text)
Hudson 52, pp. 167-169, "O Madam, I Have a Fine Little Horse" (2 texts plus mention of 1 more)
Scarborough-SongCatcher, pp. 304-307, "Kind Sir" (2 texts, one, "The Courting Cage," coming from Randolph; 2 tunes on pp.436-437)
SharpAp 177, "The Courting Case" (2 texts, 2 tunes)
Gardner/Chickering 173, "The Wooing" (2 texts, the "A" text being this and "B" being probably "Wheel of Fortune (Dublin City, Spanish Lady)")
Chase, pp. 146-147, "The Gambling Suitor" (1 text, 1 tune)
Gilbert, pp. 76-77, "The Girl Who Never Would Wed" (1 text, in which the girl never gives in, but the verses place it here)
Abrahams/Foss, pp. 118-119, "The Drunkard's Courtship" (1 text, 1 tune)
DT, COURTCAS COURTNG*
Roud #361
RECORDINGS:
Horton Barker, "The Drunkard's Courtship" (on Barker01)
Loman D. Cansler, "The Lovers' Quarrel" (on Cansler1)
CROSS_REFERENCES:
cf. "The Keys of Canterbury" (theme)
cf. "Sweet Nelly My Heart's Delight" (plot)
cf. "Geordie's Courtship (I Wad Rather a Garret)" (plot)
cf. "Bachelor's Hall (III)" (theme)
File: R361
===
NAME: Courting Coat, The
DESCRIPTION: The singer takes his girl to bed while still in his (pit boots/navvy boots/courting coat). She fears pregnancy ("the baby will come with his pit boots on"); he laughs it off -- but runs away, still wearing the boots. Women are warned to beware
AUTHOR: unknown
EARLIEST_DATE: 1914 (Greig)
LONG_DESCRIPTION: The singer (shaves and) dresses up, (by the light of the moon) arrives at his girl's window, and takes her to bed while still in his (pit boots/navvy boots/courting coat). She fears pregnancy ("the baby will come with his pit boots on"); he laughs it off -- but runs away, still wearing the boots. Women are warned to "beware of them colliers who are easy and free"
KEYWORDS: courting sex warning pregnancy mining worker clothes
FOUND_IN: Britain(England(North,South),Scotland(Aber,Hebr,High)) Ireland
REFERENCES: (3 citations)
MacSeegTrav 34, "The Courting Coat" (1 text, 1 tune)
Kennedy 171, "The Bold English Navvy" (1 text, 1 tune plus a fragment in the appendix)
DT, NAVVYBTS* NAVVYBOT*
Roud #516
RECORDINGS:
Liam Clancy, "Navvy Boots On" (on IRLClancy01)
Mary Delaney, "Navvy Shoes" (on IRTravellers01)
A. L. Lloyd, "With Me Pit Boots On" (on Lloyd1) (on IronMuse1)
Jimmy McBeath, "The Bold English Navvy" (on Voice10)
James McDermott, "With the Old Navvy Boots On" (on IRHardySons)
Lal Smith, "The Bold English Navvy" (on FSB2 [misprinted as "The Bold English Navy"], FSB2CD)
CROSS_REFERENCES:
cf. "Rambleaway" (lyrics)
cf. "Oh, No, Not I" (lyrics)
ALTERNATE_TITLES:
The Kettle Smock
The Moon Shining Brightly
Navvy Boots
NOTES: Between plot and lyrics (the girl's greeting and warning; also the way the young man dresses up), this makes me think it might be a sailor's/miner's adaption of "Rambleaway." - RBW
It may well be related, but inasmuch as there are few lyrics in common, and "Pit Boots" and its relatives are always sung from the man's point of view whereas "Rambleaway" is usually from the woman's, I think they qualify as separate songs.
I don't see any connection with "Rambleaway" other than the fellow's character. I don't see any words that "Rambleaway" has in common with any versions of "The Courting Coat" I've seen. - PJS
In McDermott's version on IRHardySons the singer is, at the end, brought to court and forced to pay five bob a week support. - BS
File: RcWMPBO
===
NAME: Courting in the Kitchen [Laws Q16]
DESCRIPTION: The singer warns listeners against love, "The devil's own invention." He courts a serving girl in her master's kitchen. When her master returns unexpectedly, she claims that the singer was forcing himself upon her. He winds up in prison
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Firth c.18(275))
KEYWORDS: courting rape betrayal punishment prison
FOUND_IN: Canada(Mar) Ireland
REFERENCES: (4 citations)
Laws Q16, "Courting in the Kitchen"
Mackenzie 147, "Courting in the Kitchen" (1 text, 1 tune)
OLochlainn 32, "Coortin' in the Kitchen" (1 text, 1 tune)
DT 527, COORTINK*
Roud #1007
RECORDINGS:
The Clancy Brothers and Tommy Makem, "Courting in the Kitchen" (on IRClancyMakem01)
BROADSIDES:
Bodleian, Firth c.18(275), "Courting in the Kitchen," W.S. Fortey (London), 1858-1885; also 2806 c.14(39), "Courting in the Kitchen"
SAME_TUNE:
Obstruction (Healy-OISBv2, pp. 154-156)
File: LQ16
===
NAME: Courting is a Pleasure: see Farewell Ballymoney (Loving Hannah; Lovely Molly) (File: R749)
===
NAME: Courting Jessie: see Jessie, the Belle at the Bar (File: R051)
===
NAME: Courting of Aramalee, The: see Lady Isabel and the Elf Knight [Child 4] (File: C004)
===
NAME: Courting Song: see Aunt Sal's Song (The Man Who Didn't Know How to Court) (File: LoF101)
===
NAME: Courting Song, The: see The Quaker's Courtship (File: R362)
===
NAME: Courting the Widow's Daughter (Hard Times) [Laws H25]
DESCRIPTION: The young swain creeps into his sweetheart's house, but the young couple cannot keep quiet. The girl's mother, a widow, creeps down -- and tries to get the young man for herself! He insults her, and she drives him off with a broom
AUTHOR: unknown
EARLIEST_DATE: 1907 (Belden)
KEYWORDS: courting fight mother
FOUND_IN: US(Ap,So)
REFERENCES: (5 citations)
Laws H25, "Courting the Widow's Daughter (Hard Times)"
Belden, pp. 248-249, "Courting the Widow's Daughter " (1 text)
Randolph 387, "The Widow's Old Broom" (2 texts, 1 tune)
JHCox 183, "Hard Times" (1 text, the first six verses being "Courting the Widow's Daughter" and the last seven being a reduced version, minus the chorus, of "The Rigs of the Times")
DT 720, WIDAUGH
Roud #659
RECORDINGS:
Charles Ingenthron, "The Widow's Old Broom" (AFS; on LC12)
CROSS_REFERENCES:
cf. "Seventeen Come Sunday" [Laws O17] (plot)
cf. "Aye She Likit The Ae Nicht" (plot)
File: LH25
===
NAME: Courting Too Slow (I): see William and Nancy (II) (Courting Too Slow) [Laws P5] (File: LP05)
===
NAME: Courtown Fishermen, The
DESCRIPTION: On June 9 a crowd collects at Courtown Harbour: "I fear the Glenrose she is lost" with six on board, capsized on the fishing ground by a sudden squall. "How could you pass them by ... For pity they besought of you to snatch them from the waves."
AUTHOR: unknown
EARLIEST_DATE: 1948 (Ranson)
KEYWORDS: drowning sea ship storm wreck fishing
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 107-108, "The Courtown Fishermen" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Pomona (I)" (tune)
ALTERNATE_TITLES:
The Glenrose
NOTES: Ranson: Tune is "The Pomona" on p. 62.
Ranson has [an] alternative verse that explains the condemnation
"To see those men condemned to death, it was a dismal sight,
While one poor man upon an oar for his life did boldly fight.
And you, hard-hearted Arklowmen, why did you pass them by?
Aloud to you for help they called; you heard their drowning cry"
Arklow is on the south east coast of County Wicklow; Courtown is on the north east coast of County Wexford. "Courtown is a small harbour situated on the south east coast of Ireland approx. 15 nautical miles south of Arklow" according to the Courtown Sailing Club Online site. - BS
File: Ran107
===
NAME: Courtship of Billy Grimes, The: see Billy Grimes the Rover (File: MN2033)
===
NAME: Cousin Emmy's Blues: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Cousin Harry (Cousin Nellie)
DESCRIPTION: Cousin Harry and Cousin Nellie sit under a tree. Nellie whispers, "Cousin Harry, what is love?" He answers it is "a passion, a passion to be felt." He demonstrates. As he "reached home with a shove," she declares, "This must be love."
AUTHOR: unknown
EARLIEST_DATE: 1932 (collected by Larson)
KEYWORDS: sex bawdy incest
FOUND_IN: US(Ro,SW)
REFERENCES: (1 citation)
Logsdon 44, pp. 224-225, "Cousin Harry" (1 text, 1 tune)
Roud #4722
File: Logs044
===
NAME: Covent Garden (II): see The Apprentice Boy [Laws M12] (File: LM12)
===
NAME: Coventry Carol, The
DESCRIPTION: A lullaby and a lament: the singer asks how to preserve her baby, for "Herod the king, in his raging, charged he hath this day His men of might in his own sight All children young to slay."
AUTHOR: unknown
EARLIEST_DATE: 1591 (colophon of original lost manuscript)
KEYWORDS: death children Bible carol royalty religious
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
OBC 22, "Coventry Carol" (1 text, 2 tunes)
DT, COVCAROL
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #49, "Lully, Lulla, Thou Little Tiny Child" (1 text)
ST OBC022 (Full)
RECORDINGS:
John Jacob Niles, "Lulle Lullay (The Coventry Carol)" (Victor Red Seal 2017, 1940)
NOTES: Not, properly speaking, a folk song, unless its modern popularity makes it so.
The Coventry Carol was originally found in the Coventry Pageant of the Shearmen and Tailors, a mystery (miracle) play of the fourteenth or fifteenth century.
At the time the miracle plays were written, translation of the Bible into English was discouraged by the Catholic Church (the English version of Wycliffe was available for much of this period, but was officially heretical). The miracle plays, crude and biblically inaccurate (many of the cycles included the fall of Satan, the Harrowing of Hell, and other non-Biblical details) were nonetheless one of the chief sources of Biblical knowledge for many common people.
Many towns had cycles of miracle plays (up to 48, though not all would be performed in a particular year), generally of a few hundred lines, usually performed on or around the festival of Corpus Christi. The craft guilds of each city would each take and perform a play.
On the evidence, most major towns had a unique cycle of miracle plays. The majority of these, however, are lost; we have only a handful (e.g. from York, Chester, and "N Town") remaining. The Coventry cycle did not survive; we have only two plays (that of the Shearmen and Tailors and that of the Weavers), from a manuscript dated 1591 -- and even this was burned in 1879, leaving us dependent on bad transcriptions from 1817 and 1825.
In a further irony, even though the Coventry Carol is the only part of the Mysteries to be known to the general public (unless they encountered the Second Shepherd's Play of the Wakefield cycle in a literature class), the Coventry Pageant itself is rarely published.
The Massacre of the Innocents, in which Herod the Great slaughtered all the children of Bethlehem in hopes of killing the Christ child, is described in Matthew 2:16. There is little evidence that it is historical; the other gospels do not hint at it. It may be based on other instances of Herod's behavior, however; Josephus tells us that Herod ordered the killing of vast numbers of people at his death, so that the entire nation would have to mourn him (Josephus, _Antiquities_ XVII.174-179), though his relatives prevented his wishes from being carried out. Whether true or not, it is a matter of historical fact that he killed his three oldest sons.
The "lully lullay" lullaby (note the similarity betweey "lullay" and "lullabye," though ironically the dictionaries do not see a connection) is quite common starting in the fourteenth century. I know of at least three poems beginning with this phrase:
British Museum Harleian MS. 913, from the early fourteenth century, has a piece beginning
Lollai, lollai, litil child, whi whepistou [weepest thou] so sore?
In the 1372 Commonplace Book of John Grimestone (National Library of Scotland MS. Advocates 18.7.21) we find two pieces, one beginning
Lullay, lullay, litel child, why wepest thu so sore?
and the other
Lullay, lullay, litel cjild, child reste thee a throwe.
In each case, the "lully, lullay, little child" phrase serves as a partial refrain.
The exceptionally feeble state of the tradition of this piece, incidentally, results in some variants, as does the problem of early spelling. There is no doubt, for instance, that the first line is to be pronounced "Oh sisters too," but we cannot be sure if this is to be interpreted as "Oh sisters, too," or as "Oh sisters two."
The third verse gives an even greater problem. Is the third word of the third line "mourn" or "morn"? If the former, then the line should be read "and ever mourn and say" (perhaps to be emended to "mourn and pray"); if the latter, then "and ever morn and day." The former question certainly cannot be resolved; the latter can only be resolved if,by extremely unlikely chance, another manuscript turns up.
- RBW
File: OBC022
===
NAME: Covered Cavalier, The: see Four Nights Drunk [Child 274] (File: C274)
===
NAME: Covering Blue, The: see The Keach i the Creel [Child 281] (File: C281)
===
NAME: Covington: see The Boston Burglar [LawsL16] (File: LL16)
===
NAME: Cow Ate the Piper, The
DESCRIPTION: In the troubles of '98, piper Denny Byrne cannot find work. Needing shoes, he tries to take boots from an executed soldier -- but pulls down legs as well. He sleeps that night in a cowshed; in the morning the farmer assumes the cow has eaten the piper
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: humorous Ireland rebellion animal poverty homicide escape clothes corpse
HISTORICAL_REFERENCES: 1798 - Irish rebellion causes Britain to place Ireland under martial law
FOUND_IN: Ireland
REFERENCES: (6 citations)
SHenry H29, pp. 53-54, "Denny Byrne, the Piper" (1 text, 1 tune)
O'Conor, p. 29, "The Cow That Ate the Piper" (1 text)
OLochlainn-More 37, "The Cow Ate the Piper" (1 text, 1 tune)
Moylan 60, "The Cow that Ate the Piper" (1 text, 1 tune)
PBB 91, "The Cow Ate the Piper" (1 text)
DT, COWPIPER*
Roud #8147
BROADSIDES:
Bodleian, Harding B 11(2916), "The Cow Eat the Piper", unknown, n.d.
NOTES: The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Terry Timmins, "The Cow Ate the Piper" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes) - BS
File: PBB091
===
NAME: Cow Camp on the Range
DESCRIPTION: "Oh, the prairie dogs are screaming, And the birst are on the wing, See the heel fly chase the heifer, boys! 'Tis the first class sign of spring." The singer appreciates the food and the end of winter, and says there is no home like the range camp
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax)
KEYWORDS: cowboy home work cook
FOUND_IN: 
REFERENCES: (1 citation)
Saffel-CowboyP, pp. 217-218, "Cow Camp on the Range" (1 text) 
Roud #8043
NOTES: This doesn't look at all traditional to me; it appears to be one of those poems Lomax lifted from somewhere for _Cowboy Songs_. But I can't prove it. - RBW
File: Saffe217
===
NAME: Cow That Ate the Piper, The: see The Cow Ate the Piper (File: PBB091)
===
NAME: Cow that Drank the Poteen, The
DESCRIPTION: Paddy Shinahan makes poteen. His cow drinks some, becomes drunk, and fights Paddy. She wakes with a broken horn and advises "all good cows" to shun drink. When her milk was brown, Una, the milkmaid, thinks it was the cow's blood. Paddy does not betray her
AUTHOR: unknown
EARLIEST_DATE: 1965 (recording, Paddy Tunney)
KEYWORDS: drink humorous animal food
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #5170
RECORDINGS:
Paddy Tunney, "The Cow that Drank the Poteen" (on Voice13)
CROSS_REFERENCES:
cf. "Tom Kelly's Cow" (theme: cow hides drinking problem)
File: RcTCtDtP
===
NAME: Cowboy (I), The
DESCRIPTION: "A man there lives on the Western plain With a ton of fight and an ounce of brains." The song tells of the wild exploits of the cowboy: "He feels unwell unless in strife" "He snuffs out candles with pistol balls" "He fills with terror all he meets"
AUTHOR: unknown
EARLIEST_DATE: 1884 (The Kansas Cowboy newspaper)
KEYWORDS: cowboy violence
FOUND_IN: US(So)
REFERENCES: (3 citations)
Fife-Cowboy/West 28, "Idyl of the Plains" (1 text, 1 tune)
Ohrlin-HBT 65, "The Cowboy #2" (1 text, 1 tune)
DT, THECOWBY*
Roud #11078
File: FCW028
===
NAME: Cowboy (II), The: see The Cowboy's Soliloquy (File: FCW123)
===
NAME: Cowboy (III), The: see When the Work's All Done This Fall (File: LB03)
===
NAME: Cowboy Again for a Day
DESCRIPTION: The singer urges time (or film) to "turn backward." He wishes to replace airplanes and automobiles with "my sombrero and flaps." He recalls the old days. His wish is that someone "Make me a cowboy again for a day."
AUTHOR: unknown
EARLIEST_DATE: 1933 ("Cowboy Lore")
KEYWORDS: cowboy technology
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 116, "Cowboy Again for a Day" (2 texts, 1 tune; the "B" text, "Moving Picture Cowboy," is heavily adapted and should probably count as a separate piece, but surely never existed in oral tradition)
Ohrlin-HBT 56, "Make Me a Cowboy Again" (1 text, 1 tune)
Roud #5092
RECORDINGS:
Peg Moreland, "Make Me a Cowboy Again" (Victor V-40272, 1930; on MakeMe)
CROSS_REFERENCES:
cf. "Rock Me to Sleep Again, Mother" (tune)
cf. "Backward, Turn Backward" (tune, lyrics)
File: FCW116
===
NAME: Cowboy Boasters: see The Fightin' Booze Fighter AND A Texas Idol AND Wild Buckaroo AND The Texas Cowboy (III) AND An Afternoon Like This (File: FCW035A)
===
NAME: Cowboy Boasting Chants
DESCRIPTION: Cowboy boasts of his exploits, talking about/to the horses he rides. Samples: "Born on the Colorado, Sired by an alligator, I'm a bold, bad man from Cripple Creek, Colorado." To the horse: "Git higher, git higher, The higher you git's too low for me."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: cowboy horse bragging nonballad floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 381-383, "Cowboy to Pitching Bronco;" "Other Cowboy Boasting Chants" (3 texts, 1 tune, but described as "declaimed, not sung")
Roud #15536
NOTES: These pieces are not really songs, and can be assembled out of floating materials. As a result, I lump them here. - RBW
File: LxA381
===
NAME: Cowboy in Church
DESCRIPTION: The cowboy wanders into church in his work clothes, noting "on the plains we scarcely know a Sunday from a Monday." The crowd is upset, though the preacher too is dressed in "the trappings of his trade." He reflects on how people look down on cowboys
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: clergy clothes cowboy
FOUND_IN: US
REFERENCES: (1 citation)
Ohrlin-HBT 7, "Cowboy in Church" (1 text, 1 tune)
Roud #8020
RECORDINGS:
Glenn Ohrlin, "The Cowboy in Church" (on Ohrlin01)
Carl T. Sprague, "The Cowboy at Church" (Bluebird B-6258, 1936)
File: Ohr007
===
NAME: Cowboy Jack [Laws B24]
DESCRIPTION: Having quarreled with his sweetheart, Jack joins a band of cowboys. He decides to return home and ask forgiveness after singing about a faithful girl. He arrives too late; his sweetheart has died with his name on her lips
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sires, "Songs of the Open Range")
KEYWORDS: separation death cowboy
FOUND_IN: US(SW_
REFERENCES: (4 citations)
Laws B24, "Cowboy Jack"
Logsdon 5, pp. 48-52, "Cowboy Jack" (1 text, 1 tune)
Ohrlin-HBT 5, "Cowboy Jack" (1 text, 1 tune)
DT 788, COWBYJCK*
Roud #3244
RECORDINGS:
Arkansas Woodchopper [pseud. for Luther Ossenbrink], "Cowboy Jack" (Conqueror 7882, 1931; Melotone [Can.] 91539, 1933)
Callahan Brothers, "Cowboy Jack"  (Perfect 6-09-53/Melotone 6-09-53, 1936)
Carter Family, "Cowboy Jack" (Montgomery Ward M-4545, c. 1935/Bluebird B-8167, 1939)
Girls of the Golden West, "Cowboy Jack" (Bluebird B-5719, 1934)
Harry Jackson, "Cowboy Jack" (on HJackson1)
Peg Moreland, "Cowboy Jack" (Victor 23593, 1929) (Bluebird B-4956, c. 1933)
Roy Shaffer, "Cowboy Jack" (Bluebird B-8303, 1939)
Marc Williams, "Cowboy Jack" (Brunswick 430, 1930; rec. 1929)
CROSS_REFERENCES:
cf. "Blackbirds and Thrushes (I)" (plot)
File: LB24
===
NAME: Cowboy of Loreto, The: see The Streets of Laredo [Laws B1] (File: LB01)
===
NAME: Cowboy Song (I)
DESCRIPTION: "Though your backs they are weak An' your legs they ain't strong, Don't be skairt, little dogies, We'll get there 'fore long." The singer encourages the cattle; even though right now the trail is dry and ugly, there are better places ahead
AUTHOR: unknown
EARLIEST_DATE: 1939 (Randolph)
KEYWORDS: cowboy work travel animal
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 205, "Cowboy Song" (1 text)
Roud #5483
File: R205
===
NAME: Cowboy Song (II), The: see The Cowboy's Dream (File: R185)
===
NAME: Cowboy to Pitching Bronco: see Cowboy Boasting Chants (File: LxA381)
===
NAME: Cowboy Trail, The
DESCRIPTION: Singer, a cowboy, comes to an Indian village; they welcome him. He meets a girl; they ride the trail together, courting as they go. A war party overtakes them, taking the girl and leaving him wounded. She returns; he  asks her to bury him by the trail
AUTHOR: unknown
EARLIEST_DATE: c. 1931 (recording, Buell Kazee)
LONG_DESCRIPTION: Singer, a cowboy, takes lonely trail to an Indian village, where they welcome him. He meets a girl; she waits for him out on the trail and they ride off together, courting as they go. As they approach a ranch, a war party overtakes them, taking the girl and leaving him wounded. She returns; he tells her he is dying, and asks her to bury him by the trail so that she may mourn for him
KEYWORDS: courting love fight war travel burial death dying mourning lover cowboy Indians(Am.)
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Buell Kazee, "The Cowboy Trail" (Brunswick 481, c. 1931; rec. 1929; on WhenIWas2, KMM)
File: RcTCowTr
===
NAME: Cowboy's Challenge
DESCRIPTION: "Down, down, hold me down, It takes more than one man to hold me down." Repeat with two men, three men, etc.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Belden)
KEYWORDS: cowboy nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 399, "Cowboy's Challenge" (1 text, 1 tune)
Roud #7817
File: Beld399
===
NAME: Cowboy's Christmas Ball, The: see The Cowboys' Christmas Ball (File: TF16)
===
NAME: Cowboy's Dream, The
DESCRIPTION: "One night as I lay on the prairie... I wondered if ever a cowboy Could drift to that sweet by and by.... Roll on, roll on, roll on, little dogies, roll on, roll on...." A cowboy's reflections on the afterlife, with the images cast in herding terms
AUTHOR: unknown
EARLIEST_DATE: 1893 ("Cow-Boy Life in Texas")
KEYWORDS: cowboy religious dream
FOUND_IN: US(Ap,SE,So,SW) Canada(Ont)
REFERENCES: (13 citations)
Randolph 185, "One Night As I Lay on the Prairie" (2 texts, 1 tune)
BrownIII 516, "The Great Round-Up" (1 text)
Hudson 95, p. 227, "Cowboy Meditations" (1 text)
Larkin, pp. 105-108, "The Cowboy's Heaven" (1 text, 1 tune)
Thorp/Fife VI, pp. 66-86  (19), "Grand Round-Up" (9 texts, 3 tunes)
Fife-Cowboy/West 122, "The Grand Roundup" (2 texts, 1 tune)
Lomax-FSUSA 61, "The Cowboy's Dream" (1 text, 1 tune)
Lomax-ABFS, pp. 410-411, "The Cowboy's Dream" (1 text)
LPound-ABS, 75, pp. 166-167, "Cowboy Song" (1 text)
Darling-NAS, pp. 3309-331, "Roll On, Little Dogies" (1 text)
Silber-FSWB, p. 112, "The Cowboy's Dream" (1 text)
Saffel-CowboyP, p. 182-183, "The Cowboy's Dream" (1 text)
DT, COWDREAM*
Roud #4453
RECORDINGS:
Jules [Verne] Allen, "The Cowboy's Dream" (Victor V-40178, 1929; on AuthCowboys)
Arkansas Woodchopper [pseud. for Luther Ossenbrink] "The Cowboy's Dream" (Champion 15897 [may also have been issued as by West Virginia Rail Splitter]/Supertone 9571, 1929) (Columbia 15463-D, 1929; rec. 1928)
Harry Jackson, "Roll On, Little Dogies" (on HJackson1)
Bradley Kincaid, "The Cowboy's Dream" (Decca 5048, 1934)
Vernon Dalhart, "The Cowboy's Dream" (Romeo 431. 1927)
McGinty's Oklahoma Cowboy Band, "Cowboy's Dream" (OKeh 45057, 1926)
Goebel Reeves, "The Cowboy's Dream" (Melotone 12214/Conqueror 7742, 1931)
George Riley (The Yodeling Rustler), "The Cowboy's Dream" (Romeo 5037, n.d. but probably c. 1930; Conqueror 7742, 1931)
Carl T. Sprague, "The Cowboy's Dream" (Victor 20122, 1926; Montgomery Ward M-4343, 1933)
Westerners [pseud. for Massey Family], "The Cowboy's Dream" (Perfect 13008, 1934)
Marc Williams, "The Cowboy's Dream" (Brunswick 244, 1928; Supertone S-2054, 1930)
CROSS_REFERENCES:
cf. "My Bonnie Lies Over the Ocean" (tune) and references there
cf. "Sweet By and By"
NOTES: An extended discussion of the authorship of this piece is found in Thorp/Fife. What it seems to boil down to is that several people played a role, and none can claim the whole thing.
It was apparently built around "(In the) Sweet By and By," but I've always heard it sung to "My Bonnie." - RBW
File: R185
===
NAME: Cowboy's Heaven, The: see The Cowboy's Dream (File: R185)
===
NAME: Cowboy's Home Sweet Home, The: see The Wandering Cowboy [Laws B7] (File: LB07)
===
NAME: Cowboy's Lament, The: see The Streets of Laredo [Laws B1] (File: LB01)
===
NAME: Cowboy's Life: see The Horse Wrangler (The Tenderfoot) [Laws B27] (File: LB27)
===
NAME: Cowboy's Life, A
DESCRIPTION: "A cowboy's life is a weary, dreary life, Some say it's free from care." The singer complains of long hours, rising too early in the day, howling wild animals, bad weather, and wealthy bosses
AUTHOR: unknown
EARLIEST_DATE: 1908
KEYWORDS: cowboy work hardtimes
FOUND_IN: US
REFERENCES: (4 citations)
Larkin, pp. 53-57, "The Dreary Life" (1 text, 1 tune)
Lomax-FSNA 187, "A Cowboy's Life" (1 text, 1 tune)
Thorp/Fife XVII, pp. 228-239 (38-39), "The Pecos Stream" (6 texts, 2 tunes, though not all appear to be part of this piece)
Fife-Cowboy/West 86, "The Cowboy's Life" (3 texts, 1 tune, although only the "A" text is demonstrably this piece)
Roud #838
RECORDINGS:
Sloan Matthews, "The Cowboy's Life is a Very Dreary Life" (AFS, 1940s; on LC28)
CROSS_REFERENCES:
cf. "The Shantyman's Life (I)" (tune & meter; lyrics)
NOTES: Roud seems to lump all cowboy songs which contain the words "A cowboy's life is a (weary/dreary), dreary life" here. I'm not really convinced -- some of these songs share hardly any othe rlyrics. But, with none of them telling distinct stories, there isn't much basis for distinguishing. - RBW
File: LoF187
===
NAME: Cowboy's Life, The
DESCRIPTION: "The bawl of a steer To a cowboy's ear Is music of sweetest strain; And the yelping notes Of the gray coyotes To him are a glad refrain." The cowboy recalls home and girl, and concludes, "Saddle up, boys, For the work is play."
AUTHOR: James Barton Adams?
EARLIEST_DATE: 1916 (Lomax)
KEYWORDS: cowboy work home nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Saffel-CowboyP, p. 219-220, "The Cowboy's Life" (1 text) 
Roud #8062
NOTES: Given the metre, the form, the contents, and the Lomaxness of this item, I'd bet a lot that it isn't traditional; John Lomax doubtless threw it into _Cowboy Songs_ just to add bulk to the volume. But we can't prove it, so here it is. - RBW
File: Saffe219
===
NAME: Cowboy's Meditation
DESCRIPTION: "At midnight when cattle are sleeping," the cowboys looks at the stars and wonders. Are they inhabited worlds with cowboys and cattle ranges? Do cowboys there wonder about our sun? Will he meet mother in heaven? When dawn breaks, he gets back to work
AUTHOR: unknown
EARLIEST_DATE: 1930 (recording, Carl T. Sprague)
KEYWORDS: cowboy work family death
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 121, "Cowboy's Meditation" (1 text, 1 tune)
Roud #4453
RECORDINGS:
Kenneth Houchins, "Cowboy's Meditation" (Champion 45028, 1935)
Carl T. Sprague, "The Cowboy's Meditation" (Victor V-40197, 1930; Montgomery Ward M-4467, 1934; Montgomery Ward M-4783, c. 1935)
NOTES: Yes, this is Cowboy Science Fiction.
Roud lumps this with "The Cowboy's Dream." There are similarities in theme, but this seems much more creative. - RBW
File: FCW121
===
NAME: Cowboy's Prayer (I), A
DESCRIPTION: "Oh Lord, I've never lived where churches grow"; the speaker prefers the wilderness as God created it. He is thankful that he is "no slave of whistle, clock, or bell." He apologises for his failings, and asks for guidance in the future
AUTHOR: Words: Charles Badger Clark
EARLIEST_DATE: 1920
KEYWORDS: cowboy religious nonballad
FOUND_IN: 
REFERENCES: (3 citations)
Fife-Cowboy/West 128, "A Cowboy's Prayer" (1 text)
Saffel-CowboyP, p. 154, "A Cowboy's Prayer" (1 text)
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, pp. 69-70, "A Cowboy's Prayer" (1 text)
Roud #11201
NOTES: There is no evidence that this song has ever circulated in tradition; the Fifes included it in their book for its content, not its pedigree. - RBW
File: FCW128
===
NAME: Cowboy's Prayer (II), The
DESCRIPTION: "Guard me, Lord, while I'm a-riding 'cross the dusty range out there From the dangers that are hiding on the trail so bleak and bare." The cowboy asks for guidance and protection, and concludes "At last to heaven lead me, up in the home corral."
AUTHOR: Earl Alonzo Brinistool
EARLIEST_DATE: 1914 ("Trail Dust of a Maverick")
KEYWORDS: religious cowboy recitation
FOUND_IN: US
REFERENCES: (2 citations)
Ohrlin-HBT 77, "The Cowboy's Prayer" (1 text)
Saffel-CowboyP, p. 81, "A Range Rider's Appeal" (1 text)
File: Ohr077
===
NAME: Cowboy's Ride, The
DESCRIPTION: "Oh, for a ride o'er the prairies free, On a fiery untamed steed...." The singer describes guiding the horse on its travels, concluding "You can have your ride in the crowded town! Give me the prairies free... Oh, that's the ride for me."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: cowboy horse travel
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 109, "The Cowboy's Ride" (1 text, 1 tune)
Roud #11087
File: FCW109
===
NAME: Cowboy's Soliloquy, The
DESCRIPTION: "All day (long) on the prairies I ride, Not even a dog to run by my side." The solitary cowboy describes his life on the prairie -- where, e.g., "My books are the brooks, my sermons the stones" (the latter teaching him "not to despise" small things).
AUTHOR: Allen McCandless?
EARLIEST_DATE: 1885 (Kansas "Cowboy")
KEYWORDS: cowboy work loneliness
FOUND_IN: US(So)
REFERENCES: (5 citations)
Larkin, pp. 131-134, "The Cowboy" (1 text, 1 tune)
Fife-Cowboy/West 123, "The Cowboy's Soliloquy" (1 text, 1 tune)
Ohrlin-HBT 64, "The Cowboy #1" (1 text, 1 tune)
Saffel-CowboyP, pp. 176-177, "The Cowboy" (1 text)
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, p. 1, "The Cowboy's Soliloquy" (1 text)
Roud #11099
RECORDINGS:
Glenn Ohrlin, "The Cowboy" (on Ohrlin01, BackSaddle)
Carl T. Sprague, "The Cowboy" (Victor 21402, 1928; Montgomery Ward M-4783, c. 1935; on WhenIWas2)
ALTERNATE_TITLES:
The Biblical Cowboy
NOTES: Seemann and Ohrlin both credit authorship to Allen McCandless. Seemann also lists first printing as being in the Trinidad, Colorado _Daily Advertiser_, 1885. [Cannon also attributes this to McCandless, and lists the 1885 printing, but says that it probably circulated before that, which makes you wonder about McCandless's authorship - RBW]
Carl T. Sprague's recording [credits] the words to John Lomax's "Cowboy Ballads" book. From oral tradition to print to aural tradition. - PJS
File: FCW123
===
NAME: Cowboys' Christmas Ball, The
DESCRIPTION: "Way out in western Texas where the Clear Forks waters flow... It was there that I attended the Cowboys' Christmas Ball." The location is described, as are all the people who show up. The singer expects to recall the excitement forever
AUTHOR: Larry Chittenden
EARLIEST_DATE: 1893 (Chittenden's "Ranch Verses")
KEYWORDS: cowboy party dancing
FOUND_IN: US(SW)
REFERENCES: (4 citations)
Thorp/Fife XVI, pp. 219-224 (33-36), "The Cowboys Christmas Ball" (2 texts, 1 tune)
Ohrlin-HBT 60, "The Cowboy's Christmas Ball" (1 text, 1 tune)
Saffel-CowboyP, pp. 56-58, "The Cowboy's Christmas Ball" (1 text)
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, pp. 17-19, "The Cowboy's Christmas Ball" (1 text)
Roud #4634
CROSS_REFERENCES:
cf. "The Cowboys' New Years Dance"
NOTES: Although often quoted, the difficult form of this piece (six twelve-line stanzas!) seems to have kept it from securing a firm place in oral tradition; Thorp/Fife list seventeen printings but only one field recording, and Ohrlin admits that his version is shorter than the original. Cannon has a versin chopped down to five stanzas, which he calls "folk song length." - RBW
File: TF16
===
NAME: Cowboys' Gettin'-Up Holler: see Wake Up, Jacob (File: LoF184)
===
NAME: Cowboys' New Years Dance, The
DESCRIPTION: "We were sitting round the ranch house some twenty hands or more, Most of us Americans but a few from Arkansas...." "Twas with them I attended the Cowboys' New Years Ball." The extravagant dance is described in extravagant terms
AUTHOR: unknown
EARLIEST_DATE: 1908
KEYWORDS: cowboy party parody
FOUND_IN: 
REFERENCES: (1 citation)
Thorp/Fife XXII, pp. 251-253 (44-48), "The Cowboys New Years Dance" (1 text)
Roud #12501
CROSS_REFERENCES:
cf. "The Cowboys' Christmas Ball"
NOTES: Thorp in his 1908 edition credits this to an unknown "Mark Chisholm." On the other hand, Thorp appears to have marked the song as one of his own in a copy given to a friend. Since the song does not seem to have appeared elsewhere, either in oral tradition or in print, it probably doesn't matter much. - RBW
File: TF22
===
NAME: Cowcadden's Heroes
DESCRIPTION: The key members of Orange Lodge One-Six-Two are named. Then the singer puts himself at the Boyne. "When we ... had safely crossed I fell into a dream" of Joshua leading "us" across Jordan and around Jericho until "it came tumbling"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: dream Ireland Bible moniker political religious
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 24, "Cowcadden's Heroes" (1 text, 1 tune)
NOTES: For the Battle of the Boyne, regarded as a liberating event by Irish Protestants, see the notes to "The Battle of the Boyne (I)." Joshua's exploits are only marginally parallel to the events of 1688-1690: The crossing of the Jordan was unopposed, and the river bed was dry (see chapters 3-4 of the book of Joshua). And the Boyne was a straight battle, unlike the siege of Jericho, which was -- a siege (see Joshua chapters 5-6). It can't even be compared with the siege of (London)derry, because Jericho was captured by assault, while Derry withstood its siege. - RBW
File: OrLa024
===
NAME: Cowman's Lament, The: see Going to Leave Old Texas (Old Texas, Texas Song, The Cowman's Lament) (File: FCW066E)
===
NAME: Cowman's Prayer, The: see The Cattleman's Prayer (File: FCW126)
===
NAME: Crab-Fish, The: see The Sea Crab (File: EM001)
===
NAME: Crabtree Still
DESCRIPTION: "I went up the hill, I found a still, So gather round, boys, we will all keep mum. It's bad, it's sad, it's a shame." "Ed" is killed in a shootout (?), and those with the moonshine are chased by the sheriff. They end up in court before a dishonest judge
AUTHOR: Clabe Kazee?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: drink police judge trial punishment
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 118-120, "Crabtree Still" (1 text)
File: ThBa118
===
NAME: Cradle Lullaby
DESCRIPTION: "Baloo, loo baby, now baloo, my dear, now baloo, loo lammie, your mammie is here." The singer consoles her baby through all the wind and storm, while lamenting that its father is out on the sea. She hopes the child's "wauk'nin' be blyther than mine."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: lullaby father sailor separation
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 167, "Cradle Lullaby" (1 text)
Roud #5562
File: Ord167
===
NAME: Cradle Song: see Uncle Joe Cut Off His Toe (Rock the Cradle Joe) (File: Br3097)
===
NAME: Crafty Farmer, The [Child 283; Laws L1]
DESCRIPTION: A farmer carrying money from/for a transaction is met by a robber. The robber demands his money; the farmer throws it on the grass. While the robber gathers it, the farmer makes off with the robber's horse and all the wealth in his saddlebags
AUTHOR: unknown
EARLIEST_DATE: 1769
KEYWORDS: robbery trick money outlaw escape
FOUND_IN: Britain(England(All),Scotland(Aber,Hebr)) Ireland Canada(Mar,Newf) US(Ap,MA,MW,NE,NW,SE)
REFERENCES: (22 citations)
Child 283, "The Crafty Farmer" (1 text)
Bronson 283, The Crafty Farmer" (43 versions)
Laws L1, "The Yorkshire Bite" (Laws gives three broadside texts on pp. 73-77 of ABFBB)
BarryEckstormSmyth pp. 406-413, "The Yorkshire Bite" (3 texts, 1 tune); also pp. 477-478, "The Crafty Farmer" (notes plus many stanzas from Child) {Bronson's #31}
Flanders/Brown, pp. 234-235, "The Yorkshire Bite" (1 fragment, 1 tune) {Bronson's #20}
Flanders/Olney, pp. 51-53, "The Yorkshire Boy" (1 text, 1 tune) {Bronson's #32}
Flanders-Ancient4, pp. 139-175, "The Yorshire Bite" (9 texts plus 6 fragments, 9 tunes) {B=Bronson's #32, D=#29, K=#20}
BrownII 46, "The Crafty Farmer" [incorrectly listed as Child #278] (1 text plus an excerpt)
Creighton/Senior, pp. 237-239, "Well Sold the Cow" (1 text, 1 tune) {Bronson's #26}
Creighton-NovaScotia 14, "Well Sold the Cow" (1 text, 1 tune) {Bronson's #19}
Greenleaf/Mansfield 20, "The Little Yorkshire Boy" (1 text, 1 tune) {Bronson's #21}
Leach-Labrador 60, "The Yorkshire Bite" (2 texts, 2 tunes)
Peacock, pp. 33-38, "The Yorkshire Boy" (2 texts, 3 tunes)
Logan, pp. 127-133, "The Crafty Farmer" and "The Yorkshire Bite" (2 texts)
Leach, pp. 662-665, "The Crafty Farmer" (2 texts)
FSCatskills 117, "The Old Spotted Cow"  (2 texts, 3 tunes) {Tune "B" is Bronson's #29}
Gardner/Chickering 157, "John Sold the Cow Well" (1 text plus mention of 2 more)
Sandburg, pp. 118-119, "Down, Down Derry Down" (1 text, 1 tune) {Bronson's #37}
Combs/Wilgus 89, pp. 130-132, "The Crafty Farmer" (1 text)
SHenry H51, pp. 129-130, "The Crafty Ploughboy" (1 text, 1 tune)
JHCox 31, "The Crafty Farmer" (1 text)
DT 283, CRAFTBY CRFTFARM*
Roud #2640
RECORDINGS:
Warde Ford, "The Oxford Merchant (Hampshire Bite)" (AFS 4197 A, 1938; on LC58, in AMMEM/Cowell) {Bronson's #18}
CROSS_REFERENCES:
cf. "The Highwayman Outwitted" [Laws L2]
ALTERNATE_TITLES:
Jack the Plowboy
Jack the Cow Boy
Well Sold the Cow
Selling the Cow
NOTES: Laws, obviously, considers "The Yorkshire Bite" to be distinct from "The Crafty Farmer." He may be right, but Coffin does not find any essential differences, and Bronson seems to regard them as subgroups. Even the three texts Laws gives for comparison have strong similarities in detail; it looks to me as if they are simply (bad) rewrites of the same original.
Given the degree of variation in the particular verses, it is hard to tell which texts go with which song. Since the versions are so close; I decided not to distinguish them.
It's just possible that this has a real-life origin, though I doubt it: David Brandon, in _Stand and Deliver! A History of Highway Robbery_, pp. 29-31, reports that one Isaac Atkinson held up a young woman, who -- apparently thinking he wanted something harder to recover than her money -- threw a bag of coins in the ditch. Atkinson, instead of either pursuing his seduction or doing anything to control the girl, simply jumped off his horse to pick up the coins.
The girl then flew away on her horse, and by chance his horse followed. She was able to report where she had left him, and he was taken and hanged.
Brandon, however, cites no sources; I almost wonder if his tale doesn't combine this one with something like "Lovely Joan." Or, even more likely, with "The Highwayman Outwitted."  - RBW
File: C283
===
NAME: Crafty Ploughboy, The: see The Crafty Farmer [Child 283; Laws L1] (File: C283)
===
NAME: Craiganee
DESCRIPTION: The singer calls on the muses to help him express his farewell. He must leave home, parting from friends and Craiganee and a girl he will not name. He describes how she watches him from the shore, and hopes they will meet again
AUTHOR: unknown
EARLIEST_DATE: 1906 (JIFSS)
KEYWORDS: emigration parting separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H749, pp. 189-190, "The Flower of Craiganee" (1 text, 1 tune); H730, p. 190, "The Hills of Tandragee" (1 text, 1 tune, said by some to be derived from "The Hills of Glenswilly," but agreeing in plot and in over half its lines with the Henry text of "Craiganee," though the tunes are somewhat different)
Roud #2743
NOTES: The relationship between "Craiganee," "The Hills of Glenwilly/Glensuili," and "The Hills of Tandagree" appears to be very complicated; we will try to make it clearer in future versions of the Index. - RBW
File: HHH749
===
NAME: Craigbilly Fair: see Widdicombe Fair (II) (File: K289)
===
NAME: Craigie Hill
DESCRIPTION: Singer overhears two lovers. She asks that he take her with him from Ireland. He is leaving to buy a plantation in America where she will join him. She says, before he dies, he would wish one sight of the Bann River. He bids farewell to Craigie Hill.
AUTHOR: unknown
EARLIEST_DATE: c.1945 (Tunney-StoneFiddle)
KEYWORDS:  love emigration parting America Ireland
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, p. 80, "Craigie Hill" (1 text, 1 tune)
DT, CRAIGHIL
Roud #5165
RECORDINGS:
Paddy Tunney, "Craigy Hills" (on IRPTunney01); "Craigie Hill" (on Voice04) 
File: RcCraHil
===
NAME: Cranberry Bogs, The (Cranberry Song)
DESCRIPTION: "Have you ever been down to the cranberry bogs? Some of the houses are hewn out of logs...." Asked to sing, the singer tells stories of the cranberry harvest. The fruit are gathered after most other crops are in, so all sorts of people happily take part
AUTHOR: Barney Reynolds?
EARLIEST_DATE: 1946 (recording, Frances Perry)
KEYWORDS: farming work nonballad moniker
FOUND_IN: US(MW)
REFERENCES: (1 citation)
DT, CRANBRRY* CRANBRR2*
Roud #5412
RECORDINGS:
Frances Perry, "Cranberry Song" (AAFS, 1946; on LC55)
NOTES: The only published version of this piece appears to be that recorded by Frances Perry for AAFS. But Perry herself (who thought the song to have been composed around 1900) admitted that "At each marsh every year, new verses are composed about the workers present at that season." (Hence my use of the "moniker" keyword).
Curiously, John Berquist claims to have a Minnesota version, which conforms closely to the outline of the Perry version but has dozens of minor verbal differences, so there has been some folk processing (but starting from the basic Reynold/Perry text). The most substantial change alters the location: "Mather" in Perry becomes "Mercer" in Berquist.
This is a noteworthy change, because there doesn't seem to be a town called Mather. Mercer, however, is in northern Wisconsin, near the border with upper Michigan and about 20 miles south and slightly east of Ironwood. It's a wet region, there is, in fact, a Cranberry Lake not too far south of there.
The Digital Tradition claims that Dillon Buston wrote a tune for this in 1987, taking the text from Peters. However, Perry had a tune back in 1946, and Berquist recorded it in 1981 -- and it's a fine tune that doesn't need any newfangled replacements. - RBW
File: RcTcrBo
===
NAME: Craw Killed the Pussy-O, The
DESCRIPTION: "The craw killed the pussy-o (x2), The muckle cat Sat doon and grat Behind the wee bit housie, O!" "The craw killed the pussy-o (x2), And aye, aye, the kitten cried, 'Oh, who'll bring me  mousie-o?"
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: animal bird death
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 103, "(The crow killed the pussy, O!)" (1 short text)
File: MSBR103
===
NAME: Crawdad
DESCRIPTION: "You get a line and I'll get a pole... And we'll go down to the crawdad hole, Honey, baby mine." "What you gonna do when the lake runs dry, honey...." Sundry verses about catching crawdads, rural life, and (presumably) sexual innuendo
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: animal fishing nonballad
FOUND_IN: US
REFERENCES: (8 citations)
Lomax-FSUSA 34, "Sweet Thing/Crawdad Song/Sugar Babe" (3 texts, 1 tune)
Botkin-AmFolklr, p. 896, "Crawdad" (1 text, 1 tune)
PSeeger-AFB, p. 86, "Crawdad" (1 text, 1 tune)
Pankake-PHCFSB, p. 271, "Crawdad" (1 text)
Scarborough-NegroFS, p. 103, "Dweley" (1 text, a collection of floating verses including one from this song, one from "The Jawbone Song," and others)
SharpAp 199, "The Crow-fish Man" (1 text, 1 tune)
Silber-FSWB, p. 23, "Crawdad" (1 text)
DT, CRAWDAD
Roud #4853
RECORDINGS:
Jess Alexander, "Crawdad Song" (AAFS 617 B1)
Mrs. Vernon Allen, "Crawdad Song" (AAFS 4142 B1/2)
Mary Davis, "Crawdad Song" (AAFS 1488 A/B1)
Girls of the Golden West, "You Get a Line and I'll Get a Pole" (Bluebird B-5167, 1933; Montgomery Ward M-4455, 1934)
J. L. Gores, "Sugar Babe" (AAFS 2593 B3)
Sam Hinton, "The Crawdad Song" (Decca K-69, n.d.)
Honeyboy & Sassafras, "Crawdad Song" (Brunswick 417, rec. 1929)
Clint Howard et al, "Crawdad Song" (on Ashley03, WatsonAshley01)
Aunt Molly Jackson, "Sugar Babe" (AAFS 827 B3, 1935)
Vera Kilgore, "Crawdad" (AAFS 2939 B2)
Evelyn Knight & Red Foley, "Crawdad Song" (Decca 27599, 1951)
Leary Family & T. Henderson, "Crawdad Song" (AAFS 3574 B1)
Texas Jim Lewis' Lone Star Cowboys (Perfect 7-12-55, 1937)
Lone Star Cowboys, "Crawdad Song" (RCA Victor 20-2941, 1948)
[Asa] Martin & [James] Roberts, "Crawdad Song" (Perfect 13046 [as by Asa Martin]/Melotone 13148, 1934)
Leroy Martin & group of convicts, "Crawdad" (AAFS 2671 A2)
Alec Moore, "Sugar Babe" (on AAFS 55 B1)
Poplin Family, "Crawdad Hole" (on Poplin01)
Sims & Mandie Tartt & Bettie Atmore, "Sugar Babe" (AAFS 2704 A3)
Joe Turner, "Crawdad Hole" (Atlantic 1001, 1952)
Ray Wood, "Sugar Babe" (AAFS 1594 A1)
CROSS_REFERENCES:
cf. "Sweet Thing (I)" (tune, lyrics, and everything else)
cf. "Back to Jericho" (words, pattern)
cf. "New River Train"
cf. "Going Around the World (Banjo Pickin' Girl, Baby Mine)"
cf. "This Mornin', This Evenin', Right Now" (tune, pattern)
SAME_TUNE:
How Many Biscuits Can You Eat? (File: RcHMBCYE)
Pittsburg (Pittsburg Town) (on PeteSeeger13, AmHist1; PeteSeeger39)
Bill Cox, "N.R.A. Blues" (Perfect 13090, 1935)
Log Cabin Boys, "New Crawdad Song" (Decca 5103, 1935)
NOTES: Songs with this tune and metrical pattern turn up throughout North American tradition; like the limerick, this skeleton seems to have become a favorite framework for humorous material. - PJS
This song poses a conundrum (hinted at in Paul's comment), because it merges continuously with the "Sweet Thing" family; they use the same tune (at least sometimes) and ALL of the same verses. Roud lumps them.
Chances are that they are "the same" song (whatever that means). But the tenor of the song changes somewhat with the presence or absence of a crawdad; after initially lumping the song, the Ballad Index staff decided to split them, based solely on mention of a crawdad. But one should definitely check all versions of both to get the complete range of material. - RBW
Just to confuse things further, the version of "The Crow-fish Man" in SharpAp (which uses a "This morning so soon" refrain) mentions crawdads, whereas the one in Sharp/Karpeles-80E apparently doesn't. So the former is filed here, the latter under "Sweet Thing (I)." Sharp also notes that his informant learned the song from an African-American singer.
The versions called "Sugar Babe" should not be confused with "Sugar Baby", aka "Red Rocking Chair." - PJS
File: R443
===
NAME: Crawdad Song: see Crawdad (File: R443)
===
NAME: Crayfish, The: see The Sea Crab (File: EM001)
===
NAME: Crazy Grey Mare, The
DESCRIPTION: The singer stops at a tavern for whiskey and hay for his mare. When the mare is startled by a train, he is thrown from the sleigh. The mare is gone: he thinks killed by the train. She is at the tavern. She says she left because he is nasty when drunk.
AUTHOR: Hugh Lauchlan MacDonald
EARLIEST_DATE: 1968 (Ives-DullCare)
KEYWORDS: accusation drink ordeal humorous horse
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 183-185, 243, "The Crazy Grey Mare" (1 text, 1 tune)
Roud #13987
File: IvDC183
===
NAME: Crazy Jane
DESCRIPTION: Henry deserts Jane, "and with him forever fled the wits of Crazy Jane." She tells the story to each frightened passerby and each "in pity cries: 'God help poor Crazy Jane!'" "When men flatter, sigh and languish, Think them false, I found them so"
AUTHOR: Words: Matthew Gregory Lewis/Music: John Davy ?
EARLIEST_DATE: before 1808 (broadside, Bodleian Harding B 12(141))
KEYWORDS: madness courting lie warning lament
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 436-437, "Crazy Jane" (1 text, 1 tune)
ST Pea436 (Partial)
Roud #6458
BROADSIDES:
Bodleian, Harding B 12(141), "The Favourite Song, of Crazy Jane," Burbage and Stretton (Nottingham), 1797-1807; also Harding B 11(3335), Johnson Ballads 781, Harding B 11(3647), Firth b.27(10), Firth b.26(46), Harding B 28(61), Harding B 11(740), Firth b.25(140), Harding B 11(741), Harding B 25(444), Harding B 17(66a), Harding B 17(65b), Firth b.25(340), 2806 c.18(74), "Crazy Jane"; 2806 b.11(216), Harding B 11(3066), Harding B 11(3067), Harding B 11(3068), Harding B 11(3069), "Poor Crazy Jane"
LOCSinging, sb10044a, "Crazy Jane," J. Andrews (New York), 1853-1859; also as102530, "Crazy Jane"
NOTES: Bodleian attributes authorship to Matthew Gregory Lewis (1775-1818), but attributes no other broadsides to him. According to the English Department University of Pennsylvania site Lewis is best known for his 1796 Gothic novel "The Monk."
The Public Domain Music site attributes the music to John Davy (1763-1824) and makes 1800 the date of the song.
Bodleian has one related broadside as "The Birth of Crazy Jane", London, 1800-1802, shelfmark Johnson Ballads 301.
Bodleian has one parody as "Crazy Paul" dated Feb 5, 1801 which asks "Can a moonstruck Russian sailor Draw the fleet of France from Brest?" shelfmark Curzon b.3(138).
Broadside LOCSinging sb10044a: 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
Yeats wrote a whole series of "Crazy Jane" poems (though they don't seem to have been particularly popular); Peacock suspects this piece of inspiring them, but cannot prove it. - RBW
File: Pea436
===
NAME: Crazy Song to the Air of "Dixie"
DESCRIPTION: "Way down south in the land of cotton, I wrote this song and wrote it rotten, I did, I didn't -- you don't believe me. The reason why I cannot sing I have no chestnuts for to spring...." Other nonsense of similar calibre follows
AUTHOR: "Andy Lee" (W. W. Delaney) supplied Sandburg's text
EARLIEST_DATE: 1925 (recording, Ernest Stoneman)
KEYWORDS: nonsense nonballad parody derivative
FOUND_IN: 
REFERENCES: (3 citations)
Sandburg, p. 342, "Crazy Song to the Air of 'Dixie'" (1 text)
Gilbert, pp. 105-106, "Her Age It Was Red" (1 text)
Pankake-PHCFSB, p. 61, "Take It Out, Take It Out, Remove It" (1 text, tune referenced); also p. 61, "The Whale Song (1 text, tune referenced)
Roud #10134
RECORDINGS:
Ernest Stoneman, "Dixie Parody" (OKeh 40430, 1925)
CROSS_REFERENCES:
cf. "Dixie" (tune) and references there
NOTES: The nature of this song is such that almost any nonsense can, and is, attracted to it. So any nonsense to the air of "Dixie" is listed here (with the exception of "A Horse Named Bill," which is coherent in a small way). - RBW
File: San342
===
NAME: Creation: see Dese Bones Gwine to Rise Again [Laws I18] (File: LI18)
===
NAME: Creation Song, The: see Walkin' in the Parlor (File: Wa177)
===
NAME: Cree-Mo-Cri-Mo-Dorro-Wah: see Kemo Kimo (File: R282)
===
NAME: Creeping and Crawling
DESCRIPTION: The young man, creeping and crawling, seduces the maid, taking a knife to cut the tie on her drawers. He leaves her to lament nine months later.
AUTHOR: unknown
EARLIEST_DATE: 1907 (Sharp mss., a "Sally My Dear" version with the words bowdlerized)
KEYWORDS: bawdy childbirth sex seduction lament clothes
FOUND_IN: Britain(England(Lond,South)) US(So) Canada(Newf)
REFERENCES: (4 citations)
Randolph-Legman I, pp. 33-39, "Creeping and Crawling" (7 texts, 2 tunes)
Kennedy 178, "The Knife in the Window" (1 text, 1 tune)
Lehr/Best 89, "Pretty Polly" (1 text, 1 tune)
DT, CRPCRAWL* KNIFWIND
Roud #12590
RECORDINGS:
James "Iron Head" Baker, "Crawling and Creeping" (AFS 717 A1, 1936)
Harry Cox, "The Knife in the Window" (on FSB2CD)
A. L. Lloyd, "Pretty Polly" (on BirdBush1, BirdBush2)
Asa Martin, "Crawling and Creeping" (Oriole 8452, 1935)
CROSS_REFERENCES:
cf. "Hares on the Mountain" (tune)
ALTERNATE_TITLES:
Pretty Polly
The Snoring Maid
Lay Your Leg over Me Do
Nancy and Johnny
The Young Doctor
NOTES: In England, this song regularly mixes with "Hares on the Mountain," with which it shares a tune. But the plots are different; I happily keep them separate though Roud lumps them (while defining "Crawling and Creeping" as a separate item). - RBW
The Lloyd recording provocatively contains the chorus "Lay your leg over me, over me, do" And at least one recorded version of "Sally, My Dear" -- an American one -- contains the "cutting the trousers" motif. So if "Sally, My Dear" is truly part of the "Hares on the Mountain" family, then "Creeping and Crawling" (or the "Pretty Polly" variant of it) is another link to "Roll Your Leg Over." - PJS
File: RL033
===
NAME: Creeping Jane [Laws Q23]
DESCRIPTION: Racehorse Creeping Jane is not well known, but wins a race despite a slow start -- and is still fresh, though the course exhausted the other animals. After Jane dies, plans are made to keep her body from the hounds
AUTHOR: unknown
EARLIEST_DATE: before 1855 (broadside, Bodleian Firth c.19(76))
KEYWORDS: horse racing burial
FOUND_IN: US(MW) Britain(England)
REFERENCES: (4 citations)
Laws Q23, "Creeping Jane"
MacSeegTrav 114, "Creeping Jane" (1 text, 1 tune)
Gardner/Chickering 99, "Creeping Jane" (1 text, 1 tune)
DT 532, CREEPJAN*
Roud #1012
RECORDINGS:
Joseph Taylor, "Creeping Jane" (on Voice08)
BROADSIDES:
Bodleian, Firth c.19(76)[first line illegible], "Creeping Jane" ("I'll sing you a song, and a very pretty one"), E.M.A. Hodges (London), 1846-1854; also Firth c.19(73), Firth c.19(75), Harding B 11(174), "Creeping Jane"
CROSS_REFERENCES:
cf. "Bill Hopkin's Colt" (theme)
cf. "Down the Road" (II) (theme)
ALTERNATE_TITLES:
The Jockey's Song
File: LQ23
===
NAME: Creggan White Hare, The
DESCRIPTION: Barney Conway hunts the famous Creggan White Hare. He finds the hare but she eludes his dogs. He calls in sportsmen "with pedigree greyhounds" who arrive "in a fine motor-car." She eludes the seven men and nine dogs. "Health to the Creggan White Hare"
AUTHOR: unknown
EARLIEST_DATE: c.1945 (Tunney-StoneFiddle)
KEYWORDS: escape hunting animal dog
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, p. 85, "The Creggan White Hare" (1 text)
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 54-56, "The Creggan White Hare" 
Roud #9633
NOTES: Creggan is in County Antrim, Ireland. - BS
I have a strange feeling this has something to do with the Irish revolution. In particular it makes me think of Michael Collins (for whom see "General Michael Collins") and the dramatic British attempts to catch him in the period around 1919-1920. Collins, to be sure, was from the south -- but he would in time be elected to the Irish parliament from Armagh.
i repeat, it's just speculation. - RBW
Also collected and sung by Kevin Mitchell, "The Creggan White Hare" (on Kevin and Ellen Mitchell, "Have a Drop Mair," Musical Tradition Records MTCD315-6 CD (2001)) - BS
File: TSF085
===
NAME: Creole Girl, The: see The Lake of Ponchartrain [Laws H9] (File: LH09)
===
NAME: Crew from Boston Bay, The
DESCRIPTION: The Gin, with a crew from Boston Bay, is lost in the fog off Jefferey's. They drift until "I can smell the beans, we are drifted home" says the captain. They drop anchor, "and were guided by the sinful smell as we walked ashore on the fog"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: fishing sea ship shore ordeal humorous
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 110-111, "The Crew from Boston Bay" (1 text, 1 tune)
Roud #9960
File: Pea110
===
NAME: Cribisse! Cribisse! (Crawfish! Crawfish!)
DESCRIPTION: "Cribisse! Cribisse! pas gain di tout "show" bebe!... Creyole trappe ye pou' fait gumbo bebe." Sung in English and in (Creole) French, this song mocks the propensity of the Creole to be found around crawfish and vice versa.
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: nonballad humorous foreignlanguage
FOUND_IN: US(So)
REFERENCES: (1 citation)
Botkin-MRFolklr, p. 580, "Cribisse! Cribisse! (Crawfish! Crawfish!)" (1 text, 1 tune)
File: BMRF580
===
NAME: Cricket and Crab-louse, The (Down Derry Down)
DESCRIPTION: A girl picks a flower containing a cricket and a crab-louse. Both transfer to her body; the crab-louse takes up residence in her vagina. The next day, he escapes and tells the cricket of the horrors he experienced while she had sex
AUTHOR: unknown
EARLIEST_DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: bug sex bawdy humorous
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 56, pp. 258-260, "Down, Derry Down" (1 text, 1 tune)
Roud #4791
NOTES: Logsdon notes mentions of an item about a crab-louse and cricket in Legman's _The Horn Book_. Legman (pp. 153, 183) refers to a single item names "The Cricket and Crab-Louse," which appears on page 69 of an 1825 edition of _The Merry Muses of Caledonia_ (a book which reportedly survive in only one copy). I have adopted Legman's title, since Logsdon's is so meaningless, but it should be noted that I have not seen the _Merry Muses_ text; I am equating the two based solely on Legman's description. It is possible that the texts of the _Merry Muses_ and Riley Neal are entirely different songs derived from a common folktale (which Legman also considers to underlie _Tristram Shandy_ and Scientology). - RBW
File: Logs056
===
NAME: Cricketty Wee
DESCRIPTION: Arty Art, Dandrum Dart, and Brother-in-Three ask, in turn, "Where are ye going?"; Cricketty Wee answers, "To the fair." He will buy a pony, he will marry, will drink, will eat, will put food away, a cat will guard it; his children will work for death
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: commerce wedding humorous questions
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H744, pp. 12-13, "Cricketty Wee" (1 text, 1 tune)
DT, CRICKWEE*
Roud #236
CROSS_REFERENCES:
cf. "Billy Barlow" (form)
cf. "The Cutty Wren" (form)
cf. "Hunt the Wren" (form, subject)
NOTES: Scholars almost without exception link this to "The Cutty Wren" and/or "Billy Barlow." The only similarity, however, is in form; neither the plot nor the characters are the same. I am clearly in the minority, but I don't think they're the same song. In any case, when in doubt, we split. - RBW
File: HHH744
===
NAME: Crime of the D'Autremont Brothers, The
DESCRIPTION: "Way out west in Oregon in 1923, The D'Autremont brothers wrecked the train as brutal as could be." Four of the train crew are killed. The brothers flee, are caught almost four years later, and "noe they are in prison for the lives they led."
AUTHOR: probably the Johnson Brothers
EARLIEST_DATE: 1928 (recording by the Johnson Brothers)
KEYWORDS: train robbery homicide manhunt punishment prison
HISTORICAL_REFERENCES: Oct 11, 1923 - Roy, Ray, and Hugh DeAutremont attack the San Francisco Express as it comes out of a tunnel in Oregon. The brothers were caught in 1927 and all were given life sentences
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 166-168, "The Crime of the D'Autremont Brothers" (1 text, 1 tune)
RECORDINGS:
Johnson Brothers, "Crime of the D'Autremont Brothers" (Victor 21646, 1928)
NOTES: Pretty definitely not a folk song; the only early recording appears to be that by the Johnson Brothers (whose small repertoire included several other non-traditional songs); Cohen reports that it sold fewer than 6000 copies, and the song does not appear ever to have been found in the field.
Charles and Paul Johnson seem to have been rather mysterious themselves; Cohen also reports that their listed home town of Tuco, Kentucky, cannot be located. - RBW
File: LSRai066
===
NAME: Crimean War, The [Laws J9]
DESCRIPTION: Johnny and his mother together tell of Johnny's part in the Crimean War. Having fought at Alma, Balaclava, and Sevastopol, he is now safely (and happily) home again
AUTHOR: unknown
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: war
HISTORICAL_REFERENCES: Sept 20, 1854 - Battle of Alma
Oct 25, 1854 - Battle of Balaclava
Nov 5, 1854 - Battle of Inkerman clears the way for the siege of Sevastopol (the city fell in the fall of 1855)
FOUND_IN: US(MW)
REFERENCES: (5 citations)
Laws J9, "The Crimean War"
Gardner/Chickering 91, "The Crimean War" (1 text, 1 tune)
Dean, pp. 49-50, As I Rode Down Through Irishtown" (1 text)
Ives-NewBrunswick, pp. 123-125, "The Crimean War" (1 text, 1 tune, with the text of this piece though the tune is described as being identical to that for "As I Went Down to Port Jervis")
DT 765, CRIMEAWR
Roud #1924
CROSS_REFERENCES:
cf. "As I Went Down to Port Jervis" (tune, lyrics, plot)
NOTES: For the relationship of this song to "As I Went Down to Port Jervis," see the notes to that song. That song is certainly derived from this, and could easily be listed as a version (so, e.g., Roud), but Cazden et al consider them separate. Some versions, such as that of Ives, may belong with the "Port Jervis" rather than here. - RBW.
File: LJ09
===
NAME: Criole Candjo (Creole Candio)
DESCRIPTION: Creole French. Candio comes asking the young woman to "make merry" with him. He follows her everywhere and repeats his pestering. She repeats her refusal, and wishes the listeners had met him so they would know what pressure he put her under
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: courting foreignlanguage
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 216-218, "Criole Candjo" (1 text, 1 tune, plus a translation from Creole French into Creole English)
File: LxA216
===
NAME: Cripple Creek (I)
DESCRIPTION: Often found as a fiddle tune with words: "I got a gal at the head of the creek, Goin' up to see her 'bout the middle of the week...." "Goin' up to Cripple Creek, Goin' at a run, Goin' up to Cripple Creek to have a little fun." Most verses involve courting
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection); +1913 (JAFL28)
KEYWORDS: fiddle courting river nonballad
FOUND_IN: US(Ap,SE)
REFERENCES: (8 citations)
BrownIII 299, "Cripple Creek" (1 short text plus mention of 1 more)
SharpAp 247, "Gone to Cripple Creek" (1 text, 1 tune)
Lomax-FSNA 118, "Cripple Creek" (1 text, 1 tune)
Botkin-AmFolklr, pp. 898-899, "Cripple Creek" (1 text, 1 tune)
Rorrer, p. 83, "Shootin' Creek" (1 text, with recitation and verses partly derived from "Ida Red (I)")
Silber-FSWB, p. 37, "Cripple Creek" (1 text)
BrownIII 43, "Old Corn Licker" (a 2-line fragment, unclassifiable but with similarities to some texts of this song)
DT, CRIPLCRK
Roud #3434
RECORDINGS:
Fiddlin' John Carson, "Going Down to Cripple Creek" (OKeh 45214, 1928)
Charlie Higgins, Wade Ward & Dale Poe, "Cripple Creek" [instrumental] (on LomaxCD1701)
The Hillbillies, "Cripple Creek" (OKeh 40336, 1925) (Vocalion 15367, 1926/Vocalion 5115, c. 1927)
Roscoe Holcomb, "Cripple Creek" (on MMOKCD)
Doc Hopkins, "Cripple Creek" (Radio 1410B, n.d., prob. late 1940s - early 1950s)
Land Norris, "Red Creek" (OKeh 40433, 1925)
Charlie Poole and the North Carolina Ramblers, "Shootin' Creek" (composite with "Ida Red (I)"; Columbia15286-D, 1928; on CPoole01, CPoole05)
Fiddlin' Doc Roberts, "Cripple Creek" (Gennett 6336, 1927)
Ernest Stoneman, "Going Up Cripple Creek" (Victor 20294, 1926)
Stove Pipe No. 1 [pseud. for Sam Jones], "Cripple Creek & Sourwood Mountain" (Columbia 201-D, 1924)
Tweedy Brothers, "Cripple Creek" (Silvertone 4008, c. 1925)
CROSS_REFERENCES:
cf. "Sally Goodin" (floating lyrics)
cf. "Ida Red (I)" (floating verses)
NOTES: The notes in Brown say that there was a gold rush at Cripple Creek, producing this song. But it's worth noting that the sources can't agree on the state in which Cripple Creek is located (Colorado, Virginia). - RBW
File: San320
===
NAME: Cripple Creek (II) (Buck Creek Girls)
DESCRIPTION: "Buck Creek girl, don't you want to go to Cripple Creek? Cripple Creek girl, don't you want to go to town?" (x2). Alternately, "Buck Creek girls, don't you want to go to Somerset? Somerset girl, don't you want to go to town?" 
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: nonballad travel
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
SharpAp 241, "Cripple Creek, or Buck Creek Girl" (2 texts, 2 tunes)
Sharp/Karpeles-80E 64, "Cripple Creek" (1 text, 1 tune)
Roud #3434
RECORDINGS:
Banjo Bill Cornett, "Buck Creek Girls" (on MMOK, MMOKCD)
ALTERNATE_TITLES:
Buck Creek Gal
NOTES: Not to be confused with the fiddle tune/old time dance of the same name ("Going up to Cripple Creek..."). - RBW
File: SKE64
===
NAME: Crockery Ware
DESCRIPTION: A merchant wants to lay with a girl one night. She puts dishes on a chair near her bed. In the dark he breaks the dishes and chair and wakes her mother. She calls the police and he has to pay for the crockery ware and broken chair.
AUTHOR: unknown
EARLIEST_DATE: 1957 (recording, O. J. Abbott)
KEYWORDS: sex trick bawdy humorous mother rake nightvisit courting lover police
FOUND_IN: Canada(Mar,Newf,Ont)
REFERENCES: (4 citations)
Peacock, pp. 257-258, "Crockery Ware" (1 text, 1 tune)
Leach-Labrador 119, "Old Woman" (1 text, 1 tune)
Ives-DullCare, pp. 129-130,243-244, "The Crockery Ware" (1 text, 1 tune)
DT, CROCKWAR CROCKRY*
Roud #1490
RECORDINGS:
O. J. Abbott, "A Young Man Lived in Belfast Town" (on Abbott1)
BROADSIDES:
Bodleian, Harding B 28(37), "Crockery Ware," unknown, n.d.
NOTES: At least one source claims that the Crockery Ware wasn't just random pottery but the chamber pot. Not sure I believe it; that sounds awfully messy. - RBW
File: Pea257
===
NAME: Crocodile, The: see The Wonderful Crocodile (File: MA134)
===
NAME: Cromie's Orange Buck, The
DESCRIPTION: Coming from a Hibernian Ball Misses M'Nulty and O'Hare meet Cromie's ranting Buck. He says he had "full authority from all the Orange boys" to "rip you on the ground." They run for protection to Barney Greenan who saves them. Ladies: travel protected.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: warning rescue party political talltale animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 37, "The Cromie's Orange Buck" (1 text, 1 tune)
Roud #2889
NOTES: Morton-Ulster: "Initiation into the Orange Order involves various rituals the most important being 'the ride on the buck'. Whether this actually means that you ride on the back of a goat I just don't know, but the 'buck' has become a symbol of Orange power... '[T]he ranting season' is the time when a good strong healthy buck is looking for a wife." - BS
File: MorU037
===
NAME: Cronie o' Mine, A
DESCRIPTION: "Ye'll mount yer bit naiggie an' ride your wa'sdoun... There wons an auld blacksmith, we'Janet his wife, And a queerer auld cock ye ne'er met in your life." The singer describes the smith's odd haunt, then starts to describe the people of the town
AUTHOR: Alexander Maclagan ?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: moniker nonballad friend
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 92-95, "A Cronie o' Mine" (1 text, 1 tune)
Roud #6027
BROADSIDES:
NLScotland, L.C.Fol.70(33a), "A Cronie o' Mine," Poet's Box (Dundee), c. 1890
File: FVS092
===
NAME: Crook and Plaid, The
DESCRIPTION: "O, I'll no hae the laddie That drives the cart or ploo... But I will hae the laddie That has my heart betrayed, He's my bonny shepherd laddie And he wears the crook and plaid." She praises his beauty, his kindness, and his faithfulness
AUTHOR: Rev. Henry S. Riddell
EARLIEST_DATE: 1844 (Whitelaw; from tradition in Ford, 1899)
KEYWORDS: love shepherd
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (2 citations)
Ford-Vagabond, pp. 58-61, "The Crook and Plaid" (1 text, 1 tune)
SHenry H617, pp. 45-46, "The Shepherd Laddie" (1 text, 1 tune)
Roud #5960
BROADSIDES:
Bodleian, Harding B 26(111), "The Crook and Plaid" ("If lasses lo'e the laddies, they surely should confess"), unknown, n.d.
Murray, Mu23-y1:039, "The Crook and Plaid," James Lindsay Jr. (Glasgow), 19C
NLScotland, L.C.Fol.70(45b), "Crook and Plaid," unknown, c.1890" 
SAME_TUNE:
The Main-spring of Love (per broadside Murray, Mu23-y1:039)
File: HHH617
===
NAME: Crooked Rib, The
DESCRIPTION: Women were created from man's crooked rib which explains "the crooked nature some women are" Like Eve, most women betray their husband. Men claim they can control their wife, but they can't. "From great guns and bad women's tongues, O Lord deliver me!"
AUTHOR: Dan Somers of St Georges, PEI
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: wife humorous nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, p. 105, "The Crooked Rib" (1 text, 1 tune)
Roud #12455
NOTES: The creation of a woman from a man's rib (note that, in Hebrew, "adam" means "man" as well as being a proper name) is told in Genesis 2:21. There is no hint, in the Bible, that this rib was any more crooked than the others. - RBW
File: Dib105
===
NAME: Crooked Trail to Holbrook, The
DESCRIPTION: "Come all you hunky punchers that follow the bronco steer, I'll sing to you a verse or two your spirits for to cheer." The singer grumbles about a trip from Globe City (?) to Holbrook, marked by windstorms and stampedes; he's glad to be back home
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax, Cowboy Songs)
KEYWORDS: cowboy hardtimes travel storm
FOUND_IN: US(SW)
REFERENCES: (2 citations)
Logsdon 10, pp. 70-73, "The Crooked Trail to Holbrook" (1 text, 1 tune)
DT, ARIZONIO*
Roud #4037
NOTES: This is item dB30 in Laws's Appendix II.
The notes in the Digital Tradition list this as a descendent of Laws B10 (either 10a, The Buffalo Skinners, or 10b, Boggy Creek or The Hills of Mexico). The similarity in theme is obvious. But cowboys complained a lot; Laws, Roud, and I all regard them as separate. - RBW
File: Log010
===
NAME: Crookit Bawbee
DESCRIPTION: "Oh! whar awa' got ye that auld crookit (penny/plaidie)?" He offers one of gold and "a mantle o' satin" to go with him to Glen Shee. She will only accept "the laddie that gave me the penny." If he is that man "whar's your crookit bawbee?"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: courting separation brokentoken
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 25, "The Crooked Bawbee" (1 text, 1 tune)
ST CrSNB025 (Partial)
Roud #2281
NOTES: Creighton-SNewBrunswick: "Said Mrs Leslie:'A bawbee is a halfpenny, and the term for it goes back to the days of Mary, Queen of Scots. They brought out a coin when she was a baby [Mary because Queen at eight days old - RBW] and the baby's head was on it; you know the Scottish drawl and the language, and by and by baby came to be bawbee.'" - BS
Jean Redpath claims that this song was popular in lowland Scotland, but I can find no field collections. Redpath also points out an item in the Scots Musical Museum (#99, "O whar did ye get that hauver-meal bannock") which may be related. - RBW
File: CrSNB025
===
NAME: Crooskeen Lawn: see Cruiskeen Lawn (File: OCon054A)
===
NAME: Croppies Lie Down (I)
DESCRIPTION: "We soldiers of Erin, so proud of the name, Will raise upon Rebels and Frenchmen our fame... and make all the traitors and croppies lie down." The rebels murder parsons and women but run from soldiers. If the French land they'll lie with the croppies.
AUTHOR: Captain Ryan (Source: Zimmermann)
EARLIEST_DATE: 1798 (_Constitutional Songs_, according to Zimmermann)
KEYWORDS: rebellion death France Ireland nonballad patriotic
FOUND_IN: Ireland
REFERENCES: (2 citations)
Zimmermann 94A, "Croppies Lie Down" (1 text, 1 tune)
Moylan 76, "Croppies Lie Down" (1 text, 1 tune)
BROADSIDES:
Bodleian, Harding B 25(448), "Croppies Lie Down" ("We soldiers of Erin, so proud of the name"), unknown, n.d.; also Harding B 22(56), Harding B 11(3852), "Croppies Lie Down"; Harding B 16(253c), "The Soldier's Delight" or "Croppies Lie Down"
CROSS_REFERENCES:
cf. "The Tree of Liberty" (tune)
NOTES: According to Robert Kee, _The Most Distressful Country_, being Volume I of _The Green Flag_, pp. 98-99, this was "popular among the Orange yeomanry," i.e. the militia forces (not all of them Protestant, we should note) raised by the British to control the 1798 rebellion.
The ascription to "Captain Ryan" is interesting at the least. Obviously there could be several "Captain Ryans" -- but the one mentioned in the histories is one of the two men who tried to arrest Lord Edward Fitzgerald, and mortally wounded in the process (see the notes to "Edward (III) (Edward Fitzgerald)"). - RBW
Moylan: "It was for playing this tune on the pipes that the unfortunate William Johnson was murdered at Scullabogue along with over one hundred others." 
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Sean Tyrrell, "Croppies Lie Down" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes) - BS
For background on Scullabogue, see the notes to "Father Murphy (II) (The Wexford Men of '98)." None of the sources I've seen attribute the massacre to someone playing a pipe tune, though -- it was based on false information heard about the Battle of New Ross (for which see, e.g., "Kelly, the Boy from Killane"). - RBW
File: Zimm094A
===
NAME: Croppies Lie Down (II)
DESCRIPTION: "In the County of Wexford these rebels did rise." The Orange-men made them retreat. The Vinegar Hill battle is recalled. Esmond, Kay, Harvey and Hay are turned over to General Moore and executed after courtmartial. "Derry down, down, Croppy lie down"
AUTHOR: "Charles Cain, Grenadier in His Majesty's 7th, or Antrim Militia" (Source: Zimmermann)
EARLIEST_DATE: c. 1798 (Zimmermann)
KEYWORDS: rebellion execution trial Ireland patriotic
HISTORICAL_REFERENCES: May 26, 1798 - Beginning of the Wexford rebellion
May 27, 1798 - The Wexford rebels under Father John Murphy defeat the North Cork militia
June 5, 1798 - The Wexford rebels attack the small garrison (about 1400 men, many militia) at New Ross, but are repelled
June 21, 1798 - The rebel stronghold a Vinegar Hill is taken, and the Wexford rebellion effectively ended
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann 94B, "Croppies Lie Down" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Tree of Liberty" (tune)
cf. "Bagenal Harvey's Farewell" (subject of Bagenal Harvey) and references there
NOTES: Nine rebels were executed including eight courtmartialled. Esmond, Kay, Harvey and Hay were not among them. Dr John Esmonde, Bagenal B Harvey and Harvey Hay are among those "Patriots of 1798" named on the "1798-1898 Irish Memorial" in New South Wales, Australia. (source: "Memorials, Monuments and Miscellany" _Vinegar Hill_ at the OptusNet site)
Zimmermann: "'Down' might have been chosen as a reply to 'up', which was a pass-word of the United Irishmen." - BS
All of the names in this song do indeed belong to figures from the 1798 Rebellion.
Dr. John Esmond, a leader of the Kildare rebels, was a member of the yeomen, making him a deserter. He was indeed executed by hanging; see the notes to "The Song of Prosperous."
Bagenal Beauchamp Harvey (or Beauchamp Bagenal Harvey; I've seen both forms) was the inept and apparently reluctant United Irish commander at New Ross (for details, see "Kelly, the Boy from Killane"). After the battle, he fled, and was eventually tried and hanged on Wexford Bridge (July 1, according to Robert Kee, _The Most Distressful Country_, being Volume I of _The Green Flag_, p. 124). Also hanged there was Matthew Keogh, a former British officer who had governed Wexford for the rebels; I would guess he is the "Kay" of the song.
I don't know a Harvey Hay, but there were brothers, Edward Hay and John Hay. John was known to have commanded troops during the 1798 rebellion. Edward did not, and lived until 1826, but it's widely felt that he was involved in the rebellion.
Blaming the slaughter on General Sir John Moore is thoroughly unfair; the atrocities of the 1798 campaign were almost all the fault of his superior, General Gerard Lake (1744-1808). Moore in fact seems to have felt that the best approach to the rebellion was to improve conditions for all. - RBW
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "Croppies Lie Down" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998))
Harte: "This is one of several Orange songs written in 1798, all of them ending with the inevitable chant that is still to be heard on the 12th July Orange marches.... 'Croppies Lie Down.'" - BS
File: Zimm094B
===
NAME: Croppy Boy (I), The [Laws J14]
DESCRIPTION: The singer, a young Irish patriot, is arrested. A girl (his sister?) gives evidence against him, and he is sentenced to die. As he is waiting to be hanged, his father denies him, naming him "The Croppy Boy"
AUTHOR: unknown
EARLIEST_DATE: 1798 (Zimmermann)
KEYWORDS: rebellion execution
FOUND_IN: US(MW,So) Canada(Mar) Ireland
REFERENCES: (17 citations)
Laws J14, "The Croppy Boy"
Belden, pp. 283-284, "The Croppy Boy" (1 text)
Randolph 128, "The Croppy Boy" (1 text)
Dean, pp. 45-46,"The Croppy Boy" (1 text)
Creighton-NovaScotia 85, "Song of the Croppy Boy" (1 text, 1 tune)
Creighton-Maritime, p. 163, "Early, Early in the Spring" (1 text, 1 tune)
Sandburg, p. 35, "As I Was Walkin' Down Wexford Street" (1 fragment, 1 tune)
Hodgart, p. 203, "The Croppy Boy" (1 text)
PGalvin, pp. 23-24, "The Croppy Boy" (1 text, 1 tune)
OLochlainn-More 40, "The Croppy Boy" (1 text, 1 tune)
Zimmermann 19, "The Croppy Boy" (7 texts, 2 tunes)
Moylan 95, "The Croppy Boy" (1 text, 1 tune)
Huntington-Whalemen, pp. 188-190, "The Croppy Boy" (1 text, 1 tune)
Silber-FSWB, p. 318, "The Croppy Boy" (1 text)
DT 397, CROPPIE2* CROPPIE3*
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 46-47, 511, "The Croppy Boy"
Thomas Kinsella, _The New Oxford Book of Irish Verse_ (Oxford, 1989), pp. 258-259, "The Croppy Boy"  (1 text)
Roud #1030
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Croppy Boy" (on IRClancyMakem03)
Tom Lenihan, "Croppy Boy" (on IRClare01)
Delia Murphy, "The Croppy Boy" (HMV [Eire?] IM-820, n.d.)
Brigid Tunney, "Early, Early, All in the Spring" (on IRTunneyFamily01)
BROADSIDES:
Bodleian, Harding B 15(73a), "The Croppy Boy," J. Catnach (London), 1813-1838; also Firth b.25(338), 2806 c.9(9), Harding B 11(1423), Firth b.25(508), Harding B 25(449), 2806 b.10(50), Harding B 11(1486), Firth b.26(45), Harding B 11(4389), Harding B 11(746), 2806 b.10(6), "The Croppy Boy"; Harding B 25(447), "The Cropie Laddie's Complaint," unknown, n.d.
LOCSinging, as102550, "The Croppy Boy," H. De Marsan (New York), 1859-1878; also as200580, "Croppy Boy" 
CROSS_REFERENCES:
cf. "The Convict Maid" (tune)
cf. "McCaffery (McCassery)" (tune)
cf. "The Sailor Boy (I)" [Laws K12] (tune, per Morton-Ulster 7) 
NOTES: Zimmermann p. 39, fn. 18: "In the 1790's those who admired the Jacobin ideas began to crop their hair short on the back of the head, in what was said to be the new French fashion; in 1798 this was considered as an evidence of 'disaffection'."
Zimmermann 19: "In the American versions, the Croppy Boy is betrayed by his sister Mary [see, for example, broadsides LOCSinging as102550 and LOCSinging as200580 and Creighton-NovaScotia 85], or by some vindictive girl, and is sent to New Guinea [see Creighton-NovaScotia 85]." "New Guinea" is an apparent corruption of "New Geneva": "used as a prison and torture house in 1798 [Zimmermann, p. 165]." Being sent to New Guinea does not save the Croppy Boy from being hanged.
Notes to IRClare01 regarding Zimmermann's explaination of the term "Croppy": poet and playwright Patrick Galvin put forward a number of other, equally convincing explanations, which included the practice of punishing convicted felons by cutting off the tops of their ears, and a form of torture applied to rebels known as 'pitch cap'. He suggested that a true explanation probably lay in a combination of these." [For pitchcapping, see e.g. the notes to "The Union." Slitting the ears is mentioned several times in Irish sources, though I don't recall cutting off the tops of the ears being mentioned much. - RBW]
Laws cites O'Conor as a source. O'Conor p. 11, "The Croppy Boy" is not this ballad.
Zimmermann 19, text B, includes the verse
And as I walked down James Street
A pair of painters I chanc'd to meet
'Twas Jemmy O'Brien and Tom O'Neill
For one guinea they swore my life away."
For more about the informer Jemmy O'Brien see "The Major," "Jemmy O'Brien" and "Jemmy O'Brien's Minuet." 
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, "Croppy Boy" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998))
Broadside LOCSinging as102550: 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: LJ14
===
NAME: Croppy Boy (II), The
DESCRIPTION: The boy asks to speak to the priest. He will go to Wexford to fight as the last of his family. He asks the "priest" to bless him. The real priest had been captured; this "priest" is a yeoman captain in disguise. The boy hangs at Geneva Barracks
AUTHOR: Carroll Malone (source: O'Conor; Duffy; OLochlainn-More: "said to be [a pseudonym of] Dr James McBurney of Belfast"; compare Hoagland)
EARLIEST_DATE: 1845 (Duffy; also Duffy's magazine _The Nation_,: "first published in _The Nation_, 4th January, 1845", according to Zimmermann)
KEYWORDS: rebellion execution disguise patriotic clergy trick
HISTORICAL_REFERENCES: 1798 - Irish rebellion
FOUND_IN: Ireland
REFERENCES: (7 citations)
OLochlainn-More 41, "The Croppy Boy" (1 text, 1 tune)
Zimmermann 52, "The Croppy Boy" (1 text, 1 tune)
Moylan 96, "The Croppy Boy" (1 text, 1 tune)
O'Conor, p.11, "The Croppy Boy" (1 text)
ADDITIONAL: Charles Gavan Duffy, editor, The Ballad Poetry of Ireland (1845), pp. 156-157, "The Croppy Boy"
Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, pp. 247-248, "Croppy Boy"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 540-541, "The Croppy Boy" (1 text)
NOTES: Zimmermann 52: "In _The Sham Squire_, pp. 179-180, W.J. Fitzpatrick [1866] tells the anecdote that inspired this ballad." As quoted by Zimmermann the ballad closely follows the anecdote.
Zimmermann p. 39, fn. 18: "In the 1790's those who admired the Jacobin ideas began to crop their hair short on the back of the head, in what was said to be the new French fashion; in 1798 this was considered as an evidence of 'disaffection'." 
Hoagland's date range (c.1855-d.1892?) for the auther has a problem; Duffy attributes the ballad to "Carroll Malone" but publishes the text in 1845. Hoagland's attribution to Carroll Malone has that as a pseudonym for William B. McBurney. The article "William B. McBurney aka Carroll Malone" at the "From Ireland" site (copyright Jane Lyons, Dublin, Ireland) agrees that McBurney is the author, that he published it in 1845 and that he died in 1892. - BS
Until Ben Schwartz submitted his note, I had doubted that this is based on any actual incident, but Thomas Pakenham, _The Year of Liberty_, p. 343, notes a case of a Wexford woman with 13 children at the start of the 1798 rebellion. Of her nine sons, five died in battle and three were hung, as was her husband; all four of her daughters were present in the camp at Vinegar Hill, and all came home sick with diseases contracted in the camp. Not the same story, but close. - RBW
File: OLcM041
===
NAME: Cross Mountain Explosion, The (Coal Creek Disaster) [Laws G9]
DESCRIPTION: The Coal Creek mine blows up, killing 150 miners. The families grieve and the usual prayers are prayed for the dead
AUTHOR: Thomas Evans (?)
EARLIEST_DATE: 
KEYWORDS: mining death disaster
HISTORICAL_REFERENCES: Dec 9, 1911 - The Coal Creek explosion
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws G9, "The Cross Mountain Explosion (Coal Creek Disaster)"
MHenry-Appalachians, pp. 84-85, "The Miner Boys" (1 text)
DT 828, CROSSMT
Roud #844
CROSS_REFERENCES:
cf. "Shut Up in the Mines of Coal Creek" (subject)
File: LG09
===
NAME: Cross Your Fingbers
DESCRIPTION: "Keep in right with Lady Luck, my dear, Find a good luck charm, and keep it near; Love will surely come to you On some lucky day." "Cross your fingers and make a wish, And maybe your wish will come true." Don't break mirrors, keep a horseshoe
AUTHOR: unknown
EARLIEST_DATE: 1932 (Henry, from Glada Gully)
KEYWORDS: nonballad magic
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 228, "Cross Your Fingers" (1 text)
File: MHAp228
===
NAME: Crossed Old Jordan's Stream
DESCRIPTION: "Good old neighbor's gone along/Crossed old Jordan's stream"; successive verses substitute "mother", "Christian." Chorus: "Thank God I got religion and I do believe/Crossed old Jordan's stream."
AUTHOR: unknown
EARLIEST_DATE: c. 1932 (recording, Bird's Kentucky Corn Crackers)
KEYWORDS: nonballad religious
FOUND_IN: 
REFERENCES: (2 citations)
Cohen/Seeger/Wood, p. 122, "Crossed Old Jordan's Stream" (1 text, 1 tune)
DT, CRSJDNST
RECORDINGS:
Bird's Kentucky Corn Crackers, "Crossed Old Jordan's Stream" (Victor 23608, c. 1932)
New Lost City Ramblers, "Crossed Old Jordan's Stream" (on NLCR01)
File: CSW122
===
NAME: Crossing the Plains
DESCRIPTION: "Come all you Californians, I pray ope wide your ears." The singer describes the overland passage to California. The travelers are told what to bring, and warned of  troubles. The singer would have gone around the horn if he had known what he now knows
AUTHOR: unknown
EARLIEST_DATE: c. 1854 ("Put's Original California Songster")
KEYWORDS: travel hardtimes
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 427-428, "Crossing the Plains" (1 text)
Roud #15538
RECORDINGS:
Logan English, "Crossing the Plains" (on LEnglish02)
CROSS_REFERENCES:
cf. "Caroline of Edinborough Town" [Laws P27] (tune)
File: LxA427
===
NAME: Crosspatrick, The
DESCRIPTION: Crosspatrick leaves "for New Zealand, with their families and their wives." Five days out the ship is wrecked by fire. The captain and his wife try to save others. "Out of four hundred passengers and forty of a crew, There were only four of them left."
AUTHOR: unknown
EARLIEST_DATE: 1943 (Ranson)
KEYWORDS: drowning sea ship wreck sailor
HISTORICAL_REFERENCES: Nov 18, 1874 - "The most terrible catastrophe of the old year was the destruction by fire of the emigrant-ship Cospatrick, and the consequent loss of over 450 lives, in the early morning of Nov. 18." (source: Illustrated London News, January 2, 1875, as quoted on The Ships List site)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 99-100, "The Crosspatrick" (1 text)
NOTES: There are Bodleian broadsides for at least two other ballads about this disaster.  While neither is dated, both broadsides quote news dispatches making it seem that they should be dated 1874.
Bodleian, Firth c.12(104), "The Burning of the Emigrant Ship, 'Cospatrick'" ("To this most heartrending and sorrowful tale"), unknown, n.d.; the chorus begins "The 'Cospatrick' took fire when at sea."
Bodleian, Firth c.12(107), "The Burning of the Emigrant Ship, 'Cospatrick'" ("In '74 we've had some shocking disasters"), unknown, n.d.; the chorus begins "Far out on the ocean, in the darkness of midnight."
Another broadside seems to be a third different ballad but could not be downloaded and verified: Bodleian, Harding B 40(4), "The Burning of the 'Cospatrick'" ("You feeling-hearted Christians wherever that you be"), J.F. Nugent and Co.? (Dublin?), 1850-1899 ; also Harding B 19(115a), "The Burning of the 'Cospatrick'"
File: Ran099
===
NAME: Crow and Pie [Child 111]
DESCRIPTION: The singer woos a maid encountered in a forest. She spurns him, repeating with each refusal "the crowe shall byte yew". He takes her by force, then taunts "the pye hath peckyd yew." He refuses to marry, give money, or tell his name. All maids take warning
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: courting virtue rape
FOUND_IN: 
REFERENCES: (1 citation)
Child 111, "Crow and Pie" (1 text)
Roud #3975
File: C111
===
NAME: Crow and the Weasel, The
DESCRIPTION: "The crow he peeped at the weasel (x3) AND The weasel he peeped at the crow."
AUTHOR: unknown
EARLIEST_DATE: 1910 (Brown)
KEYWORDS: bird animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 157, "The Crow and the Weasel" (1 short text)
Roud #16856
File: Br3157
===
NAME: Crow Song (I), The
DESCRIPTION: "Oh, said the blackbird to the crow, To yonder cornfield I must go, Picking up corn has been my trade, Ever since Adam and Eve was made." Regarding the life of the crow and other birds
AUTHOR: unknown
EARLIEST_DATE: 1916 (Randolph)
KEYWORDS: bird floatingverses food
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Randolph 275, "The Crow Song" (5 texts, 1 tune, with the "A," "B," and "C" texts being this piece though "B" and "C" texts mix with "The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat)"; "D" is perhaps "Ain't Gonna Rain No More"; "E" is "One for the Blackbird")
Belden, pp. 31-33, "The Three Ravens" (the two fragments in the headnotes are this piece)
BrownIII 156, "Said the Blackbird to the Crow" (5 texts, though "D" and "E" appear mixed, with "D" being this combined with "Bird's Courting Song, The (The Hawk and the Crow; Leatherwing Bat)")
DT, THRERAV6*
Roud #747?
RECORDINGS:
Vernon Dalhart, "The Crow Song" (Victor V-40149, 1929) Columbia 15449-D [as Al Craver]/Harmony 992-H [as Mack Allen], 1929) (Broadway 8144 [as Lone Star Ranger], c. 1930) [Note: the Broadway recording may be by John I. White rather than Dalhart, as he is also known to have used that pseudonym. - PJS]
Whitey Johns, "Crow Song" (Oriole 1810, 1930)
CROSS_REFERENCES:
cf. "The Three Ravens" [Child 26] (lyrics, theme)
cf. "Hidi Quili Lodi Quili" (floating lyrics)
cf. "The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat)" (lyrics)
cf. "Hilo, Boys, Hilo" (lyrics)
NOTES: Some have thought this a relative of "The Three Ravens." While it's possible that the various by-blows of that austere ballad inspired this, it certainly qualifies now as a separate song. It's more likely to be derived from "The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat)"; the first verse in particular is often found with that song.
Another possibility is that some of the lyrics derive from the sea song "Hilo, Boys, Hilo," which shares quite a few words, but my guess is that the dependence is the other way. - RBW
File: R275
===
NAME: Crow Song (II), The: see One for the Blackbird (File: R275)
===
NAME: Crow Wing Drive
DESCRIPTION: "Says White Pine Tom to Arkansaw, 'There's one more drive I'd like to strike.' Says Arkansaw, 'What can it be?' "It's the Crow Wing River for the old Pine Tree." The loggers leave Bemidji for Brainerd, where they "make some noise."
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: logger travel train moniker
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Rickaby 24, "The Crow Wing Drive" (1 text, 1 tune)
ST Rick099 (Partial)
NOTES: The relationship between this and the "Casey Jones"/"Joseph Mica (Mikel) (The Wreck of the Six-Wheel Driver) (Been on the Choly So Long)" [Laws I16] families will be obvious. Rickaby's informant said it was built out of those elements by White Pine Tom, the singer mentioned in the first line.
Whether White Pine Tom is the actual author or not, the piece clearly was composed by someone familiar with northern Minnesota. Given that the informant, Ed Springstad, was known as Arkansaw, it may have been a local joke.
I have this feeling that there may have been a few more verses than Rickaby printed. - RBW
File: Rick099
===
NAME: Crow-Fish Man (I), The: see Sweet Thing (I) (File: R443A)
===
NAME: Crow-Fish Man (II), The: see Crawdad (File: R443)
===
NAME: Crow, Black Chicken
DESCRIPTION: Dance tune with floating verses: "Chicken crowed for midnight, chicken crowed for day/Along came an owl, and toted that chicken away." Chorus: "Crow black chicken, crow for day/Crow black chicken, fly away/I love chicken pie."
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Leake County Revelers)
KEYWORDS: dancing humorous nonballad floatingverses chickens
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 207, "Crow, Black Chicken" (1 text, 1 tune)
RECORDINGS:
Leake County Revelers, "Crow Black Chicken" (Columbia 15318-D, 1928)
New Lost City Ramblers, "Crow Black Chicken" (on NLCR04, NLCR11, NLCR12, NLCRCD1)
CROSS_REFERENCES:
cf. "Chickens They Are Crowing" (words)
cf. "It's Almost Day" (words)
cf. "Letter from Down the Road" (words)
cf. "Jubilee" (words)
NOTES: The authorship on this one is up in the air. The headnotes in Cohen/Seeger/Wood read: "Words - NLCR [New Lost City Ramblers], Vol. 4, tune and source text from the Leake County Revelers, Col. 15318." This may mean that the NLCR rewrote the original words, but without hearing the Leake County Revelers' version it's hard to tell. - PJS
I haven't heard the Leake County Revelers version, either, but I have heard Bob Bovee and Gail Heil sing that form, and it is shorter and more "chickenish" than the NLCR text. It would appear that the NLCR reshuffled the verses, then added a couple of floaters (e.g. "Went up on a mountain, Give my horn a blow...") to make a short piece longer. - RBW
File: CSW207
===
NAME: Crowd of Bold Sharemen, A
DESCRIPTION: "It was early in June, b'ys, When we sailed away" with a young skipper and crew, "And a crowd of bold sharemen." Skipper withholds oil until the sharemen threaten to destroy the catch. Skipper threatens to go home until the sharemen threaten to sue.
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: bargaining fishing ship sea work ordeal
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 121, "The Crowd of Bold Sharemen" (1 text, 1 tune)
Peacock, pp. 113-115, "A Crowd of Bold Sharemen" (1 text, 1 tune)
Doyle3, p. 8, "A Crowd of Bold Sharemen" (1 text, 1 tune)
Blondahl, p. 58, "A Crowd of Bold Sharemen" (1 text, 1 tune)
Roud #6344
NOTES: A shareman shares in expenses and profits.
Greenleaf/Mansfield discusses the codfishery that flourished along the Labrador coast during spring and summer. The "sharemen are usually young fellows trying to get enough money together to buy their own fishing outfits." - BS
File: Doyl3008
===
NAME: Crown For Us All, A
DESCRIPTION: "I had a pious (father/mother/brother/sister) that I once loved dear, He's been gone for many a year, He has lain in his grave for many a day Till the power of God shall call him away. There's a crown for you, and a crown for me, Glory be to God...."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: religious nonballad death
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 211, "A Crown For Us All" (1 text)
ST Fus211 (Partial)
Roud #16372
File: Fus211
===
NAME: Crows in the Garden
DESCRIPTION: "Crown in the garden, pulling up corn (x2), Catch 'em, catch 'em, string 'em up and stretch 'em." The marauding crows are condemned; the gardeners who cannot stop them insulted. The world is said to be full of crows -- some of whom seek money, not corn
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: gardening bird work lawyer money gold
FOUND_IN: US(So)
REFERENCES: (3 citations)
Hudson 137, pp. 283-284, "Crows in the Garden" (1 text)
Lomax-ABFS, pp. 314-316, "Crows in the Garden" (1 text, 1 tune)
DT, CRWGARDN*
Roud #4505
File: LxA314
===
NAME: Cruel Brother, The [Child 11]
DESCRIPTION: A man and woman agree to wed, but fail to ask her brother's permission. As the woman prepares for the wedding, her brother stabs her. She does not name her murderer, but reveals the facts in the terms of her will.
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd)
KEYWORDS: homicide brother marriage jealousy revenge lastwill
FOUND_IN: Britain(England (West),Scotland) Ireland US(NE,SE)
REFERENCES: (14 citations)
Child 11, "The Cruel Brother" (14 texts, 1 tune) {Bronson's #1}
Bronson 11, "The Cruel Brother" (10 versions)
SharpAp 6 "The Cruel Brother" (2 texts, 2 tunes) {Bronson's #3, #4}
BarryEckstormSmyth pp. 431-433, "The Cruel Brother" (1 text, 1 tune) {Bronson's #2}
Flanders-Ancient1, pp. 171-174, "The Cruel Brother" (1 text, 1 tune)
BrownII 5, "The Cruel Brother" (2 texts)
Leach, pp. 78-81, "The Cruel Brother" (2 texts)
OBB 64, "The Cruel Brother" (1 text)
Friedman, p. 175, "The Cruel Brother" (1 text)
PBB 32, "The Cruel Brother" (1 text)
Niles 8, "The Cruel Brother" (1 text, 1 tune)
Gummere, pp. 185-187+344, "The Cruel Brother" (1 text)
LPound-ABS, 8, pp. 21-23, "The Cruel Brother" (1 text)
DT 11, CRUELBRO*
Roud #26
ALTERNATE_TITLES:
Brother's Revenge
Oh Lily O
Lily O
Three Ladies Played at Ball
NOTES: Flanders, in her notes in _Ancient Ballads_, observes that some scholars have seen the possibility of an incest motif in this song. Possible, of course, since the brother's extreme rage seems unreasonable. But the only real evidence is the last will scene, found in the incest ballad of "Lizzie Wan" -- but *not*, we note, in "Sheathe and Knife," nor is the last will scene in Lord Randall in any way linked with incest. - RBW
Compare the first verse lines of Child 10.H to Opie-Oxford2 479, "There were three sisters in a hall" (earliest date in Opie-Oxford2 is c.1630)
Child 10.H: "There were three sisters lived in a hall, ... And there came a lord to court them all...."
Opie-Oxford2 479 is a riddle beginning "There were three sisters in a hall, There came a knight amongst them all ...." - BS
This item is also found as Baring-Gould-MotherGoose #702, p. 275, but this appears to be simply a greeting rhyme unrelated to the various rather murderous ballads (notably Child 10 and 11) using these lines. - RBW
File: C011
===
NAME: Cruel Gardener, The: see The Bloody Gardener (File: Pea668)
===
NAME: Cruel Lowland Maid, The: see The Lovely Lowland Maid (File: Pea620)
===
NAME: Cruel Miller, The: see The Wexford (Oxford, Knoxville, Noel) Girl [Laws P35] (File: LP35)
===
NAME: Cruel Mother, The (Or Three Children): see The Wife of Usher's Well [Child 79] (File: C079)
===
NAME: Cruel Mother, The [Child 20]
DESCRIPTION: A woman is (preparing to be wed, but is) pregnant (by another man). When her child(ren) is/are born, she kills him/them. As she proceeds to the church to be wed, the child(ren) appear to her to condemn her for her act.
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd)
KEYWORDS: homicide pregnancy adultery wedding childbirth burial children accusation supernatural ghost bastard
FOUND_IN: Britain(England,Scotland(High,Aber)) Ireland US(Ap,MA,MW,NE,SE,So) Canada(Mar,Newf)
REFERENCES: (35 citations)
Child 20, "The Cruel Mother" (17 texts, 1 tune) {Bronson's #5}
Bronson 20, "The Cruel Mother" (56 versions plus 1 in addenda)
Dixon VI, pp. 46-49, "The Cruel Mother"; VII, pp. 50-52, "The Minister's Dochter o' Newarke" (2 texts)
BarryEckstormSmyth pp. 80-93, "The Cruel Mother" (6 texts plus a fragment, 1 tune) {Bronson's #6}
Flanders/Olney, pp. 66-67, "The Cruel Mother" (1 text, 1 tune) {Bronson's #21}
Flanders-Ancient1, pp. 230-238, "The Cruel Mother" (3 texts (all missing parts of  the plot) plus 3 fragments probably of this; 3 tunes) {A=Bronson's #21, B=#34}
Eddy 7, "The Cruel Mother" (1 text, 1 tune) {Bronson's #14}
Randolph 8, "Down by the Greenwood Side" (1 text, 1 tune) {Bronson's #54}
Davis-Ballads 9, "The Cruel Mother" (4 texts plus a fragment, 4 tunes) Bronson's #35, #48, #43, #44}
Davis-More 12, pp. 81-83, "The Cruel Mother" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 167-169, "(The Cruel Mother)" (1 text, from Randolph; tune on p. 403) {Bronson's #54}
Creighton/Senior, pp. 17-20, "The Cruel Mother" (2 texts plus 2 fragments and1 excerpt, 4 tunes) {Bronson's pp. #18, #45, #13, #20}
Creighton-NovaScotia 2, "Cruel Mother" (1 text, 1 tune) {Bronson's #37}
Greenleaf/Mansfield 6, "Fair Flowers of Helio" (2 texts, 1 tune) {Bronson's #28}
Peacock, pp. 804-805, "The Babes in the Greenwood" (1 text, 2 tunes)
Karpeles-Newfoundland 5, "The Cruel Mother" (5 texts, 7 tunes) {Bronson's #26}
Mackenzie 3, "The Greenwood Siding" (1 text, 1 tune) {Bronson's #19}
Manny/Wilson 56, "There Was a Girl Her Name Was Young (Down by the Greenwood Side-I-O) (The Cruel Mother)" (1 text, 1 tune)
Leach, pp. 103-106, "The Cruel Mother" (3 texts)
OBB 22, "The Cruel Mother" (1 text)
Friedman, p. 181, "The Cruel Mother" (1 text+1 fragment)
FSCatskills 68, "Down by the Greenwood Shady" (1 text, 1 tune)
PBB 27, "The Cruel Mother" (1 text)
SharpAp 10 "The Cruel Mother" (13 texts, 13 tunes){Bronson's #51, #55, #42, #44, #17, #32, #46, #40, #11, #10, #52, #30, #41}
Sharp-100E 13, "The Cruel Mother" (1 text, 1 tune) {Bronson's #31}
Ord, pp. 459-460, "Hey Wi' the Rose and the Lindsay, O" (1 text)
Niles 20, "The Cruel Mother" (2 texts, 2 tunes); also possibly Niles 15, "The Maid and the Palmer" (1 text, which Niles identifies with Child 21, but the fragment is so short that it could equally be part of Child 20)
Sharp/Karpeles-80E 9, "The Cruel Mother" (1 text, 1 tune -- a composite version) {Bronson's #42}
Hammond-Belfast, p. 54, "All Round the Loney-O" (1 text, 1 tune)
Vaughan Williams/Lloyd, p. 28, "The Cruel Mother" (1 text, 1 tune) {Bronson's #16}
Hodgart, p. 36, "The Cruel Mother" (1 text)
JHCox 5, "The Cruel Mother" (3 texts, 1 tune) {Bronson's #7}
Silber-FSWB, p. 222, "The Cruel Mother" (1 text)
BBI, ZN2495, "There was a Duke's Daughter Lived in York"
DT 20, CRUELMOT* CRUELMO2* CRUELMO3
Roud #9
RECORDINGS:
A. L. Lloyd, "The Cruel Mother" (ESFB1, ESFB2)
Lizzie Higgins, "The Cruel Mother" (on Voice03)
Thomas Moran, "The Cruel Mother" (on FSB4)
Duncan Burke, Cecilia Costello, Thomas Moran [composite] "The Cruel Mother" (on FSBBAL1) {cf. Bronson's #19.1 in addenda}
Lucy Stewart, "Down by the Greenwood Sidie O" (on LStewart1)
ALTERNATE_TITLES:
Fine Flowers in the Valley
Three Little Babies
The Lady of York
Greenwood Siding
NOTES: Although this has not been linked with any historical incident, there are a number of cases in history which are at least vaguely similar. One which struck me was the case of Will Darrell, reportedly from 1575 (as told in Peter Underwood's _Gazetteer of British, Scottish & Irish Ghosts, pp. 123-124_).
Darnell, having gotten one of his sundry mistresses pregnant, brought in a midwife (blindfolding her to conceal the place) to help the mother, then killed the child. The midwife left a deathbed testament, but Darnell was acquitted at trial. Later, when riding a horse, he saw the ghost of the dead baby; his horse bolted and he was killed.
You can believe as much of that as you like; I don't believe much. But it shows that stories like this were circulating.
Some versions, including Creighton's from Nova Scotia, have a secondary folklore motif: The unremovable stain (in this case, of blood on the knife). This is most famous for Shakespeare's application to Lady MacBeth (Macbeth V.i, a part of the play which is more Shakkespeare than Holinshed), but it is common in folklore: Compare Asbjornson and Moe's "East of the Sun and West of the Moon," I seem to recall also a story of three drops of blood arranging for their own revenge, though I can't recall the source.
Dixon's version (Child's F, taken from Buchan) ends with the mother's suicide, something rare in other versions. The form appears to have been influenced by "The Twa Sisters." I wonder a little if there has not been some rewriting involved. - RBW
Also collected and sung by David Hammond, "All Round the Loney-O" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959)) The Hammond versions have the common form for this ballad of rhyming couplet interspersed with "All round the Loney-O" and "Down by the greenwood side-O." According to Sean O Boyle's notes to the album the version "has been localized by Belfast singers, who identify the Loney with a street called The Pound Loney. The Castle Pound in old Belfast stood here by a boundary river among the trees of the Falls (Hedge) Road; thus giving all features of the song a local habitation." The version survives stripped of all supernatural references as both the (suicidal?) mother and murdered baby "sleep" in the river. - BS
File: C020
===
NAME: Cruel Ship's Carpenter, The (The Gosport Tragedy; Pretty Polly) [Laws P36A/B]
DESCRIPTION: The carpenter gets the girl pregnant. They meet, allegedly to plan their wedding. He announces he spent the night digging her grave, then murders her. He flees to sea; her ghost follows to demand justice. His crime is revealed, and the man dies
AUTHOR: unknown
EARLIEST_DATE: 1767 (Journal from the Vaughn)
KEYWORDS: homicide burial ghost pregnancy betrayal sailor
FOUND_IN: Britain(England) US(Ap,SE) Canada(Mar,Newf)
REFERENCES: (19 citations)
Laws P36A, "The Cruel Ship's Carpenter A (The Gosport Tragedy)/The Cruel Ship's Carpenter B (Pretty Polly)"
BrownII 64, "The Gosport Tragedy" (3 texts plus 1 excerpt and mention of 1 more; Laws lists the "A" text as P36A, and the rest as P36B, but "D" and probably "C" are "Pretty Polly (II)")
JHCoxIIA, #17A-C, pp. 73-78, "Pretty Polly," "Come, Polly, Pretty Polly" (2 texts plus an excerpt, 2 tunes; the "A" text is the full "Cruel Ship's Carpenter" version; "B" is the short "Pretty Polly (II)"; the "C" fragment is too short to tell but has lyrics more typical of the latter)
Creighton/Senior, pp. 114-120, "The Ship's Carpenter" (4 texts, 2 tunes)
Fowke/MacMillan 70, "The Ship's Carpenter" (1 text, 1 tune)
Peacock, pp. 404-406, "The Ship's Carpenter" (1 text, 1 tune)
Karpeles-Newfoundland 27, "The Cruel Ship's Carpenter" (1 text, 1 tune)
Mackenzie 29, "The Gaspard Tragedy" (1 text, 1 tune)
Leach, pp. 698-700, "The Gosport Tragedy" (2 texts, but the second goes with "Pretty Polly (II)")
Cambiaire, pp. 74-75, "The Cruel Ship's Carpenter (Pretty Polly)" (1 text, with the moralizing ending in which the ship sinks but no ghost)
Scarborough-SongCatcher, pp. 128-134, collectively titled "The Cruel Ship's Carpenter" but with individual titles "Pretty Polly," "Dying Polly," "Pretty Polly," "Pretty Polly," "Pretty Polly," "Oh, Polly!" (6 texts; 5 tunes on pp. 395-398; of these only the "C" text has a ghost; in "D" and "E" there is no ghost but Willie's ship sinks; the others by our criteria are versions of "Pretty Polly (II)")
SharpAp 49, "The Cruel Ship's Carpenter" (21 texts, 21 tunes -- but many of them, being fragmentary, could as easily be classified under "Pretty Polly (II)")
Sharp/Karpeles-80E 36, "The Cruel Ship's Carpenter" (1 text, 1 tune)
Huntington-Whalemen, pp. 129-131, "The Ship Carpenter" (1 text, long but broken off just before the murder, 1 tune)
Leach-Labrador 20, "Pretty Polly" (2 texts, 2 tunes)
Manny/Wilson 92, "The Ship's Carpenter" (1 text, 1 tune)
BBI, ZN1429, "In Gosport of late there a damsel did dwell"
DT 311, SHIPCARP* SGIOCRP2*
ADDITIONAL: Frank Harte _Songs of Dublin_, second edition, Ossian, 1993, p. 24, "Miss Brown" (1 text, 1 tune, short enough that it might be any of several murder ballads, but some of the material seems characteristic of this song)
Roud #15
RECORDINGS:
Harry Cox, "In Worcester City" (on Voice17)
Sam Larner, "The Ghost Ship" (on SLarner02)
Mike Waterson, "The Cruel Ship's Carpenter" (on ESFB2)
BROADSIDES:
Bodleian, Harding B 28(267), "Love and Murder" ("In Worcester town, and in Worcestershire"), W. Armstrong (Liverpool), 1820-1824; also Harding B 25(1156), Harding B 28(285), Harding B 28(24), "Love and Murder"; Harding B 11(3053A), "Polly Love" or "The Cruel Ship-Carpenter"; Johnson Ballads 458, Harding B 11(3057), Harding B 11(3058), Harding B 11(3056), Harding B 11(49), Firth c.13(205), Harding B 25(1520), "Polly's Love" or "The Cruel Ship Carpenter[!]"; Harding B 15(74b), Firth c.13(290), "The Cruel Ship Carpenter"; Harding B 11(824), "The Cruel Ship-Carpenter"; Harding B 3(33), "The Gosport Tragedy" or "The Perjured Ship-Carpenter"; Harding B 3(34), "The Gosport Tragedy" or "The Perjured Ship Carpenter"
CROSS_REFERENCES:
cf. esp. "Pretty Polly (II)" (a much-reduced form of this ballad which as now sung has a different plot)
cf. "The Sailor and the Ghost [Laws P34A/B]"
cf. "Pat O'Brien" [Laws P39]
cf. "Captain Glen/The New York Trader (The Guilty Sea Captain A/B)" [Laws K22] and references there
cf. "Willie Was As Fine a Sailor"
NOTES: Although there is no clear dividing line between the full ballad "The Gosport Tragedy" and the drastically shortened form "Pretty Polly," the latter has now clearly taken on a life of its own. I tend to distinguish them by the presence or absence of the ghost. - RBW
File: LP36
===
NAME: Cruel Sister, The: see The Twa Sisters [Child 10] (File: C010)
===
NAME: Cruel War is Raging: see The Girl Volunteer (The Cruel War Is Raging) [Laws O33] (File: LO33)
===
NAME: Cruel Was the Press Gang
DESCRIPTION: "Oh! cruel was the press-gang That took my love from me; Oh! cruel was the little ship That took him out to sea; And cruel was the splinter-board That took away his leg; Now he is forced to fiddle-scrape And I am forced to beg."
AUTHOR: unknown
EARLIEST_DATE: 1962 (Baring-Gould-MotherGoose)
KEYWORDS: husband wife pressgang injury begging disability
FOUND_IN: 
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #196, p. 137, "(Oh! cruel was the press-gang)"
NOTES: Although I haven't met this in any traditional collections, it sounds so traditional that I decided to risk including it in the Index. - RBW
File: BGMG196
===
NAME: Cruel Wife, A: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Cruise of the Bigler, The: see The Bigler's Crew [Laws D8] (File: LD08)
===
NAME: Cruise of the Calabar, The: see The Calabar (File: HHH502)
===
NAME: Cruise of the Calibar, The: see The Calabar (File: HHH502)
===
NAME: Cruise of the Dove, The
DESCRIPTION: The whaling vessel fits out and sails. The singer names the owners and captain. They visit Peru and Japan. The sailors spot a whale and compete to catch it first. They return home. The singer prepares to make merry.
AUTHOR: unknown
EARLIEST_DATE: 1845 (Journal from the Minerva)
KEYWORDS: whaler sea sailor travel
FOUND_IN: 
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 13-15, "The Cruise of the Dove" (1 text, 1 tune)
DT, CRUISDOV*
Roud #1999
File: SWMS013
===
NAME: Cruising Round Yarmouth
DESCRIPTION: Sailor on leave in Yarmouth tells a girl he's a fast-going clipper; he takes her in tow to her  house, where he puts his jib boom into her cabin. He drinks a health to the girl, and to the doctor who "squared his main yards -- he's a-cruising again"
AUTHOR: unknown
EARLIEST_DATE: 1953 (recorded from Harry Cox)
LONG_DESCRIPTION: Singer, a sailor taking shore leave in Yarmouth, meets a young woman. He tells her he's a fast-going clipper; she tells him her hold is free. She looks Dutch, "round at the quarters and bluff in the bow"; he takes her in tow through the town to her  house, where she lowers her topsails and he puts his jib boom into her cabin. With his shot-locker empty and powder spent, "I can't fire a shot for it's choked at the vent." He drinks a health to the girl, and to the doctor who "squared his main yards -- he's a-cruising again"
KEYWORDS: disease sex beauty ship bawdy humorous sailor whore
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Bone, pp. 77-82, "Blow th' Man Down" (2 texts, 1 tune, of which the second text may have a bit of "Cruising Round Yarmouth" in it, though that fragment may have been the inspiration for this song)
Roud #2432
RECORDINGS:
Harry Cox, "Cruising Round Yarmouth" (on LastDays)
ALTERNATE_TITLES:
While Cruising Round Yarmouth
NOTES: It's worth noting that many Dutch prostitutes worked the streets of British ports. - PJS
File: RcCRYar
===
NAME: Cruiskeen Lawn
DESCRIPTION: "Let the farmer praise his grounds, as the hunter does his hounds" and so on, but the singer prefers his full jug. He reviews the benefits and when death comes to take him he will have death wait while he has "another crooskeen lawn"
AUTHOR: Dion Boucicault
EARLIEST_DATE: before 1884 (broadside, Bodleian Harding B 15(73b))
LONG_DESCRIPTION: Partly in Gaelic. Singer says farmers may praise their grounds, the huntsman his hounds, but he's happy with his cruiskeen lawn (little full jug). He toasts his companions, proposing not to go home although it's morning, and swears that when Death approaches, he will beg off to "have another cruiskeen lawn" Chorus: "Gramachree ma cruiskeen, slanthe gal mavourneen, Erin mavourneen lawn"
KEYWORDS: drink humorous nonballad death party foreignlanguage
FOUND_IN: Canada(Ont) Ireland
REFERENCES: (4 citations)
O'Conor, p. 54, "Crooskeen Lawn" (1 text)
DT, CRUSKEEN*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 259-260, "The Cruiskeen Lawn" (1 text)
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 485-486, 511, "An Cruiscin Lan"
Roud #2309
RECORDINGS:
O. J. Abbott, "The Cruiskeen Lawn" (on Abbott1)
The Clancy Brothers and Tommy Makem, "Cruiscin Lan" (on IRClancyMakem01)
BROADSIDES:
Bodleian, Harding B 15(73b), "Crooskeen Lawn," Henry Disley (London), 1860-1883 
LOCSinging, as102580, "Cruiskeen Lawn," George S. Harris (Philadelphia), 19C
CROSS_REFERENCES:
cf. "John Anderson, My Jo, John" (tune)
cf. "John Anderson, My Jo (I)" (tune)
NOTES: "Cruiskeen lawn" is, in Irish, a "full jug." (source: radiohaha: the online encyclopaedia of contemporary british radio comedy. [Also Hoagland, who renders the title "My full little jug" - RBW]).
Sparling: "Originated among convivial circles of Dublin, but embodies fragments of a much older Celtic song. The tune is clearly not Irish; said to be of Danish origin, and a variant of that which has reached modern times as 'There was a little man and he had a little gun!'" It appears here that Sparling is referring to the melody of Opie-Oxford2 325, "There was a little man, and he had a little gun." - BS
Although apparently the work of a known author, it has quickly been "anonymized"; the several popular books of poetry which include it (Stevenson's Home Book of Verse v. 2, Hoagland) list no author. - RBW
File: OCon054A
===
NAME: Crummy Cow, The
DESCRIPTION: Pat O'Hurry tries to sell his old cow, but has no luck. She refuses to travel further; when he threatens to butcher her, she comes back to life. She costs him dearly in travel expenses. At last he manages to foist off the animal
AUTHOR: unknown
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: animal commerce humorous
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H501, pp. 25-26, "The 'Crummy' Cow" (1 text, 1 tune)
Roud #13348
CROSS_REFERENCES:
cf. "The Bigler's Crew" [Laws D8] (tune) and references there
File: HHH501
===
NAME: Cryderville Jail, The
DESCRIPTION: Complaints about prison life. Refrain: "It's hard times in (Cryderville) jail, It's hard times, poor boy." Sample stanzas: "Durant jail beats no jail at all; If you want to catch hell, got to Wichita Falls." "Lice and the bedbugs have threatened my life."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: prison hardtimes trial punishment gambling
FOUND_IN: US(Ap,SE,So)
REFERENCES: (7 citations)
BrownIII 354, "Durham Jail" (1 text)
Lomax-FSUSA 90, "The Durant Jail" (1 text, 1 tune)
Lomax-ABFS, pp. 138-142, "The Cryderville Jail", pp. 142-143, "Po' Boy" (3 texts plus scattered addenda, 2 tunes)
Lomax-FSNA 228, "Hard Times" (1 text, 1 tune)
Botkin-AmFolklr, pp. 887-888, "Hard Times in Mount Holly Jail" (1 text, 1 tune)
cf. Greenway-AFP, p. 141, "Hard Times at Little New River" (1 text, adapted to mill conditions, but too short to tell if it was a full adaption or just a spur-of-the-moment change)
DT, DRNTJAIL*
Roud #822
RECORDINGS:
Dock Boggs, "Wise County Jail" (on Boggs2, BoggsCD1)
Logan English, "Durant Jail" (on LEnglish01)
CROSS_REFERENCES:
cf. "County Jail (II)" (theme)
cf. "Dawsonville Jail" (subject)
File: LxU090
===
NAME: Crying Family, The (Imaginary Trouble)
DESCRIPTION: Tom is courting Nancy; her parents worry. Old Kate fears that the lovers will have a child who will drown. She tells the young ones, and "They all went crying home, Tom, old man, wife and daughter. Each night the ghost doth come and cries upon the water"
AUTHOR: unknown
EARLIEST_DATE: 1940 (Warner)
KEYWORDS: ghost courting
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Warner 62, "Imaginary Trouble" (1 text, 1 tune)
DT, IMAGTRBL*
ST Wa062 (Full)
Roud #4653
NOTES: This is believed to be the only ballad in which the ghost of someone who never existed appears. One wonders whose achievement is greater -- the ghost's or the songwriter's.
Flanders compares this with item #34 in the Grimm collection, "Die kluge Else" ("Clever Else"). This is sort of semi-true: In the folktale, Else and her family are paralyzed by fear of a future disaster to a child. But while the gimmick is the same (monomaniacal fears of an improbable and preventable death), the plot is quite different. - RBW
File: Wa062
===
NAME: Crystal Spring, The
DESCRIPTION: Captain courts his true love; promises to maintain her, mentions his loaded ship just arrived from Spain. She says men are fickle; he promises to be true
AUTHOR: unknown
EARLIEST_DATE: 1916
KEYWORDS: courting ship promise
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Sharp-100E 32, "The Crystal Spring" (1 text, 1 tune)
Roud #1391
CROSS_REFERENCES:
cf. "One Morning in May (To Hear the Nightingale Sing)" [Laws P14] (theme)
NOTES: This may well be a fragmentary version of "One Morning in May", but so many elements of the latter song are missing that it could just as easily be an independent song. It does, however, mention a nightingale briefly in the first line. -PJS
File: ShH32
===
NAME: Cuatro Palomitas Blancas (Four While Doves)
DESCRIPTION: Spanish: "Cuatros palomitas blancas (x3), Sentadas en un alero (x2)." "Unas a las otras dicen, 'No hay amor como el primero.'" Four white doves perch and tell each other, "'There is no love like the first.'" They (or the singer) prefer kisses to food.
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: foreignlanguage love bird
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 366-368, "Cuatro Palomitas Blancas" (1 text plus translation, 1 tune)
File: LxA366
===
NAME: Cucaracha, La
DESCRIPTION: Recognized by the references in the chorus to "la cucaracha" (the cockroach). The verses may describe the girls in various towns, and the way to court them. The chorus translates, "The cockroach doesn't want to travel because she has no marijuana"
AUTHOR: unknown
EARLIEST_DATE: 1916 (Canciones Mexicanas)
KEYWORDS: drugs bug nonballad courting Mexico foreignlanguage
FOUND_IN: Mexico
REFERENCES: (2 citations)
Sandburg, pp. 289-291, "La Cucaracha (Mexican Cockroach Song)" (1 text plus translation, 1 tune)
Fuld-WFM, p. 188, "La Cucaracha"
NOTES: Sandburg suggests that La Cucaracha may mean "The Little Dancer," but its natural meaning is "The Cockroach." - RBW
File: San289
===
NAME: Cuckoo Is A Merry Bird, The: see The Cuckoo (File: R049)
===
NAME: Cuckoo She's a Pretty Bird, The: see The Cuckoo (File: R049)
===
NAME: Cuckoo Waltz
DESCRIPTION: "Three times round the Cuckoo Waltz (x3), Lovely Susie Brown. Fare thee well, my charming girl, Fare thee well I'm gone, Fare the well, my charming girl, With golden slippers on." "Choose your pard as we go round, We'll all take Susie Brown...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: playparty nonballad
FOUND_IN: US(Ap,MW)
REFERENCES: (2 citations)
Sandburg, p. 160, "Cuckoo Waltz" (1 short text, 1 tune)
Cambiaire, p. 136, "Susie Brown" (1 text, a mixed text which has two verses typical of "Cuckoo Waltz" or something like it and two from "Go In and Out the Window")
ST San160 (Full)
Roud #7893
CROSS_REFERENCES:
cf. "Old Joe Clark" (floating lyrics)
File: San160
===
NAME: Cuckoo, The
DESCRIPTION: "The cuckoo is a pretty bird, she sings as she flies; she brings us glad tidings, and she tells us no lies." Many versions are women's complaints about men's false hearts (usually similar to "The Wagoner's Lad/Old Smokey")
AUTHOR: unknown
EARLIEST_DATE: 1769 (Herd)
KEYWORDS: bird nonballad lament lyric floatingverses
FOUND_IN: Britain(England(South),Scotland(Aber)) US(Ap,MA,NE,SE,So,SW) Canada(Mar,Newf) Ireland
REFERENCES: (25 citations)
Randolph 49, "The Cuckoo" (4 texts, of which "A" is about half "Inconstant Lover/Old Smokey" verses and "B" never mentions the cuckoo and appears to be mostly floating verses; 1 tune)
Randolph/Cohen, pp. 117-118, "The Cuckoo" (1 text, 1 tune -- Randolph's 49A)
Belden, pp. 473-476, "The Unconstant Lover" (3 texts, 1 tune, of which the first is "Old Smokey"; the second mixes that with "The Cuckoo," and the third is short enough that it might be something else)
BrownIII 248, "The Inconstant Lover" (5 texts plus a fragment, admitted by the editors to be distinct songs but with many floating items; "A,"  "B," and "C" are more "On Top of Old Smokey" than anything else, though without that phrase; "D" is primarily "The Broken Engagement (II -- We Have Met and We Have Parted)," "E" is a mix of "Old Smokey" and "The Cuckoo," and the "F" fragment may also be "Old Smokey")
Scarborough-SongCatcher, pp. 313-314, "The Cuckoo" (1 short text, with local title "Too Wandering True Loves"; the piece, which begins "A-walking and a-talking and a-courting goes I," never mentions a cuckoo and consists mostly of floating material similar to Randolph's; it could well be an "Inconstant Lover" type but is too short to classify; placed here because Scarborough does)
FSCatskills 34, "A-Walking and A-Talking" (1 text, 1 tune)
Creighton/Senior, pp. 142-144, "The Cuckoo" (1 text plus 2 fragments, 1 tune)
Karpeles-Newfoundland 85, "The Cuckoo" (1 text, 1 tune)
SharpAp 140, "The Cuckoo" (13 texts, 13 tunes)
Sharp-100E 35, "The Cuckoo" (1 text, 1 tune)
Sharp/Karpeles-80E 38, "The Cuckoo" (1 text, 1 tune -- a composite version)
SHenry H479, pp. 347-348, "The Cuckoo" (1 text, 1 tune)
Kennedy 148, "The Cuckoo" (1 text, 1 tune)
MacSeegTrav 57, "The Cuckoo" (1 text, 1 tune)
Lomax-FSNA 110, "The Cuckoo"; 111, "The Fourth Day of July" (2 texts, 2 tunes)
Ritchie-SingFam, pp. 255-256, "[The Cuckoo She's a Pretty Bird]" (1 text, 1 tune)
Opie-Oxford2 121, "The cuckoo is a merry bird" (2 texts)
Baring-Gould-MotherGoose #475, p. 210, "(The cuckoo is a bonny bird)"
Montgomerie-ScottishNR 18, "(The cuckoo's a bonnie bird)" (1 text)
Flanders/Olney, p. 163, "[Cuathiciag Ghorm]" (1 short text, purporting to be a translation of a Gaelic text of "The Cuckoo")
Scarborough-SongCatcher, p. 69, (no title) (1 fragment, the single floating stanza "I'll build me a cabin On the mountain so high" that is perhaps most typical of this song)
Asch/Dunson/Raim, p. 79 "The Coo Coo Bird" (1 text, 1 tune)
Silber-FSWB, p. 164, "The Cuckoo" (1 text)
DT CUKOO2 CUCKBIRD* CUCKBIR2*
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 44, "The Cuckoo" (1 text, 1 tune)
Roud #413
RECORDINGS:
Clarence "Tom" Ashley, "The Coo Coo Bird" (Columbia 15489-D, 1929; on AAFM3)
Clarence Ashley & Doc Watson, "The Coo-Coo Bird" (on Ashley03, WatsonAshley01)
Charlie Black, "The Cuckoo is a Pretty Bird" (AAFS 1389 B1)
Anne Briggs, "The Cuckoo" (on Briggs2, Briggs3)
Mrs. Joseph Gaines, "The Cuckoo" (AAFS 832 A1)
Gant Family, "The Cuckoo" (AAFS 72 B1)
Maggie Gant, "The Cuckoo" (AAFS 66 A2)
Kelly Harrell, "The Cuckoo She's a Fine Bird" (Victor V-40047, 1926; on KHarrell02)
Aunt Molly Jackson, "The Cuckoo" (AAFS 823 B1/B2, 1935)
Mrs. C. S. MacClellan, "The Cuckoo is a Pretty Bird" (AAFS 986 B2)
Jonathan Moses, "Cuckoo is a Fine Bird" (AAFS 3705 A2)
New Lost City Ramblers, "The Coo Coo Bird" (on NLCR04, NLCR11)
Lize Pace, "The Cuckoo" (AAFS 1437 A1)
Mr. & Mrs. John Sams, "The Coo-Coo" (on MMOKCD)
John Selleck, "The Cuckoo" (AAFS 4219 A2)
Vivian Skinner, "Cuckoo is a May Bird" (AAFS 2997 A2)
Pete Steele, "The Cuckoo" (on PSteele01)
John Williams, "Cuckoo Song" (AAFS 4182 A2/B)
BROADSIDES:
Bodleian, Firth c.12(211), "The Cuckoo" ("Come all you pretty fair maids, wherever you be"), J. Evans (London), 1780-1812; also Harding B 11(762), Harding B 15(77a), Harding B 11(1231), "The Cuckoo"
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (lyrics)
cf. "Sumer Is I-cumen In"
cf. "If I Were a Fisher" (floating verses)
cf. "The Streams of Bunclody" (floating verses)
NOTES: Legends about the cuckoo bringing in summer (and infidelity) are common and early.
The cuckoo loves warmth, and so arrives late during migration; it is thus held to signal summer. Certain species of cuckoo also lay their eggs in other birds' nests (whence probably the word "cuckold"), hence their association with lustiness.
The legend is ancient; Alcuin (died c. 804) wrote a piece, "Opto meus veniat cuculus, carrisimus ales," in which spring begs for the cuckoo to come. And Alcuin was English. But he worked in Charlemagne's France, and wrote in Latin, so we cannot prove that the idea was that old in England. But we do have the very old English song "Sumer Is I-cumen In"; showing that the cuckoo legend had made it to England by then; see the entry on that piece for more details on the dating.
Outside England, we find a number of other songs on the theme: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 115, prints "L'inverno e passato," "Oh past and gone is winter, And March and April too, And May is here to greet us And songs of the cuckoo.... May's the month for lovers And songs of the cuckoo" (Italian, from Switzerland), as well as "Kukuvaca," "Cuckoo, cuckoo, sings the cuckoo," in which a girl asks a mower, "Have you cut the grass for me?" (p. 217, from Croatia).  - RBW
File: R049
===
NAME: Cuckoo's Nest (I), The
DESCRIPTION: Singer meets a girl and tells her his inclination lies in her cuckoo's nest. She's shocked at first, but his words are convincing; she consents. (He leaves her with the makings of a young cuckoo.)
AUTHOR: unknown
EARLIEST_DATE: Early 1950s (recorded from Jeannie Robertson & John Strachan)
LONG_DESCRIPTION: Singer meets a girl and tells her his inclination lies in her cuckoo's nest. She's shocked at first, but as his intentions are good and his words are convincing, she consents. (He leaves her with the makings of a young cuckoo.) Chorus: "Some like  the lassie's that's gay weel dressed/And some like the lassies that's lecht aboot the waist/But it's in amang the blankets that I like best/To get a jolly rattle at the cuckoo's nest" or words to that effect
KEYWORDS: courting sex pregnancy animal bird lover dancetune
FOUND_IN: Britain US(SW)
REFERENCES: (3 citations)
Peacock, pp. 259-260, "Cuckoo's Nest" (1 text, 1 tune)
Logsdon 48, pp. 231-233, "The Cuckoo's News" (1 text, 1 tune)
DT, CUKONEST*
Roud #5407
RECORDINGS:
Sean McGuire, "The Cuckoo's Nest" [instrumental] (on FSB2, FSB2CD)
Jeannie Robertson "The Cuckoo's Nest" (on FSB2, FSB2CD)
John Strachan, "Twa and Twa" (on FSB2, FSB2CD)
CROSS_REFERENCES:
cf. "The Cuckoo's Nest (II)" (tune, subject)
cf. "The Magpie's Nest" (tune)
NOTES: Three songs (two erotic) share this tune, which is also a common fiddle tune. "Cuckoo's Nest (I)" and "Cuckoo's Nest (II)" overlap some, but as one is always a ballad while the other is really a lyric song, I've split them. (They're most easily distinguished by the chorus; in (I) the man expresses his preferences in women, in (II) he doesn't.) [Note, however, that Logsdon's version, from Riley Neal, has no chorus. - RBW] Better check out both, though -- and "The Magpie's Nest." - PJS
File: RcTCN01
===
NAME: Cuckoo's Nest (II), The
DESCRIPTION: Lyric song in praise of the female "cuckoo's nest." Behind a thorn bush a man and woman are busy "hairing at the cuckoo's nest,"  which " isn't easy found"
AUTHOR: unknown
EARLIEST_DATE: 
LONG_DESCRIPTION: Lyric song in praise of the female "cuckoo's nest." Behind a thorn bush a man and woman are busy "hairing at the cuckoo's nest." "It is thorned, it is sprinkled, it is compassed all around/It is thorned, it is sprinkled, and it isn't easy found"; Chorus: "Hi the cuckin', ho the cuckin', hi the cuckoo's nest...I'll gie onybody a a shilling and a bottle o' the best/If they'll ramble up the feathers o' the cuckoo's nest"
KEYWORDS: sex dancetune lyric nonballad
FOUND_IN: Britain(England, Scotland) Ireland
REFERENCES: (1 citation)
DT, CUKOO3
CROSS_REFERENCES:
cf. "The Cuckoo's Nest (I)" (subject, tune)
cf. "The Magpie's Nest" (tune)
NOTES: Three songs (two erotic) share this tune, which is also a common fiddle tune. "Cuckoo's Nest (I)" and "Cuckoo's Nest (II)" overlap some, but as one is always a ballad while the other is really a lyric song, I've split them. (They're most easily distinguished by the chorus; in (I) the man expresses his preferences in women, in (II) he doesn't.) Better check out both, though -- and "The Magpie's Nest." - PJS
Kennedy cites the text in Ford, "The Bonnie Brier Bush," as an offshoot of this. Offshoot it may be, but it's not the same song, and Ford indicates no tune. Kennedy is overreaching. Again. - RBW
File: RcTCN02
===
NAME: Culling Fish
DESCRIPTION: In August the crew took its dried codfish to Monroe. There was no one at the plant to cull [grade] the fish. The new rules make grading more strict. "According to instructions and the outline in view, There's no 'number one' so [it] must go 'number two'"
AUTHOR: Chris Cobb
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: commerce fishing
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 118-119, "Culling Fish" (1 text, 1 tune)
Roud #9961
File: Pea118
===
NAME: Cum, Geordy, Haud the Bairn
DESCRIPTION: "Cum , Geordy, haud the bairn, Aw's sure aw'll not stop lang." The woman goes out briefly, leaving the child because she is "not strang." When the child becomes upset, Geordy is unable to calm it, and talks of the weary work his wife must do
AUTHOR: Joseph Wilson
EARLIEST_DATE: 1900 (Stokoe/Reay); Wilson died 1875
KEYWORDS: mother father children humorous
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 136-137, "Cum, Georfy, Haud the Bairn" (1 text, 1 tune)
Roud #3161
File: StoR136
===
NAME: Cumberland and the Merrimac, The: see The Cumberland [Laws A26] (File: LA26)
===
NAME: Cumberland Crew, The [Laws A18]
DESCRIPTION: The crew of the Cumberland, attacked by the CSS Virginia/Merrimac, fight back as best they can, though their shot bounces off the Confederate's armored hull. The Cumberland fights until it is rammed and sunk
AUTHOR: unknown
EARLIEST_DATE: before 1865 (broadside, LOCSinging sb10061b)
KEYWORDS: Civilwar ship
HISTORICAL_REFERENCES: March 8, 1862 - U.S. frigates Congress and Cumberland sunk by the CSS Virginia (formerly USS Merrimack). The Minnesota runs aground; had not the Monitor arrived the next day, the Merrimac would have sunk that ship also
FOUND_IN: US(MA,MW,NE) Canada(Mar,Ont) Ireland
REFERENCES: (11 citations)
Laws A18, "The Cumberland Crew"
Doerflinger, pp. 134-135, "The Cumberland's Crew" (1 text, 1 tune)
Rickaby 39, "The Cumberland's Crew" (1 tune, partial text)
Dean, pp. 36-37, "The Cumberland's Crew" (1 text)
Smith/Hatt, pp. 102-103, "The Cumberland's Crew" (1 text)
Ranson, pp. 106-107, "The Cumberland's Crew" (1 text, 1 tune)
Beck 87, "The Fate of the 'Cumberland' Crew" (1 text)
Creighton-NovaScotia 113, "Cumberland's Crew" (1 text, 1 tune)
Ives-DullCare, pp. 16-17,244, "The Cumberland's Crew" (1 text, 1 tune)
Silber-CivWar, pp. 24-25, "The Cumberland Crew" (1 text, 1 tune)
DT 366, CUMBCREW*
Roud #707
RECORDINGS:
Stanley Baby, "The 'Cumberland's Crew (1)'" (on GreatLakes1)
Orlo Brandon, "The 'Cumberland's Crew (2)'" (on GreatLakes1)
Warde Ford, "The Cumberland crew (The Cumberland's crew)" [fragment] (AFS 4202 B5, 1938; tr.; in AMMEM/Cowell)
BROADSIDES:
Bodleian, Harding B 18(108), "Cumberland's Crew," Bell and Co. (San Francisco), c.1860; also Firth c.12(72), "The Cumberland's Crew"
LOCSinging, sb10061b, "The Cumberland's Crew," H. De Marsan (New York), 1861-1864
CROSS_REFERENCES:
cf. "The Cumberland" [Laws A26] (subject)
cf. "Iron Merrimac" (subject)
cf. "Jack Gardner's Crew" (tune & meter)
NOTES: To tell this song from "The Cumberland," refer to this text from the broadside version of 1887:
Oh, shipmates, come gather and join in my ditty,
Of a terrible battle that happened of late;
Let each Union tar shed a sad tear of pity
When he thinks of the once-gallant Cumberland's fate.
The eighth day of March told a terrible story,
And many a brave tar to this world bid adieu,
Yet our flag it was wrapped in a mantle of glory
By the heroic deeds of the 'Cumberland' crew."
The first day of the Battle of Hampton Roads, March 8, 1862, has been called the worst day in the history of the United States Navy prior to Pearl Harbor (Holzer/Mulligan, p. 148. For the references cited in this note, see the Bibliography near the end).
The _Monitor_ and the _Virginia/Merrimack_ are often referred to as the "first ironclads," that is, the first ships with iron armor. This is absolutely false; Preston, p. 15, reports that France and Britain had fiddled with wrought iron ships as early as the 1840s, but temporarily abandoned the idea because the iron splintered too much when hit by solid shot.
Several things changed the equation. The Crimean War caused such terrific casualties that it became vital to build armored floating batteries, technological progress made metal less brittle -- and the introduction of shell-firing naval guns meant that the old wooden walls were just too vulnerable to fire; a way had to be found to make ships safe against burning. The French were the first out of the gate, producing in 1859 _La Gloire_, a wooden ship fitted with iron plating (Preston, pp. 16-17). She was ugly and slow, but at least one hot shot could not sink her.
Britain promptly went one better, with _Warrior_ -- the first all-iron warship ever built (Paine, p. 566).
Nelson, p. 3,notes that the combatants at Hampton Roads were not even the first *American* ironclads. The Confederates at New Orleans had tried to build one, the _Louisiana_ (though she was still incomplete when the city fell; McPherson, p. 420), and on the Tennessee front, the Union had built "Pook's Turtles," light ironclads designed for work in shallow waters. They had a lot of problems, but they fought at Forts Henry and Donelson in February 1862 (Nelson,p. 183, describes them as the first ironclads in Federal service, and praises their performance, though Woodworth, pp. 76-77, 90-91, in giving details of their activity notes that the light armor of these vessels could not always stop a heavy cannonball). Nelson, p. 144, argues that the very first ironclad in action was in fact the Confederate ram _Manasses_, which went into action at the mouth of the Mississipi in 1861 (though it wasn't much of an action).
But neither the British nor the French ironclads had ever fired a gun in anger in 1862, and while the American ships had, they had not engaged other ships of the same type. The Battle of Hampton Roads was the first *battle* of self-powered ironclad vessels. What's more, _La Gloire_ and _Warrior_ were basically conventional designs, designed to fight under steam but cross large distances under sail, and both fired standard broadsides. The American designs would be radically different. (In the Confederate case, largely by necessity; Nelson, p. 162, reports that the Confederate navy had concluded that "[t]here was no possibility of building such a ship in the Confederacy.")
From the moment the Civil War began, both sides tried for control of the sea and rivers. The Union, which controlled the American navy, striving to blockade the Confederacy so that it could not sell its cotton or gain raw materials from outside, while the southerners tried to break the blockade.
Given Union naval superiority, the Confederacy had no hope of winning a pitched battle on water. Rather, they had to try to nibble a little bit here and there -- or they had to come up with a superweapon. Holzer/Mulligan, p. 23, reports that the Confederates briefly tried to buy _La Gloire_ or one of its sisters. The French, who still had only a handful of ironclads, weren't selling. The Confederates would have to do it on their own.
And where better to do it than in Chesapeake Bay? It controlled the sea approach to both Richmond and Washington. If the Confederates could somehow clear out the Union navy from the bay's outlet near Hampton Roads, it could change the course of the war.
And, in that quest, the Union had given the Confederacy a great gift: the Gosport naval yard in Norfolk, Virginia, its chief naval base. Not only were there naval facilities there, there were even some salvagable ships. When Virginia seceded, the commander of the yard, 67-year-old Charles Stewart McCauley (an alcoholic, according to Nelson, p. 37, and he certainly sounds senile), had feared the Confederates, and ordered a premature and disorderly abandonment of Norfolk (Holzer/Mulligan, pp. 23-24; even Wood-BL, a Confederate officer, says that Norfolk was "hurriedly abandoned by the Federals, why no one could tell"; Wood-BL, p. 98). The one vessel to escape the chaos was the U.S.S. _Cumberland_, the subject of this song, since she was properly manned and able to sail (Nelson, p. 53)
Not so fortunate was the USS _Merrimack_ (correct spelling). She was one of the newest and strongest vessels in the U. S. navy, having been built in 1854 and commissioned in 1855 (Paine, pp. 557-558; Nelson, p.36, gives her year of commission as 1856). But her engines were incredibly balky; they had been overhauled in 1857 (Holzer/Mulligan, p. 25), and by 1861 were out of commission again -- the main reason she was rotting in port (Nelson, p. 37, says she was "all but disassembled," and adds on p. 141 that "the engine was so bad that the [United States] navy had decided to condemn it". H. Ashton Ramsey, who had been an engineer on _Merrimac_ before the war and then went south to become the new vessel's chief engineer, called them "radically defective"; Nelson, p. 140). The navy tried to rescue the ship (Holzer/Mulligan, p. 60), but McCauley, confused and fearful of provoking the locals, interfered with the repair attempts.
Official Washington made several attempts to get the ship away (this is the primary subject of Nelson, pp. 36-50). But the government did not want to provoke the state of Virginia, which was teetering on the brink of secession. That, combined with McCauley's inept attempt to prevent trouble, eventually gave rise to a situation in which _Merrimack_ was able to sail, but had no crew and no weapons. No one seemed able to figure out what to do from there. An expedition was finally sent to Norfolk, but it arrived just a few hours too late to save the ship or the naval yard (Nelson, p. 50). By then, the (mostly secessionist) workers at the yard had quit (Nelson, p. 51), so the few naval personnel could no longer accomplish any real repairs. It is just possible that the naval yard could have been saved -- the _Cumberland_, after all, was in the waters of Hampton Roads, and had enough heavy guns to make any infantly attacker think twice (Nelson, p. 52), and another heavy ship, the _Pawnee_, was soon to arrive. But McCauley had already ordered the several ships in the yard, destroyed. (When Commodore Pauling of the _Pawnee_ heard about that, he had McCauley relieved; Nelson, p. 55.) Still, those ships were of relatively little value. It was _Merrimack_ that everyone wanted.
By then, the ship was settling in the water; she too had been scuttled. At this point, confusion in command took hold. Paulding, who had hoped to save the naval yard, concluded that McCauley had given too much away; the yard could not be defended (a debatable point, given the weakness of Confederate forces in the area; Nelson, pp. 63-64). So he ordered its destruction instead.
This was done rather ineptly. Quite a few buildings were damaged or destroyed, but there wasn't enough time to destroy most of the heavy guns (Nelson, p. 56). And, in a blatantly stupid move, _Merrimack_ was one of the things set afire as she sank -- which meant that the rising waters put out the flames before they could reach the lower decks (Holzer/Mulligan, p. 62). Instead of being destroyed, the ship's hull and engines were largely intact (as balky as ever -- Wood-BL says "We could not depend on them for six hours at a time" -- but intact). The ship's rig was gone, and the engines suffered further damage from salt water -- but they could be used. In particular, the propeller shaft remained whole (Nelson, p. 95) -- one of the trickiest thing for the Confederates to fabricate.
"If the federals had simply burned _Merrimack_ as she floated on her waterline, and not scuttled her first, there would have been nothing for the Confederates to salvage. But as it was, the water flooding the hull protected the lower part of the vessel from the flames, and left it virtually intact" (Nelson, p. 95). In a way, the damage actually helped the Confederacy: It was cheaper to rebuild the _Merrimack_ without masts than with. And a ship without masts could mount a heavier broadside and was less vulnerable to damage.
A rebuild was easily undertaken because the attempts to render the yard unusable had been a complete failure. As the officer who occupied it noted, "Only an inconsiderable portion of the property, with the exception of the ships, was destroyed" (Nelson, p. 67). "The U. S. Navy left for the southerners 130 gun carriages and over a thousand guns, from 11-inch to 32-pounders. They left most of the machinery in repairable condition. They left two thousand barrels of gunpowder, thousands of cartridges, thousands and thousands of shot and shells" (Nelson, p. 68). The yard did end up somewhat debilitated, but that was mostly the fault of the Confederates themselves, engineers would complain that the yard had been stripped of both essential equipment and personnel (Nelson, p. 159).
It was quickly decided to rebuild _Merrimack_. After some discussion, the Confederates settled on a design that "reminded observers of a barn floating with only its roof above water" (McPherson, p. 373). In simplest terms, they cut off the top of the ship right about at the waterline, put a sheathe of iron over it as a deck, then built a small iron citadel, with sides sloped at 36 degrees, on top (Holzer/Mulligan, p. 24). The citadel wasn't the whole ship, but it was all that could be seen at a distance; hence the barn-like apearance.
Armoring the ship proved a major challenge. The major structural element of the armored citadel was in fact wood (several feet of it, running in different directions and of several different types), but this had to be plated with iron -- a difficult item to obtain, since the total amount of iron needed was very large -- nearly 800 tons, according to Holzer/Mulligan, p. 25, or even 1000 tons, accoring to Nelson, p. 109. I've often seen it stated that the _Merrimack_ was plated with rail iron (e.g. Foote, p. 255) -- which gave me the impression that someone covered her sides with sections of track. Not quite -- but the Confederates took up a lot of railroad iron (Nelson, p. 109) and melted it down so the Tredegar Iron Works (the only place in the Confederacy capable of producing the plates) could make the plating. It was a desperate measure that would prove costly later on, as the Confederate rails wore out. And even so, it took months for all the armor to be rolled; the first deliveries were in October 1861, and the last did not arrive until February 1862 (Holzer/Mulligan, pp. 25-26).
The ship almost didn't make it into action; workmen put in long hours, seven days a week (Holzer/Mulligan, p. 69), but the Confederacy was not an industrial nation. (Just to give an illustration of how hard this was for them, there are no photographs at all of _Virginia_, and no authoritative plans; scholars aren't even sure how many pilothouses she had; Nelson, p. 142).
The problems with creating materials meant that frantic changes had to be made once tests showed that the 1-inch-thick iron plates originally specified were not strong enough; 2-inch plates had to be substituted. Even the Tredegar Iron Works -- the only place in the Confederacy that was up to dealing with all that metal -- had trouble with that; the plates were hard to roll, and the holes for bolts could not be punched; they had to be drilled (Nelson, pp. 112-113). Even transporting the stuff was almost impossible. But Tredegar rebuilt its facilities, and eventually they worked out the transport, too. The designers were constantly fiddling with the design, as well. They even created a new type of rifled gun (Nelson, pp. 109-110). But finally they managed to put her in the water.
She wasn't a healthy ship; her ventilation was terrible, and the citadel on top had no roof except a grating, so it was open to rain; her officers reported that dozens of crewmen were sick on most days (Nelson, p. 195. Her opponent the _Monitor_ was also very bad in that regard; Greene-BL, p. 118, declares that "Probably no ship ever devised was so uncomfortable for her crew"). Still, she floated, and she could fight.
The result was renamed CSS _Virginia_, but is often (perversely) called the _Merrimac_ (note the different spelling). The confusion is partly the Confederate fault; several of the new ship's officers (including even her commander Franklin Buchannan -- Nelson, p. 180 -- and her executive officer, Catesby ap Roger Jones, who commanded her on March 9) had served aboard her in the U. S. Navy and tended to keep the old name. And some of them misspelled it _Merrimac_ (Holzer/Mulligan, p. 58). According to Nelson, p. 193, the name _Virginia_ didn't take hold until about the time she was relaunched.
Whatever they called her, she had one major advantage. As Foote says, "What she lacked in looks, and she was totally lacking there, she made up for in her ability to give and take a pounding" (p. 255).
Had she taken much longer, Union general George B. McClellan's Peninsular Campaign might have stopped work on her before she even went to sea. Plus her design was wrong: Her displacement had been miscalculated, so that her hull rode too high, exposing the unarmored portions that were supposed to be below the waterline (Holzer/Mulligan, p. 69). Ballast was added, but as she burned shot and coal, she would rise and expose her underbelly. Plus her ram, which was her most deadly weapon, was not attached very securely. She also suffered from having a crew with inadequate sea experience (Holzer/Mulligan, pp. 69-70; Nelson, pp. 180-181, tells how Lt. Wood, of Wood-BL, had to scour army artillery units to find gunners).
It wasn't until March 4, 1862 that the new ship was ready for a shakedown cruise (Holzer/Mulligan, p. 71). Even her guns had hardly been proved -- they were a new design, but her officers has been alotted only 300 pounds of gunpowder to test it! (Nelson, p. 177; Wood-BL, p. 103, reports that at one point on her voyage, her guns would stop firing for fear of wasting powder. To put this powder-pinching in perspective, she would sail with some 18,000 pounds of powder; Nelson, p. 211). But her commander, Franklin Buchanan, decided to make that test run a trial by fire -- though he didn't even tell most of his crew until the trip was underway. This even though workmen had still been on the ship that very morning and much work still had to be done: Her weapons to prevent boarding had not been fitted,she needed shutters over most of her gunports (Nelson, p. 213), and the guns themselves were untested (Nelson, p. 7), her rudder was giving problems, and her internal arrangements were incomplete (Konstam, pp. 16-17).
 (We might note incidentally that, technically speaking, Buchanan wasn't her captain; _Virginia_ never had a captain. This is because Buchanan was junior to some other naval officers who had headed south, and who considered themselves more deserving of being ship's captains. The Navy department circumvented this by making Buchanan a commodore; Nelson, pp. 195-196. This made him technically a fleet commander, not a ship commander -- but in practice he commanded _Virginia_ as well as the whole James River squadron. Buchanan's career was full of such contradictions -- he had resigned from the United States navy when he thought Maryland would secede, but it didn't leave the Union. He tried to rescind his resignation, but this understandably was not allowed, so he went to the Confederacy; Nelson, pp. 198-199.)
Bad weather on March 6 and 7 forced Buchanan to wait until March 8 (Holzer/Mulligan, p.72). But when he did, he came out with a bang.
It was quickly discovered that _Virginia_ was hideously hard to handle. One of her officers reported that the best possible speed she could make was five knots (Wood-BL, p. 100), and that was with everything perfect: smokestacks intact and drawing well, the ship level, the crew at full strength. Other estimates vary; Nelson, p. 8, estimates her speed at seven knots before battle damage affected her smokestack -- though a comment on p. 108 implies that her propeller was too high in the water to be very efficient. No matter which calculation is right, she was not fast. And it took her at least half an hour to turn about (Wood-BL, p. 100, says "it took from thirty to forty minutes to turn" -- and it also required a lot of room, because of _Virginia's_ deep draught. Most of Hampton Roads was so shallow that she literally could not turn about. By comparison, the _Monitor_, which could make eight knots, could turn in four minutes and fifteen seconds; Nelson, p. 227). And she drew so much water (22 feet) that she couldn't really maneuver at all in the James River; it was too shallow for her rudder to have much effect (Holzer/Mulligan, pp. 72-73). Plus there were many places in Hampton Roads which were accessible to other ships where she simply could not sail -- to some extent Union ships could avoid her (or at least her ram) by putting a shoal between them.
To be sure, the Confederates had other ships in the area -- Konstam, pp. 18-19, lists five other Confederate vessels based in Norfolk and on the James River, two of which, though armed, served mostly as tugs to get the _Virginia_ to where she would fight (Nelson, p. 10); most of the rest would sortie with her. But the five combined mounted only about two dozen guns (the biggest, _Patrick Henry_, had ten, but was a sidewheel steamer, which made her very vulnerable; Nelson, p. 216); on their own, they were not even as strong as one of the Union blockading ships. They did fight, and take casualties (Nelson, p. 233) and in one case fairly severe damage (Nelson, p. 247); indeed, the _Jamestown_ and _Patrick Henry_ did most of the slight damage to the _Minnesota_ (Nelson, p. 249).. But they were sort of like cavalry raiders hiding behind an infantry screen: more irritant than anything else; they could only fight because, if they had to, they could hide behind the big ironclad. It was essentially the _Virginia_ against the entire Union fleet.
As long as _Virginia_ couldn't be hurt, it hardly mattered. Maybe she couldn't catch the enemy ships, but they could not survive where she was.
When she came out on March 8, there were five major representatives of the Union navy in Hampton Roads: The _Cumberland_ (26 guns, under Captain William Radford), the _Congress_ (52 guns; under Lieutenant Joseph Smith), the _Minnesota_ (47 guns; Captain Gershon Van Brunt), the _Roanoke_ (42 guns; Captain John Marston, though her engines were temporarily disabled; Nelson, p. 234), and the _St. Lawrence_ (50 guns; Captain H. Purveyance) (for the ship's armaments, see Holzer/Mulligan, p. 73; for their skippers, Konstam, p. 22). _Roanoke_ and _Minnesota_ were in fact sisters of the _Merrimack_ (Holzer/Mulligan, p. 58. Nelson, p. 73, notes the irony that Confederate Secretary of the Navy Stephen Mallory was chair of the Senate committee which approved these ships, and had been one of the senators most responsible for their construction). Many of them had been on blockade duty for quite a while; Nelson, p. 11, says that _Cumberland_ and _Congress_ had been at Hampton Roads since at least November.
The ironclad's first shots went into _Congress_, which was closest (Nelson, p. 14), but _Virginia_ fired on her only in passing. She was heading for the _Cumberland_, which had been laid down in 1826 and finally finished in 1842 as a 50-gun frigate; she was razeed (i.e. had her upper deck taken off) in 1856 and converted to a 24-gun sloop-of-war (though the guns were of heavier weight than those of the _Congress_, making her potentially more deadly to the _Virginia_; Nelson, p. 14). She was exclusively a sailing ship; without engines (Paine, p. 127) -- and there was no wind on the day of the Battle of Hampton Roads (Nelson, p. 236), so she was effectively unable to move. Indeed, both _Cumberland_ and _Congress_ were thought so vulnerable that tentative orders had been given to withdraw them from Hampton Roads (Nelson, p. 11).
When the _Virginia_ came out, _Cumberland_ was in bad shape to fight -- it was washing day (Hoehling, p. 65, Nelson, p. 12), and her captain William Radford was away on a court-martial board at the time, leaving the ship in the hands of Lieutenant George U. Morris (Hoehling, p. 66).
Hoehling, p. 67, says that 121 men died on the _Cumberland_ -- roughly a third of the ship's crew of 376 (Nelson, p. 239).
Still, she did most of the damage to the _Virginia_. The ironclad's guns tore _Cumberland_ to shreds, but then the Confederate ship decided to ram. The big blade tore a fatal hole in the _Cumberlnd_, causing her to sink quickly, with her flag famously still flying. She almost took the _Virginia_ with her; the ship rocked so violently when the ram went in that it nearly suberged the ironclad's nose (Nelson, p. 18), and one Federal officer thought he could have sunk her simply by dropping an anchor onto her as _Cumberland_ went down (Nelson, pp. 229-230). But Captain Buchanan had been clever; he had ordered the engines reversed before impact (Nelson, pp. 14, 18), and she was able to pull free.
Wood-BL, written by a man who served on the _Virginia_ during the fight, describes her end on p. 101: "[T]he _Cumberland_ continued to fight, though our ram had opened her side wide enough to drive in a horse and cart. soon she listed to port and filled rapidly. The crew were driven by the advancing water to the spar-deck, and there worked her pivot-guns until she went down with a roar, the colors still flying. No ship ever fought more gallantly."
Greene-BL, telling of arriving in Hampton Roads (without a pilot, so great was the hurry to get to the battle site) reports, "Near us, too, at the bottom of the river, lay the _Cumberland_, with her silent crew of brave men, who died while fighting their guns to the water's edge, and whose colors were still flying at the peak."
As it turned out, that heroic fight was not without its effect. _Cumberland's_ earlier broadsides had done no damage (Nelson, p. 14, says that a hundred heavy guns were fired at _Virginia_ without causing her any harm), but the collision tore off the _Virginia's_ ram (Holzer/Mulligan, p. 87), and the shots fired by the crew after they were rammed caused much harm to the _Virginia's_ upper works -- including her smokestack (Nelson, p. 229), further reducing the Confederate vessel's speed (since it reduced the draw through her furnaces; "after the loss of the smoke-stack, Mr.Ramsey, chief engineer, reported that the draft was so poor that it was with great difficulty he could keep up steam" -- WoodBL, p. 103). Hoehling, p. 68, adds that her engineers noted structural problems as well, incluing loose plates and broken beams. Nelson, p. 230, reports that several of _Virginia's_ guns were damaged by the three broadsides _Cumberland_ fired after being mortally wounded. On p. 255, Nelson adds this catalog of damage whih she had sustained by the end of the day: her surgeon would count 98 dents in her ironworks (though the yard would list the number as 97, according to Nelson, p. 301, with only six of her outer plates of iron broken and none of her inner plates); her flagstaff was down, her "less substantial gear ha been annihilated," and her bow timber was twisted and leaky as a result of the loss of the ram 
The damage was significant but did not in any way threaten _Virginia's_ buoyancy; there was no reason for her to give up the fight. She turned to destroy the USS _Congress_. The Federal ship was handled very badly -- apparently her captain ran her aground on purpose (Hoehling, p. 66) to save her from being rammed. But that made her almost useless offensively: Even without engines, she was more maneuverable than _Virginia_ and might have been able to "cross the T" on the Confederate vessel (though Nelson, p.12, notes that most of her veteran sailors had been paid off; it might have been hard for her inexperienced crew to handle her in battle). Instead, she had made herself a big fat target, and was unable to fire her broadside at the Confederate ship (Paine, p. 119).
The Confederates happily took advantage. The "crossed the T" on _Congress_, pouring their fire into her stern (Nelson, p. 237). Eventually, after her captain had been killed, the _Congress_ surrendered (Nelson, p. 238), but because she was aground in shallow water, _Virginia_ could not take her in tow. Total casualties on the _Congress_ were 136 killed, wounded, and missing out of 434 aboard (Nelson, p. 239).
Shore batteries continued to fire on _Virginia_ after the _Congress_ hauled down her flag (Nelson, p. 243, though he notes that the Federals actually caused as many casualties among their own surrendered sailors as the enemy), and Buchanan was injured while firing back at them; he would not be aboard for the next day's big fight (Holzer/Mulligan, p. 87). The Confederates would also claim that _Congress_ fired after putting up the white flag (Nelson, p. 244, though he thinks the claim false).  Buchanan then orderered hot shot to be fired into the _Congress_, setting her afire (Wood-BL,p. 102); she blew up in the night (Hoehling, p. 68, says he did this in response to being wounded; he decided to take revenge. But destroying the _Congress_ was reasonable; if he did not destroy her, the Federals were better equipped to take her away than the Confederates. His only fault was in destroying her before the sailors got off).
Having dealt with the two weakest vessels in the blockade, _Virginia_ then turned to deal with the _Minnesota_, which had also gone aground. But her extreme draught of 22 feet kept her from reaching the _Minnesota_, so _Virginia_ headed back into port to prepare to fight the next day. Overnight, strenuous attempts were made to free the _Minnesota_, but she moved only a short distance before getting stuck again. There was every reason to think that the _Virginia_ could destroy her the next day. There was panic in Hampton Roads, in Newport News, and in Washington once word arrived by cable -- Secretary of War Stanton, who was prone to fits of near-insanity, started sending telegraphing "the sky is falling" messages to cities all along the East Coast (Nelson, p. 264).
Except that, overnight, the _Monitor_ arrived an changed everything. The _Monitor_ arrived at Hampton Roads the night of March 8/9, and took position to protect the grounded _Minnesota_. Small as it was, it inspired little confidence in the Federal naval officers (Hoehling, p. 73). Events were to prove them wrong.
Early in the war, the Union was confident in the strength of its navy; it researched ironclads, but did very little about constructing seagoing iron ship. They started to have second thoughts, according to Holzer/Mulligan, pp. 126-127, when the _Trent_ affair made it possible that there might be war with Britain. The Americans knew perfectly well that their wooden walls couldn't fight _Warrior_ and her sisters.
When word came of the building of the _Virginia_, the urgency increased. There were, at that time, only two serious designs on the table, which would later become the _New Ironsides_ and the _Galena_ (McPherson, p. 374; Konstam, p. 20. For the latter disastrous design, see the notes to "Old Johnston Thought It Rather Hard"). _New Ironsides_ (which in some ways resembled the _Virginia_, save that the armored citadel covered the entire hull) was a successful design, but could not be ready in time. _Galena_ also probably would take too long. But Cornelius Bushnell, the shipbuilder on the _Galena_, had called in the brilliant but cantankerous Swedish inventor John Ericsson to look over his designs (the Navy board had not quite trusted the _Galena's_ stability, and demanded more calculations, which Bushnell could not perform but Ericsson could; Nelson, p. 102-103), and it turned out that Ericsson had his own easy-to-build ironclad concept on the shelf -- he had designed it for the French in the Crimean War, but after that war ended, Napoleon III lost interest (Nelson, p. 104).
After complicated machinations, the navy department ordered the construction of the _Monitor_ (Holzer/Mulligan, pp. 26-29; Nelson, p. 146, notes that, despite the wrangling, the urgency was such that the contract was signed only eight days after Bushnell talked to Ericsson. The flip side is, the contractors were on the hook if the ship failed; the navy would only pay if she proved a successful design; Nelson, pp. 150-151. The Navy's delays in paying the amounts it had promised caused some construction delays; Nelson,p 188).
The _Monitor_ was in many ways the weakest of the three designs; it was to prove almost unseaworthy (with only 18 inches of freeboard -- that is, height above water -- waves could easily swamp it; Konstam, p. 21), and it involved so many new ideas that naturally some of them failed to work. The pilothouse would prove  severe weakness; it was almost too small for the three sailors it needed to hold (captain, pilot, and helmsman), and yet it was large enough that the guns could not be fired near it; her internal communications systems easily broke down (Greene-BL, p. 115). Many changes would be made in future designs of this type.
But Ericsson claimed it could be built in ninety days. He was close to right; construction was started October 25, 1861, and she was launched 93 days later (Holzer/Mulligan, p. 30. Nelson, p. 146, states that claim was that she could be finished in a hundred days. Presumably one estimate counts the time needed to write the contract, the other does not. Nelson's count on p. 190 is that it took 118 days from contract signing to launch, or 105 working days. Clearly not what was promised -- but still pretty amazing.).
If the _Virginia_ looked like a barn, the _Monitor_ was the "tin can on a shingle" (Catton, p. 201): "A heavily armored turret carrying two 11-inch guns... on a long, armored hullthat had no more than a foot or two of freeboard; there was a little knob of a pilothouse forward and a smokestack aft, and nothing more."
There are a lot of what-ifs about the battle of the two ironclads. Neither ship was finished, and at the time they met, _Virginia_ was both slower (due to the damage to her stacks) and less potent (due to the loss of her ram) than before the action against the _Cumberland_.
The situation on _Monitor_ was similar. The ship itself was intact, but a lot of rough edges were left (literally -- e.g. the edges of the gunholes in the turrets had not been smoothed; Nelson, p. 188). In addition, the crew was inexperienced; it had been decided to take only volunteers, and few of the men aboard had enough service time to rate even the designation of Ordinary Seaman (Holzer/Mulligan, p. 32; Konstam, p. 22). Plus the ship had run into a storm on the way down to Hampton Roads (the same storm that had delayed the _Virginia's_ sortie), which nearly caused the _Monitor_ to go under. The heavy seas had started to flood the ship, the smokestacks poured water into the engineering spaces, and the ventilators went out in the wet (Greene-BL, pp. 112-113. Ericsson, against the advice of experienced seamens, had insisted on vent tubes that didn't extend far enough above the water; Nelson, p. 23). As a result, the blowers failed as the belts got wet, water hit the fireboxes, the engine started leaking fumes, and the pumps went out. (Holzer/Mulligan, p. 41, points out that the entire operation of the ship depended on the ventilation system, and it proved insufficient for the task. Improved designs would eventually largely cure these problems, but of course the _Monitor_ was the first of its kind. In warmer weather, the bad ventilation would also cause the ship to become almost unendurably hot; Holzer/Mulligan, p. 49).
The crew, seasick and breathing bad air, ended up extremely unwell and barely kept the ship afloat, so they were exhausted going into the big battle (Holzer/Mulligan, p. 33). Finally, the armament of their ship was not what was wanted. This was not what Ericsson had wanted; his original proposal was for two short 15 inch guns, but these were not available and were considered too big for the turret anyway; Nelson, pp. 222-223. Ericsson's next proposal was for 12-inch guns; none were to be had. They settled for 11-inch guns -- and even those had not been tested; the ship was ordered to fire undersized powder charges (15 pounds instead of thiry), significantly reducing the penetrating power of her guns (Holzer/Mulligan, p. 31) -- the more so since her cannon were not rifled (Nelson, p. 223). This may have cost her her chance at outright victory; Wood-BL, p. 103, reports that shots at point-blank range from the _Monitor_ "forced the side in bodily two or three inches." With a full charge of powder, it is possibly that some might have penetrated.
The flip side is, the Confederate cannon had no solid shot to fire (another consequence of the inadequate industrial facilities of the Confederacy; Nelson, pp. 177-178), and might have cracked the _Monitor_ had she been able to fire shot rather than shell.
There were also command and control problems on _Monitor_. Except when the gun ports were opened, the turret crew of the _Monitor_ had no way to view the outside world. They had to fire and then ask the crew in the pilothouse whether they had hit. (Ericsson's plan had been to leave the gun ports open and rotate the turret away during reloading; Nelson, p. 274. But the turret machinery proved sticky enough -- the seawater let in by the storm had damaged it; Nelson, pp. 274-275 --that the crew eventually gave up trying to start and stop it, and just left it rotating, firing when the _Virginia_ was in sight. There was little though of really aiming the thing; they just relied on the fact that they were close enough to be almost sure to hit; Nelson, p. 279) And the speaking tube connecting the turret to the pilothouse either didn't work or was damaged, so the turret crew had to keep sending runners forward (Holzer/Mulligan, pp. 44-45; Nelson, p. 271).
Aiming was a problem for other reasons. Because the turret was closed off, they had no way of knowing where the guns were pointing relative to the axis of the ship; they had chalked markings on the floor, but these were soon rubbed off (Holzer/Mulligan, p. 45).
On March 9, the _Virginia_, now commanded by executive officer Catesby ap Roger Jones (the nephew of Thomas ap Catesby Jones, who had occupied California during the Mexican War, and an ordnance expert highly esteemed by both sides; Hoehling, p. 72), headed back for the _Minnesota_. At first the _Virginia_ tried to attend to both _Minnesota_ and _Monitor_, but finding the _Monitor_ much harder to deal with, the Confederate ship quickly gave the _Monitor_ her full attention.
It was quickly evident that neither ship had weapons capable of breaching the other's armor. At best, they might get a ball into a firing shutter, or maybe get a lucky hit below the waterline or at a vulnerable seam or the like. The _Virginia_ tried to ram (though she no longer had her ram beak), but the _Monitor_ was much faster and more maneuverable; the impact was trivial (Hoehling, p. 76). So the two ships did little except throw iron at each other for several hours.
In the case of the _Virginia_, she soon gave up on firing at the _Monitor's_ turret and started firing on the pilothouse. That was too small a target, though, so she decided to go back to hitting at _Minnesota_ -- only to run aground (Nelson, p. 281). It was a dangerous fix; if the _Virginia_ couldn't move, _Monitor_ could finally pick a spot to attack her. Fortunately for the Confederate ship, the Union officers did not choose wisely (Nelson, p. 282). The Confederates almost burst their boilers, but they finally worked the _Virginia_ free (Nelson, p. 283). After that, the _Virginia_ stopped worrying about _Minnesota_ and went back to slugging at the _Monitor_. She made an attempt to ram, despite having lost her ram bow, but the only real effect of this was to make the leak in her bow worse (Nelson, p. 285).
Eventually a lucky shot from _Virginia_ hit the _Monitor's_ pilothouse, injuring commander John Worden though it luckily did not affect _Monitor's_ steering (Nelson, pp. 288-289). (Incidentally, there was a sort of a "Brave Wolfe" moment in the battle; Worden was bruised and temporarily blinded by the debris, and had to ask, "Have I saved the _Minnesota_? Told he had, and that the _Virginia_ was leaving, he declared, "Then I don't care what happens to me." See Greene-BL, p. 117. But he would live, though he carried metal in his face for the rest of his life, and he also recovered his sight -- at least in one eye; Nelson, p. 341).
Given her communications problems, it took some time for the exec to make his way from the turret to the front; as a result, the ship backed away from the fighting for half an hour. Confederates sometimes claim victory in the battle on this basis (Holzer/Mulligan, p. 88). But _Monitor_ was still functional, and the retreat would probably have been temporary had _Virginia_ tried to continue the fight.
But the battle was over. The _Virginia_ made one more run at the _Minnesota_, but then Lieutenant Jones talked to his officers and decided to head for home (Nelson, pp. 290-291); safer, in her case, to spend the night in port -- and to refill her coal bunkers and shot lockers; the more she used up, the higher she rose, and her armor ended not much below the waterline even when she was full. After another day without refilling, she would be very vulnerable. This led Union newspapers, which claimed she was towed from the battle (which she was not), to assert victory (Holzer/Mulligan, p. 93).
You still see occasional claims that one ship or the other "won" -- e.g. Mabry Tyson's article in Holzer/Mulligan claims victory for the _Virginia_ (p. 109). But Tyson is the great-grandson of Catesby ap Roger Jones; his is hardly an unbiased view!
From a pure tactical standpoint, it was a draw (unless you count the damage the _Virginia_ did to the _Minnesota_ during the engagement, which was fairly severe -- she had briefly been on fire, and her crew was exhausted and her ammunition nearly gone; Hoehling, p. 79). Neither ship could damage the other significantly (men were stunned if they touched the armor when it was hit -- Hoehling, p. 77 -- but eventually learned not to do that). The _Monitor_ suffered no real damage, and the damage to the _Virginia_ was almost all from the _Cumberland_, so they were well-matched. A case could be made that, had the _Virginia_ met the _Monitor_ on the first day, she might have won (_Monitor's_ armor stopped cannonballs, but would not be enough to stop _Virginia's_ ram if it hit home straight-on, and _Monitor_ certainly didn't have the reserve buoyancy to survive such a blow!). Or you might claim the _Virginia_ won "on points": although both ships withdrew, the _Monitor_ withdrew first.
That, though, is like claiming Germany won the Battle of Jutland because they sank more ships: The latter part of the claim is true but doesn't mean anything. Strategically, the Battle of Hampton Roads was a clear Union victory; _Virginia_ could not clear the Roads of Federal shipping, and while _Monitor_ could not stop blockade runners, she could guard the faster frigates that could. And, over the following months, additional ironclads would support her. For _Virginia_, it was win in March or not at all -- and she didn't win in March. Due, in no small part, to the damage inflicted by the _Cumberland_ .
Nelson, p. 295, cites Jones's report on damage to _Virginia_: "Our loss is 2 killed and 19 wounded. The stem is twisted and the ship leaks. We have lost the prow, starboard anchor, and all the boats. The armor is somewhat damages; the steam pipe and smokestack both riddled; the muzzles of two of the guns shot away. It was not wasy to keep a flag flying. The flagstaffs were repeately shot away." Nelson adds: "Virtually all of the damage and casualties occurred on the first day of fighting. _Monitor_ had inflicted alost no injury at all."
Nelson's conclusion is that both Jones of _Virginia_ and Greene of _Monitor_ were right to break off the fight, even though it raised questions about their characters (Nelson, p. 297). _Virginia_ really needed time in dry-dock to replenish and to make minor fixes; _Monitor_ was in better shape, but the crew was bone-weary and there were hardly enough officers left even to stand watches -- a major concern with a scratch crew.
The Confederates probably thought _Virginia_ would be back in service soon. Certainly it would have taken only a little while to patch up her leaks. But the _Virginia_ spent most of a month in dry dock, where her damage was repaired, her ram replaced, and some of her more glaring problems remedied, including the fitting of some additional armor near the waterline (Holzer/Mulligan, p. 76; Nelson, p. 308) -- though this cost her another knot of speed (Wood-BL, p. 105), and left her engines even more overburdened than before; the engineer now said they could be relied on for only a few hours (Nelson, p. 308).
Now commanded by Josiah Tattnall, _Virginia_ made one more brief sortie on April 10/11, with some officers contemplating a harebrained scheme to try to board the _Monitor_ (Nelson, pp. 310-311), but by this time the _Monitor_ had been joined by another ironclad, _Naugatuck_, and in essence the two Union ships stood guard while the rest of the Northern ships fled. The two sides didn't really engage, and the _Virginia_ eventually headed back to base (Holzer/Mulligan, p. 78). According to Nelson, p. 313, Tattnall commanded _Virginia_ for 45 days, and she spent 32 of them in dry-dock or under repair, though she made a total of five trips toward Hampton Roads (the others were even less eventful than the sortie of April 11). Mostly she just made her men miserable, since living conditions were terrible and steam had to be kept up at all times to allow her to respond quickly in the event of Union action.
In May, as Union general George B. McClellan's Army of the Potomac approached Richmond during the Peninsular campaign, the Confederates decided (almost certainly correctly) that they had to scrape up every available man to defend the city. The division defending Norfolk was taken north of the James on May 3 (Holzer/Mulligan, p. 79). The _Virginia_ for the time being stayed at Norfolk, but now she was vulnerable to being captured from land. At the very least, she had to be kept from Federal hands.
It was Abraham Lincoln himself who ordered federal troops to make a move on Norfolk on May 9 (Holzer/Mulligan, p. 90). When the last Confederate forces pulled out, no one even told the _Virginia's_ commander (Wood-BL, p. 106; Nelson, pp. 317-318). 
Foote, p. 415, notes that the Confederates made desperate attempts to take the _Virginia_ up the James River (the only other alternative being a death-or-glory attack on the Federal blockade). They lightened her enough to expose several feet of unarmoured hull. But then came word that conditions on the James had changed; although the ship had been lightened enough that she drew "only" 18 feet, which was supposed to be sufficient to get her to within 40 miles of Richmond (Nelson, p. 318), conditions had changed and she would have to work her way up a channel only 15 feet deep. That was impossible (Holzer/Mulligan, p. 81; Wood-BL, p. 107), and there was no time for more lightening anyway.
Tattnall, understandably upset, thought that the pilots were cowards who had concocted their story to keep the ship from battle.(Nelson, p. 319). Lightening ship meant that she would be floating with her armor deck above water level. With her hull exposed, _Virginia_ could no longer fight as an ironclad, ruling out the death-or-glory ride.
The only remaining alternative was to scuttle her. After only three months afloat, and two months of active serve, she was -- for the second time -- set on fire on May 11, 1862 (Wood-BL, p. 107, tells of being one of the last two men aboard, and of setting her afire). And the Confederates did what the Union navy had not done: They successfully destroyed the hull of the _Merrimack_. She would rise no more. Her second commander, Josiah Tattnall, was savaged in the press and a preliminary court of inquiry, and demanded a court-martial, which acquitted him (Wood-BL, pp. 107-108; Nelson, p. 344).
After _Virginia_ was out of the way, _Monitor_ was taken up the Potomac for various improvements (Nelson, p. 323). She then was ordered to Wilmington, North Carolina. Once again there was bad weather along the way (Nelson, p. 324). The _Monitor_ sank in a storm at the end of December 1862 off Cape Hatteras (Holzer/Mulligan, p. 51). Her wreck has of course been discovered (e.g. Delgado, pp. 117-119), and portions are being brought to the surface to highlight a museum (Holzer/Mulligan in fact was inspired by the opening of the Mariner's Museum; pp. xiii, xviii).
Nelson, p. 339, makes an interesting point about this song and the whole fame of the Battle of Hampton Roads: It became a household name simply because of the timing. Had _Monitor_ arrived on any day other than the day it did, there would have been no battle (had it arrived, say, a month earlier), or a likely draw with no Union ships sunk (had it arrived a day earlier), or a complete Union fiasco (had it arrived even one day later). Hanpton Roads became famous only because the _Monitor_ arrived exactly when it did, like the cavalry coming to the rescue (to use NelsonÕs metaphor).
Despite _Monitor's_ poor sea qualities, there was a rush to build monitors around the world. Jane's-WWI, pp. 63-64, lists ten named monitors (including two christened _Erebus_ and _Terror_) and fifteen numbered monitors in service with the British navy in World War I, and p. 314 lists eight that were lost during the War or in the operations in Russia in 1919. Marshall-Encyclopedia, entry on the _Florida_, says that the U. S. Navy built its last class of monitors in 1901, with one of them not decomissioned until 1939. But they were hardly ships that John Ericsson would have recognized. The ones I've seen all had large upperworks, and in most of the British examples, the turret was raised high above the waterline, and the ships had masts. They were monitors only in the sense that they had very little freeboard.
And I never heard of any of those twentieth century monitors doing anything useful. _Monitor_ included many ideas which would be very useful in future warships -- the turret being the most important -- but the ships themselves were just too problematic. And their low profiles, which made them harder to hit with cannon, would become nearly useless once self-propelled torpedoes were invented.
The _Cumberland_, like the _Monitor_, has been rediscovered. Delgado, p. 115, notes that she was found in 1980. Unfortunately, she is in shallow water, and souvenir hunters did a great deal of damage before serious efforts were made to protect the wreck.
>>BIBLIOGRAPHY<<
Catton: Bruce Catton, _Terrible Swift Sword_. (being the second volume of The Centennial History of the Civil War), Doubleday, 1963 (I use the 1976 Pocket Books edition)
Greene-BL: S. Dana Greene, "We thought we had gained a great victory: In the 'Monitor' Turret," article in Clarence C. Buel and Robert U. Johnson, editors, _Battles and Leaders of the Civil War_, four volumes, 1888. For convenience of transport, I used the version of the article printed in the abbreviated one-volume edition "edited" (read: hacked down almost to uselessness) by Ned Bradford, 1956; page references are to the 1979 Fairfax Press edition. Greene was the executive officer of the _Monitor_ and commanded the turret in the early stages of Hampton Roads, then briefly commanded the whole ship. (He notes ironically that _Monitor_ had five captains, but he was her only executive officer; p.111).
Delgado: James P. Delgado, _Lost Waships: An Archaeological Tour of War at Sea_, Checkmark, 2001
Foote: Shelby Foote, _The Civil War: A Narrative_, Volume I: Fort Sumter to Perryville, Random House, 1958
Hoehling: A. A. Hoehling, _Shipts That Changed History_, 1992 (I use the 2007 Barnes & Noble edition)
Holzer/Mulligan: Harold Holzer and Tim Mulligan, Editors, _The Battle of Hampton Roads_ (a collection of nine essays; Fordham/Mariner's Museum, 2006)
Jane's-WWI: _Jane's Fighting Ships of World War I_ (1919; I use the 1990 Studio Editions reprint with modern foreword by Captain John Moore, RN). Not entirely accurate, but the best in-one-place catalog of naval vessels serving c. 1918.
Konstam: Angus Konstam, _Hampton Roads 1862: First Clash of the Ironclads_, Praeger, 2004
Marshall-Encyclopedia: Chris Marshall, editor, _The Encyclopedia of Ships_ (Barnes & Noble, 1995, based at least in part on an Italian original). Silhouettes with very brief descriptions. Most useful for finding ship's specifications.
McPherson: James M. McPherson, The Battle Cry of Freedom (The Oxford History of the United States: The Civil War Era; Oxford, 1988)
Nelson: James L. Nelson, _Reign of Iron: The Story of the first Battling Ironclads, the Monitor and the Merimack_, Perennial, 2004
Paine: Lincoln P. Paine, _Ships of the World_ (Houghton Mifflin, 19970
Preston: Antony Preston, _Battleships_, Gallery, 1981
Wood-BL: John Taylor Wood, Colonel, C.S.A., "The battle was a drawn one: The first fight of iron-clads," article in Clarence C. Buel and Robert U. Johnson, editors, _Battles and Leaders of the Civil War_, four volumes, 1888. For convenience of transport, I used the version of the article printed in the abbreviated one-volume edition "edited" (read: hacked down almost to uselessness) by Ned Bradford, 1956; page references are to the 1979 Fairfax Press edition.  Wood was a lieutenant on the _Virginia_ before joining the Confederate army.
Woodworth: Steven E.Woodworth, _Nothing But Victory: The Army of the Tennessee 1861-1865_, Vintage, 2005
- RBW
Broadside LOCSinging sb10061b: 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: LA18
===
NAME: Cumberland Gap
DESCRIPTION: Stories of the settlement of Cumberland Gap. Texts may have a variety of verses, about exploration or the Civil War. The chorus is diagnostic: "Lay down boys and take a little nap; (Fourteen miles to the) Cumberland Gap."
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, Uncle "Am" Stuart, followed in the same year by recordings by Land Norris, Gid Tanner & Riley Puckett)
KEYWORDS: exploration settler Civilwar dancing dancetune
HISTORICAL_REFERENCES: 1750 - Thomas Walker explores and names Cumberland Gap
Jun 18, 1862 - Union troops under G.W. Morgan occupy the Gap after James Rains (who is outnumbered by two to one) evacuates the pass
Sep 17, 1862 - Morgan evacuates the Gap, his retreat having been cut off by Bragg's and Kirby Smith's campaigns in Kentucky
Oct 22, 1862 - Confederate troops from Braxton Bragg's army occupy the Gap
Sept 10, 1863 - Confederates forced from the Gap by troops under Burnside. The Gap will remain in Union hands thereafter
FOUND_IN: US(Ap,SE,So)
REFERENCES: (10 citations)
Randolph 498, "Cumberland Gap" (1fragment)
BrownIII 329, "Cumberland Gap" (1 text)
Fuson, pp. 176-178, "Cumberland Gap" (1 text)
Silber-CivWar, pp. 62-63, "Cumberland Gap" (1 text, 1 tune)
Lomax-ABFS, pp. 274-276, "Cumberland Gap" (1 text, 1 tune, composite)
Lomax-FSNA 80, "Cumberland Gap" (1 text, 1 tune)
Arnett, p. 31, "Cumberland Gap" (1 text, 1 tune)
Botkin-SoFolklr, p. 714, "Cumberland Gap" (1 text, 1 tune)
PSeeger-AFB, p. 67, "Cumberland Gap" (1 text, 1 tune)
Silber-FSWB, p. 49, "Cumberland Gap" (1 text)
ST R498 (Partial)
Roud #3413
RECORDINGS:
Dock Boggs, "Cumberland Gap" (on Boggs3, BoggsCD1)
Jack Burchett, "Cumberland Gap" (on WatsonAshley01)
Rufus Crisp, "Cumberland Gap" (on Crisp01)
The Hillbillies, "Cumberland Gap" (Vocalion 5024, rec. 1926)
Frank Hutchison, "Cumberland Gap" (OKeh 45570, 1932; rec. 1929)
Buell Kazee, "Cumberland Gap" [fragment] (on Kazee01)
Land Norris, "Cumberland Gap" (OKeh 40212, 1924)
Fiddlin' Powers and Family, "Cumberland Gap" (Victor, unissued, 1924)
Don Reno & Red Smiley, "Cumberland Gap" (King 5002, c. 1956)
Fiddlin' Doc Roberts Trio, "Cumberland Gap" (Conqueror 8239, 1933)
Rutherford & Burnett, "Cumberland Gap"  (Gennett 6706/Supertone 9310 [as Southern Kentucky Mountaineers], 1929 -- a primarily instrumental version; on BurnRuth01, KMM)
Pete Seeger, "Cumberland Gap" (on PeteSeeger07, PeteSeeger07a)
Arthur Smith, "Cumberland Gap" (on McGeeSmith1)
Uncle "Am" Stuart, "Cumberland Gap" [instrumental] (Vocalion 5035/Vocalion 14839, 1924)Gid Tanner & Riley Puckett, "Cumberland Gap" (Columbia 245-D, 1924)
Gid Tanner & His Skillet Lickers, "Cumberland Gap" (Columbia 15303-D, 1928)
Gordon Tanner, Smokey Joe Miller & Uncle John Patterson, "Medley: Cumberland Gap/Gid Tanner's Bucking Mule/Hen Cackle" (on DownYonder)
Wade Ward, "Cumberland Gap" [instrumental] (on Holcomb-Ward1)
Williamson Bros. & Curry "Cumberland Gap" (OKeh 45108, 1927)
CROSS_REFERENCES:
cf. "Bonnie George Campbell" [Child 210] (tune)
cf. "Dogget's Gap"
NOTES: This melody is played as a dance tune throughout the southeast. - PJS
Fuson's unusually long text has also been heavily localized: "September morn in Sixty-two... Morgan's 'Yankee' all withdrew." "They burned the hay, the meal, and meat... And left the rebels nothing to eat." "Braxton Bragg with his rebel band... He run George Morgan to the bluegrass land."
Union general George W. Morgan (1820-1893) had occupied the Gap on June 18, 1862 with a division after the oversized brigade of James E. Rains withdrew. (Rains, incidentally, did his own burning of stores as he pulled out.)
In September 1862, though, two Confederate armies under Braxton Bragg and Edmund Kirby Smith were moving into Kentucky (the Perryville campaign). Kirby Smith's force threatened Morgan's communications, and on September 17, he conducted an orderly evacuation. There was no battle, but it would be another year before the Union recaptured the Gap. - RBW
File: R498
===
NAME: Cumberland Mountain Bear Chase: see The Bear Chase (File: LoF081)
===
NAME: Cumberland Traveller, The
DESCRIPTION: "Dear wife I hope this you will find In health of body and of mind And my dear babes whom I adore I live in hopes to see once more." The singer, who has left home for Cumberland, advises his wife, asks guidance of God, and hopes for peace for Cumberland
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown), from a manuscript apparently dated 1839
KEYWORDS: travel home husband wife
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 515, "The Cumberland Traveller" (1 damaged text)
NOTES: This may not be a song; it was found in a barely-legible nineteenth century manuscript book. - RBW
File: Br3515
===
NAME: Cumberland, The [Laws A26]
DESCRIPTION: The crew of the Cumberland, attacked by the CSS Virginia/Merrimac, fight back as best they can, though their shot bounces off the Confederate's armored hull. The Cumberland fights until it is rammed and sunk and goes down with all flags flying
AUTHOR: unknown
EARLIEST_DATE: 1916 (Good Old Time Songs #4; 19C (broadside, LOCSinging cw102120)
KEYWORDS: Civilwar ship
HISTORICAL_REFERENCES: March 8, 1862 - U.S. frigates Congress and Cumberland sunk by the CSS Virginia (formerly USS Merrimack). The Minnesota runs aground; had not the Monitor arrived the next day, the Merrimac would have sunk that ship also
FOUND_IN: US(MA,SE) Canada(Mar,Newf,Ont)
REFERENCES: (7 citations)
Laws A26, "The Cumberland"
FSCatskills 16, "The 'Merrimac'" (1 text, 1 tune)
Warner 11, "The Cumberland and the Merrimac" (1 text, 1 tune)
Peacock, pp. 909-910, "The Cumberland and the Merrimac" (1 text, 1 tune)
BrownII 225, "The Cumberland" (1 text plus extensive excerpts from a broadside version)
Creighton-NovaScotia 131, "Maggie Mac" (1 text, 1 tune)
DT 597, CUMBMERR*
Roud #630
RECORDINGS:
Orlo Brandon, "The 'Merrimac'" (on GreatLakes1)
"Yankee" John Galuha, "The Cumberland and the Merrimac" [excerpt] (on USWarnerColl01)
BROADSIDES:
LOCSinging, cw102120, "The Good Ship Cumberland," A. W. Auner (Philadelphia), 19C; also cw102130, "Good Ship Cumberland" 
CROSS_REFERENCES:
cf. "The Cumberland Crew" [Laws A18] (subject)
cf. "Iron Merrimac" (subject)
SAME_TUNE:
Raging Canal (per broadsides LOCSinging cw102120 and cw102130)
ALTERNATE_TITLES:
Good Ship Cumberland
Cumblom
NOTES: For historical background on this song, see the notes to "The Cumberland Crew" [Laws A18].
To tell this song from "The Cumberland Crew," refer to this text: 
Come all my jolly seamen, likewise you landsmen too.
It is a dreadful story I will unfold to you.
It's all about the Cumberland, the ship so true and brave,
And it's many the loyal seamen that met a wat'ry grave.
 ...
Was early in the morning, just at the break of day,
When our good ship the Cumberland lay anchored in the bay (cj.)
When a man from our masthead to those below did cry (cj.)
"There's something up to windward like a housetop I espy." - RBW
File: LA26
===
NAME: Cumberland's Crew, The: see The Cumberland Crew [Laws A18] (File: LA18)
===
NAME: Cunning Cobbler, The: see The Little Cobbler (File: CoSB224)
===
NAME: Cunnla: see Connla (File: DTcunnld)
===
NAME: Cup o Tay, The
DESCRIPTION: The singer praises the virtues of "a gintale (genteel) cup o' tay": "Och, prate about your wine, or poteen mighty fine, There's no such draught as mine." Whiskey makes the head sore, but tea brings good company. The singer thanks the Chinese for it
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: nonballad drink
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H489, p. 48, "The Cup o' Tay" (1 text, 1 tune)
O'Conor, p. 7, "A Cup O' Tay" (1 text)
Roud #13362
File: HHH489
===
NAME: Cup of Cold Poison, The: see Lord Randal [Child 12] (File: C012)
===
NAME: Cupid Benighted
DESCRIPTION: On a rainy night, the singer is awakened by a knocking at the door. It proves to be a winged boy with a bow (obviously Cupid). Once dry, he departs, saying, "My bow is not damaged / Nor yet is my dart / but you will have trouble / In bearing the smart"
AUTHOR: unknown
EARLIEST_DATE: 1815 (The Songster's Companion)
KEYWORDS: supernatural gods
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Olney, pp. 180-183, "The White-Headed Boy" (1 traditional text plus the Songster's Companion version; also a copy of Derby's translation of Anacreon)
ST FO180 (Partial)
Roud #4688
NOTES: Helen Flanders believes this piece to be based on the third Ode of Anacreon (floriut sixth century B.C.E.) The theme is obviously similar; presumably some broadside brought the song to popular consciousness.
Spaeth reports a piece by [Samuel?] Arnold called "Cupid Benighted," from 1795; I assume they are the same, but cannot prove it. - RBW
File: FO180
===
NAME: Cupid the Plowboy [Laws O7]
DESCRIPTION: The singer sees a youth breaking up the soil. (She calls him "Cupid the plowboy,") imagines his farm tools to be Cupid's arrows, and confesses that seeing "Cupid" has driven her current love from her mind. The plowboy hears her lament and offers marriage
AUTHOR: unknown
EARLIEST_DATE: before 1844 (broadside, Bodleian Harding B 11(773))
KEYWORDS: love marriage work
FOUND_IN: US(So) Canada(Newf) Britain(England(Lond,North,South))
REFERENCES: (4 citations)
Laws O7, "Cupid the Plowboy"
Greenleaf/Mansfield 79, "The Plowboy" (1 text)
Randolph 85, "Lone the Plow-Boy" (1 text, 1 tune)
DT 472, LONEPLOW
Roud #986
BROADSIDES:
Bodleian, Harding B 11(773), "Cupid, the Pretty Ploughboy" ("As I walk'd out one May morning"), J. Howe (Hull), 1835-1843; also Harding B 25(457), Firth c.18(231), "Cupid the Pretty Ploughboy"; Harding B 17(67a), "Cupid the Pretty Plough Boy"; Harding B 11(772), Firth c.18(169), "Cupid the Pretty Plough-boy" 
CROSS_REFERENCES:
cf. "The Rich Lady Gay" (plot)
File: LO07
===
NAME: Cupid's Garden (I) (Covent Garden I; Lovely Nancy III)
DESCRIPTION: The singer wanders down to (Cupid's/Covent) Garden and meets (lovely Nancy). He asks her if she will marry him. She says she will remain a virgin and/or she has another lover. He hopes to return and marry her
AUTHOR: unknown
EARLIEST_DATE: 1767 (Journal from the Leopart)
KEYWORDS: sailor love courting rejection
FOUND_IN: Britain(England(North)) Canada(Mar)
REFERENCES: (3 citations)
Huntington-Whalemen, pp. 90-92, "Covent Garden"; pp. 92-94, "Cupid's Garden" (2 texts, 1 tune)
Stokoe/Reay, pp. 186-187, "'Twas Down in Cupid's Garden" (1 text, 1 tune)
DT, CUPIDGRD*
Roud #297
BROADSIDES:
Bodleian, Harding B 28(40), "Cupid's Garden" or "The 'Prentice Boy," W. Armstrong (Liverpool), 1820-1824; also Firth c.12(291), 2806 c.17(85), Harding B 28(137), Harding B 15(77b), Johnson Ballads 491, "Cupid's Garden", Harding B 20(119) , "Cupid's Garden" or "The Laurel Wear" ("It was down in Covent Garden "), J. Harkness (Preston), 1840-1866, Harding B 28(255), "Laurel Wear" ("Its down in Cupid's garpen [sic] for pleasure I did go")
LOCSinging, sb30414b, "The 'Prentice Boy," J. Andrews (New York), 1853-1859; also as111300, as111310, "The 'Prentice Boy" 
NOTES: The versions of this text I have seen are, without exception, confused. The above plot summary is the best I can come up with.
Laws M12, "The Apprentice Boy," displays versions with this title, and both are about sailors and their loves. It's just possible that this is a badly damaged form of the Laws ballad. But I incline to think this is a separate song. - RBW
Broadside LOCSinging sb30414b: 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: SWMS090
===
NAME: Cupid's Garden (II): see The Apprentice Boy [Laws M12] (File: LM12)
===
NAME: Cupid's Trepan (Cupid's Trappan, The Bonny Bird)
DESCRIPTION: "Once did I love a bonny brave bird, And thought he had been all my own, But he lov'd another far better than me, And has taken his flight and is flown." The jilted lover in turn has turned to another, leaving the first lover lonely
AUTHOR: unknown
EARLIEST_DATE: 1729
KEYWORDS: love separation
FOUND_IN: 
REFERENCES: (1 citation)
Chappell/Wooldridge II, pp. 149-150, "Cupid's Trepan" (1 tune, partial text)
ST ChWII149 (Full)
Roud #293
SAME_TUNE:
The Bonny Young Irish Boy [Laws P26] (File: LP26)
Of late I did hear a young man domineer/The Milkmaid's Resolution (BBI ZN2108)
I am a young man that do follow the plow/The Plowman's Art in Wooing (BBI ZN1240)
Of late did I hear a young damsel complain/Young Man put to his shifts (BBI ZN2107)
Once did I love and a very pretty Girl/The Batchellors Fore-cast..an Answer to Cupids Trappan (BBI ZN2160)
NOTES: This set of words clearly is of broadside origin (though likely  inspired by a song of the "Dear Companion" type). But the evidence of the broadsides indicates that the tune, at least, entered oral tradition. I'm indexing it on that basis.
A "trepan" (trappan) is a trick or, by extension, a trickster. Thus Cupid's trepan is a trick played by Cupid on a lover.
Although it is also possible to take "Trepan" as "Trapan," which was the kidnapping of children and sending them as servants to the colonies. There is, e.g., a song (probably of broadside origin) of "The Trapann'd Maiden," quoted by Samuel Eliot Morison in _The Oxford History of the American People_, p. 83, about a girl taken and sent to Virginia. Thus this song may even have links to songs such as "Australia (Virginny)."
Roud lumps this with all sorts of songs, I assume on the basis of tune. - RBW
File: ChWII149
===
NAME: Curly Head of Hair
DESCRIPTION: The singer at first rejoices in his head of hair, even though it has brought him unwanted attention from apes and bears. But now he has a scolding wife, who often twists his hair, and he resolves to go and have the hair cut
AUTHOR: unknown
EARLIEST_DATE: 1969 (Warner)
KEYWORDS: hair humorous
FOUND_IN: US(MA,NE)
REFERENCES: (1 citation)
Warner 39, "Curly Head of Hair" (1 text, 1 tune)
ST Wa039 (Partial)
Roud #2804
File: Wa039
===
NAME: Curragh of Kildare, The
DESCRIPTION: "Oh, the winter it has passed, And the summer's come at last, The small birds are singing in the trees." The birds are glad, but the singer is weary of being apart from his love and will set out for the Curragh of Kildare to learn of her.
AUTHOR: unknown
EARLIEST_DATE: 1788 (Rewritten by Burns as "The Winter It Is Past"; _Scots Musical Museum_ #200); the song apparently was known to Herd
KEYWORDS: love separation bird
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
BarryEckstormSmyth pp. 291-293, "The Braes of Yarrow" (1 short text plus a fragment, 1 tune; the "A" text is a composite lost love song with single stanzas from "The Braes o Yarrow," "The Curragh of Kildare," and others beyond identification; as a whole it cannot be considered a version of Child #214) {Bronson's #37}
Karpeles-Newfoundland 54, "The Winter's Gone and Past" (1 text, 1 tune)
DT, CURRKILD*
Roud #583
BROADSIDES:
Bodleian, Harding B 28(176), "Young Johnson" ("Cold winter's gone and past"), W. Armstrong (Liverpool), 1820-1824; also Harding B 11(635), Harding B 16(54c), Harding B 16(55a), Harding B 25(394), Harding B 11(636), "Cold Winter is Past"; Harding B 28(236), "Cold Winter"; Harding B 17(54a), "Cold Winter" or "Young Johnson"; Harding B 20(53), "Cold Winter's Gone and Past"
CROSS_REFERENCES:
cf. "Forglen (Forglen You Know, Strichen's Plantins)" (lyrics, form)
NOTES: Roud lumps a great many "cold winter is passed" type pieces under his #583 -- an understandable decision, given the state of the pieces. We try to restrict this item to "The Curragh of Kildare" and "The Winter It Is Past," filing the others separately
Which form is actually earliest I don't know with certanty; I called the piece "The Curragh of Kildare" rather than "The Winter It Is Past," even though the latter form seems better-attested, to make it clear that the Burns version is *not* original. - RBW
Broadside Bodleian Harding B 16(55a), among others, refers to "the borough of Kildare" rather than "the curragh of Kildare." - BS
The "winter is past" lyric may have been suggested by Song of Solomon 2:11 (a scrap which has been set to music on occasion by classical composers), but this is at best only a possibility; the parallel is slight.
Slightly closer is the parallel to one of John Gower's early French ballades (I'm not sure which one; I have only a translation, found in Garnett and Gosse's _English Literature: An Illustrated Record_, pp. 184-185 with no catalog indication), since it mentions not only the passing of winter but the rejoicing of birds, and it's a lost love piece. But while the one may have suggested the other, I doubt real dependence. - RBW
File: DTcurrki
===
NAME: Currency Lasses, The: see Botany Bay Courtship (The Currency Lasses) (File: FaE068)
===
NAME: Curse of Doneraile, The: see The Doneraile Litany (File: CrPS176)
===
NAME: Curst Wife, The: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Curtains of Night: see When the Curtains of Night Are Pinned Back (File: San259)
===
NAME: Custard Pie Blues
DESCRIPTION: "I'm going to tell you something baby, Ain't gonna tell you no lies, I want some of that custard pie. You got to give me some of it (x3) Before you give it all away." The singer informs the woman that she has the best pie in the world, and requests part
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: sex nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 129-130, "(Custard Pie Blues)" (1 text)
File: CNFM129
===
NAME: Custer's Last Charge (I)
DESCRIPTION: Custer leads his men into battle against the Sioux; a fierce scene is described, with bullets flying and dead falling on both sides. Three hundred US soldiers are killed and scalped by the Indians, who leave Custer with his dead
AUTHOR: unknown
EARLIEST_DATE: 1930
KEYWORDS: army battle fight violence war death corpse soldier Indians(Am.)
HISTORICAL_REFERENCES: June 25, 1876 - Battle of the Little Bighorn. Lt. Colonel George A. Custer (who had been a Major General during the Civil War) is killed, along with the entire force of cavalry (five companies with somewhat over 250 men) with him.
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Warde Ford, "Custer's Last Charge" (AFS 4199 B1, 1938; tr.; on LC30, in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "The Last Fierce Charge" [Laws A17] (subject)
NOTES: This is a separate song from "The Last Fierce Charge," although [some versions of] both describe the battle of the Little Bighorn. Confusingly, some versions of "The Last Fierce Charge" share this song's title. (And Roud lumps them, perhaps for that reason.) They can be distinguished by the description of two men and a letter, which is present in "The Last Fierce Charge" but not in "Custer's Last Charge."
Warde Ford states that the words to this song were copied from the Custer Monument by his friends Robert & Charles Walker, and that the tune is generic; I do not have information to confirm this. - PJS
File: RcCLC
===
NAME: Custer's Last Charge (II): see The Last Fierce Charge [Laws A17] (File: LA17)
===
NAME: Cutting Down the Pines: see The Lumber Camp Song (File: Doe210)
===
NAME: Cutty Wren, The
DESCRIPTION: Milder asks Malder questions ("Oh where are you going? says Milder to Malder"). Festle replies to Fose with a refusal to answer. John the Red Nose answers the questions. Most of the answers are extravagant ways of hunting the wren
AUTHOR: unknown
EARLIEST_DATE: 1908 (Mason's "Nursery Rhymes and Country Songs")
KEYWORDS: wren hunting questions talltale
FOUND_IN: Wales Britain(England)
REFERENCES: (5 citations)
Kennedy (78), "Helg yn Dreean/Hunt the Wren" (1 text, located in the notes)
Greenway-AFP, pp. 110-111, "The Cutty Wren" (1 text)
Darling-NAS, pp. 91-92, "The Cutty Wren" (1 text)
Silber-FSWB, p. 347, "The Cutty Wren" (1 text)
DT, CUTYWREN*
Roud #236
CROSS_REFERENCES:
cf. "The Wren (The King)" (subject)
cf. "Billy Barlow" (form)
cf. "Cricketty Wee" (form)
cf. "Hunt the Wren" (form, subject)
cf. "The Green Bushes" [Laws P2] (tune)
NOTES: Although widely popular in revival circles, "The Cutty Wren" has not been all that popular in tradition, being confined to places such as Wales, the Isle of Man, and northern England. The style (of distinct speakers carrying a conversation in order) is more common; see the cross-references.
Many have identified "Billy Barlow," "Cricketty Wee," or (especially) "Hunt the Wren" with "The Cutty Wren," but while the form is similar, and in the latter case even the subject is the same, the plot is distinct enough that the Index splits them.
For a little information, and a lot of speculation, on the history of wrenning, see the notes to "The Wren (The King)." - RBW
Opie-Oxford2 447, "We will go to the wood, says Robin to Bobbin" [also] gives background references about hunting the wren. - BS
File: DTcutywr
===
NAME: Cyclone Blues: see Kansas Cyclone (File: RcKansCy)
===
NAME: Cyclone of Rye Cove, The
DESCRIPTION: A tornado strikes the town of Rye Cove, and the schoolhouse is destroyed. Parents search the rubble, finding the bodies of their children.
AUTHOR: A. P. Carter (?)
EARLIEST_DATE: 1929 (recording, Carter Family)
KEYWORDS: grief death disaster storm
HISTORICAL_REFERENCES: 1928 - the Rye Cove storm in Scott County, Virginia
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
DT, RYECOVE
Roud #7116
RECORDINGS:
Carter Family, "The Cyclone of Ryecove" (Victor V-40207, 1930; Montgomery Ward M-7023, 1936; Zonophone [Australia] 4322, n.d.; rec. 1929)
DeBusk-Weaver Family, "Cyclone of Rycove" (on DeBusk-Weaver1)
Asa Martin, "Ryecove Cyclone" (Oriole 8163/Conqueror 8068 [as Martin & Roberts], 1932)
New Lost City Ramblers, "The Cyclone of Rye Cove" (on NLCR13)
File: DTryecov
===
NAME: D & H Canal, The
DESCRIPTION: (After an unrelated opening stanza), the song describes a flood which hit the canal in 1878. "The embankment broke" and "the damage was terrific"; the rest of the song details some of the damage done
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: canal flood
HISTORICAL_REFERENCES: 1828 - Opening of the Delaware & Hudson Canal
1898 - The D & H Canal closes
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 172, "The D & H Canal" (1 text, 1 tune)
ST FSC172 (Partial)
CROSS_REFERENCES:
cf. "Pop Goes the Weasel" (tune) and references there
cf. "Sarah Jane" (tune, floating lyrics)
File: FSC172
===
NAME: D-2 Horse Wrangler: see The Horse Wrangler (The Tenderfoot) [Laws B27] (File: LB27)
===
NAME: D-Day Dodgers, The
DESCRIPTION: "We're the D-Day Dodgers, out in Italy, Always on the vino, Always on the spree." The soldiers describe their allegedly safe and luxurious life: "Salerno, a holiday with pay," etc. They point out the nonsense of Lady Astor's remarks
AUTHOR: Hamish Henderson?
EARLIEST_DATE: 
KEYWORDS: war battle death
HISTORICAL_REFERENCES: July 10, 1943 - British and American troops attack Sicily (Messina falls on August 17, but the Germans have evacuated)
Sept 9, 1943 - Allies invade the Italian mainland
June 4, 1944 - Allies enter Rome
June 6, 1944 - D-Day. Invasion of Normandy begins
FOUND_IN: 
REFERENCES: (3 citations)
Scott-BoA, pp. 358-359, "D-Day Dodgers" (1 text, 1 tune)
Silber-FSWB, p. 282, "The D-Day Dodgers" (1 text)
DT, DDAY*
Roud #10499
RECORDINGS:
Pete Seeger, "The D-Day Dodgers" (on PeteSeeger39)
CROSS_REFERENCES:
cf. "Lili Marlene" (tune)
NOTES: Lady Astor, an American-born member of the British parliament, was reported to have criticised the Allied armies in Italy as "D-Day Dodgers." In fact they were some of the hardest-suffering troops of the war; they fought well-entrenched Germans and never received enough equipment or reinforcements. The troops in Normandy were, comparatively, lucky; casualties were lighter and conditions were better.
This song is how the troops answered Lady Astor.
The Folksinger's Wordbook credits this to Hamish Henderson, which is possible, as he wrote other "anonymous" songs of World War II. But I know of no actual proof, and many authors treat the song as anonymous. - RBW
File: SBoA358
===
NAME: D'ou Viens-Tu, Bergere?
DESCRIPTION: French: "'Where did you come from, shepherd girl?' 'I came from the stable... I saw a little child... Fairer than the moon... There his mother Mary did her babe enfold... Ox and ass before him... Then came three bright angels.'"
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: Christmas Jesus religious foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (2 citations)
Fowke/Johnston, pp. 126-127, "D'ou Viens-Tu, Bergere" (1 text, 1 tune)
Fowke/MacMillan 42, "D'ou Viens-Tu, Bergere?" (1 English and 1 French text, 1 tune)
NOTES: This is one of those Christmas songs built mostly around legends. There was no evidence that Bethlehem was cold at the time Jesus was born (for that matter, there is no evidence that it was in December), nor even that there were animals in his immediate vicinity. - RBW
File: FJ126
===
NAME: D'ye Ken John Peel?
DESCRIPTION: "Do ye ken John Peel with his coat so gray? Do ye ken John Peel at the break of day?" The singer talks of Peel's frequent hunting expeditions, detailing even his hounds. The singer will "follow John Peel through fair and through foul"
AUTHOR: Words: John Woodcock Graves / Music: Traditional
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: hunting dog
FOUND_IN: 
REFERENCES: (4 citations)
Stokoe/Reay, pp.  108-109, "D'ye Ken John Peel?" (1 text, 1 tune)
Silber-FSWB, p. 208, "John Peel" (1 text)
DT, JOHNPEEL*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #143, "John Peel" (1 text)
Roud #1239
CROSS_REFERENCES:
cf. "The Horn of the Hunter" (subject)
NOTES: Written by Graves to celebrate his friend John Peel. The tune is said to be "Bonnie Annie."
John Peel is not to be confused with the prime minister Sir Robert Peel (who created the "Peelers"). Born in 1776, John Peel lived until 1854, and "for over 40 years ran the famous pack of hounds that bore his name."
According to Stokoe, Graves (1795-1886) wrote the song while in the company of Peel. This would date the song before 1833, in which year Graves emigrated to Tasmania. - RBW
File: FSWB208
===
NAME: Da's All Right, Baby
DESCRIPTION: Patting chant. "Da's all righ', honey (x2), Way up yonder, darlin', 'Bove the sun, sugar, Girls all call me honey." Odds and ends about courting. The singer warns that yonder girl will "git you too."  He is going away someday
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: love courting nonballad betrayal
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 239-240, "Da's All Right, Baby" (1 text, 1 tune)
Roud #15037
File: LxA239
===
NAME: Dabbling in the Dew: see Rolling in the Dew (The Milkmaid) (File: R079)
===
NAME: Daddy Wouldn't Buy Me a Bow-Wow
DESCRIPTION: The child regularly brings her cat to school because, she explains, "Daddy wouldn't buy me a bow-wow." She intends to do as she "'likes'" when she gets old, and have a parrot and children.
AUTHOR: Joseph Tabrar
EARLIEST_DATE: 1927
KEYWORDS: animal dog children
FOUND_IN: 
REFERENCES: (1 citation)
Spaeth-WeepMore, pp. 258-259, "Daddy Wouldn't Buy Me a Bow-Wow" (1 text, 1 tune)
Roud #13973
NOTES: It's songs like this that make me wish we had a keyword "stupid." But the piece proved much more popular than it deserved, so here it is. - RBW
File: SWM258
===
NAME: Daemon Lover, The (The House Carpenter) [Child 243]
DESCRIPTION: A girl who once loved a sailor is greeted by her lost lover (, now rich and powerful). He bids her come with him; she points out that she is married and has a child. He convinces her to come with him. Their ship sinks not far from land
AUTHOR: unknown
EARLIEST_DATE: 1737
KEYWORDS: courting infidelity abandonment Devil death
FOUND_IN: Britain(Scotland(Aber),England(South)) US(Ap,MA,MW,NE,NW,SE,So,SW) Canada(Mar,Newf)
REFERENCES: (49 citations)
Child 243, "James Harris (The Daemon Lover)" (8 texts)
Bronson 243, "James Harris (The Daemon Lover)" (146 versions+1 in addenda)
BarryEckstormSmyth pp. 310-313, "The House Carpenter" (1 text plus a fragment and a broadside version, 1 tune) {Bronson's #53}
Belden, pp. 79-87, "James Harris (The Daemon Lover)" (4 texts plus mention of 5 others, 2 tunes) {Bronson's #106, #124}
Randolph 30, "The House Carpenter" (4 texts plus 7 excerpts and 5 fragments, 8 tunes) {A=Bronson's #117, B=#114, E=#99, I=#122, J=#90, M=#5, N=#101, P=#97}
Randolph/Cohen, pp. 54-56, "The House Carpenter" (1 text, 1 tune -- Randolph's 30J) {Bronson's #90}
Eddy 23, "James Harris (The Daemon Lover)" (4 texts plus an excerpt, 4 tunes) {Bronson #121,#125,#55,#95}
Gardner/Chickering 10, "The House Carpenter" (2 texts plus an excerpt, 3 tunes) {Bronson's #131, #66, #128}
Dean, pp. 55-56, "The Faithless Wife" (1 text)
Flanders/Olney, pp. 243-244, "The Young Turtle Dove" (1 text, with an introductory "Turtle Dove" verse)
Flanders-Ancient3, pp. 287-321, "James Harris, or the Daemon Lover" (13 texts plus 3 fragments, some mixed with other songs (e.g. "G" has the "Turtle Dove" verse; "N" is very confused, with references to the Banks of Claudy), 11 tunes) {A=Bronson's #93, N=#141}
Davis-Ballads 40, "James Harris (The Daemon Lover)" (27 texts plus two versions in the appendix which are "Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove)" with added "House Carpenter" verses; 7 tunes all entitled "The House Carpenter"; 23 more versions mentioned in Appendix A) {Bronson's #139,#42,#86,#62,#137,#52,#89}
Davis-More 36, pp. 270-289, "James Harris (The Daemon Lover)" (9 texts plus an excerpt, 10 tunes)
BrownII 40, "James Harris (The Daemon Lover)" (5 text plus 7 excerpts and mention of 2 more)
Chappell-FSRA 18, "The Demon Lover" (1 text, 1 tune) {Bronson's #94}
Hudson 21, pp. 119-122, "James Harris (The Daemon Lover)" (2 texts)
MHenry-Appalachians, pp. 59-61, "The House Carpenter" (1 text)
Shellans, pp. 30-31, "The House Carpenter" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 150-159, "James Harris (The Daemon Lover)" (6 texts, all of which are entitled "The House Carpenter"; 3 tunes on pp. 400-401) {Bronson's #64, #58, #25}
Brewster 21, "James Harris" (9 texts, 2 tunes) {Bronson's #93, #127}
Peacock, pp. 740-741, "The Young Ship's Carpenter" (1 text, 1 tune)
Creighton-SNewBrunswick 5, "The House Carpenter" (1 text, 1 tune)
Leach, pp. 598-606, "James Harris (The Daemon Lover)" (4 texts)
McNeil-SFB2, pp. 122-131, "The House Carpenter's Wife"; "The House Carpenter"; "J'ai Marie un Ouvrier" (4 texts (1 Cajun French), 4 tunes)
OBB 28, "The Daemon Lover" (1 text)
Friedman, p. 13, "James Harris (The Demon Lover; The House Carpenter)" (2 texts, 1 tune)
Wyman-Brockway II, p. 54, "The Daemon Lover" (1 text, 1 tune) {Bronson's #91}
Ritchie-Southern, pp. 84-85, "The Little Carpenter" (1 text, 1 tune) {compare Bronson's #44, from a recording, showing a slightly different tune but almost the same text except that it is a "House Carpenter" rather than a "Little Carpenter"}
FSCatskills 74, "The Ship's Carpenter" (1 text, 1 tune)
Warner 45, "The Ship Carpenter" (1 text, 1 tune)
PBB 65, "James Harris (The Demon Lover)" (1 text)
Niles 55, "James Harris (The Daemon Lover" (1 text, 1 tune)
SharpAp 35, "The Daemon Lover" (10 texts plus 12 fragments, 22 tunes){Bronson's #2, #10, #54, #77, #113, #135, #23, #7, #29, #14, #109a, #50, #9, #65, #6, #36, #21, #48, #80, #74, #81, #136}
Sharp/Karpeles-80E 25, "The House Carpenter (The Daemon Lover)" (1 text, 1 tune) {Bronson's #9}
Sandburg, pp. 66-67, "The House Carpenter" (1 text, 1 tune) {Bronson's #118}
Lomax-FSNA 88, "The House Carpenter" (1 text, 1 tune)
Hodgart, p. 75, "James Harris (The Demon Lover)" (1 text)
JHCox 25, "James Harris (The Daemon Lover)" (5 texts plus mention of 16 others, 1 tune) {Bronson's #120}
JHCoxIIA, #12A-D, pp. 48-56, "The House Carpenter," "The House Carpenter's Wife" (4 texts, 3 tunes) {Bronson's #32, #83, #130}
Fowke/MacMillan 81, "The House Carpenter" (1 text, 1 tune)
TBB 34, "The Daemon Lover" (1 text)
Gilbert, pp. 35-36, "The House Carpenter and the Ship Carpenter" (1 text)
Abrahams/Foss, pp. 25-27, "The House Carpenter" (1 text, 1 tune)
LPound-ABS, 17, pp. 43-45, "The House Carpenter" (1 text)
Darling-NAS, pp. 34-36, "The House Carpenter" (1 text)
Silber-FSWB, p. 218, "The House Carpenter's Wife" (1 text)
BBI, ZN2466, "There dwelt a fair Maid in the West"
DT 243, HOUSCARP* HOUSCRP2* HOUSCRP3*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), p. 208, "The House Carpenter" (1 text)
Roud #14
RECORDINGS:
Clarence Ashley, "The House Carpenter" (Columbia 15654-D, 1931; rec. 1930; on AAFM1, BefBlues3) {Bronson's #70}
Clarence Ashley & Tex Isley, "The House Carpenter" (on Ashley01)
Pearl Jacobs Borusky, "Well Met, My Old True Love" (AFS, 1940; on LC58) {Bronson's #103}
Sheila Clark, "House Carpenter" (on LegendTomDula)
Carolina Tar Heels, "Can't You Remember When Your Heart Was Mine?" (Victor V-40219, 1930)
Dillard Chandler, "Little Farmer Boy" (on Chandler01)
Rebecca King Jones, "The House Carpenter" [excerpt] (on USWarnerColl01)
Bradley Kincaid, "The House Carpenter" (Bluebird 5255/Sunrise 3338, 1933)
A. L. Lloyd, "The Demon Lover" (on Lloyd3, ESFB1, ESFB2)
Almeda Riddle, "The House Carpenter" (on LomaxCD1706) {Bronson's #71}
Jean Ritchie, "The House Carpenter" (on JRitchie01)
Jean Ritchie & Doc Watson, "The House Carpenter" (on RitchieWatson1, RitchiteWatsonCD1)
Hobart Smith & Texas Gladden, "The House Carpenter" (Disc 6079, 1940s) {Bronson's #47}
Lillie Steele, "The House Carpenter" (on PSteele01) {Bronson's #24}
Doug Wallin, "The House Carpenter" (on Wallins1)
Clay Walters, "The Ship Carpenter" (AFS, 1937; on LC58) {Bronson's #13 or #78}
Annie Watson & Gaither Carlton, "The House Carpenter" (on Watson01)
BROADSIDES:
Bodleian, Harding B 18(255), "House Carpenter," J.H. Johnson (Philadelphia), n.d.
LOCSinging, sb40538b, "The House Carpenter," H. De Marsan (New York), 1864-1878; also as105530, "The House Carpenter" 
NOTES: Although Child calls this "The Daemon Lover," a survey of the 163 versions printed or cited in Bronson shows that 99 are named "The House Carpenter" or minor variants, and several others were probably retitled by the editors. This probably ought to be the family name -- but I adopted the one I did as a partial link to Child. - RBW
Broadside LOCSinging sb40538b: 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: C243
===
NAME: Daily Growing: see A-Growing (He's Young But He's Daily A-Growing) [Laws O35] (File: LO35)
===
NAME: Dainty Doonby, The
DESCRIPTION: "A lassie was milkin' her faither's kye When a gentleman on horseback he cam' riding by... He was the laird o' the Dainty Doonby." The laird seduces then abandons the girl. Months later, he comes to ask of her health. She is pregnant; he marries her
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd)
KEYWORDS: courting seduction sex pregnancy nobility abandonment reunion marriage
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Kennedy 179, "The Lady o' the Dainty Doon-by" (1 text, 1 tune)
MacSeegTrav 21, "The Laird of the Denty Doon Bye" (1 text, 1 tune)
DT, DDOONBY*
Roud #864
RECORDINGS:
Lizzie Higgins, "The Laird O' the Dainty Doonby" (on Voice06)
CROSS_REFERENCES:
cf. "The Broom of Cowdenknows" [Child 217] (plot)
cf. "The Wylie Wife of the Hie Toun Hie" [Child 290] (plot)
cf. "The Sleepy Merchant" (plot)
cf. "The Bonnie Parks o' Kilty" (plot)
NOTES: Abby Sale suggests that this is a version of "The Broom of Cowdenknows" [Child 217]. The plots are the much the same (except for the role of the parents, who in "Cowdenknows" are hostile if they show up at all, but here are sympathetic), but the overall form suggests the songs are separate. - RBW
File: K179
===
NAME: Dairy Farmer, The: see Watercresses (File: Peac320)
===
NAME: Daisy Deane
DESCRIPTION: The singer recalls meeting Daisy Deane in a flowery meadow where the birds sang. He recalls that she outshone the flowers. But now both are faded; Daisy is dead
AUTHOR: Lt. T. F. Winthrop & James R. Murray
EARLIEST_DATE: 1863 (sheet music)
KEYWORDS: death courting flowers
FOUND_IN: US(SE)
REFERENCES: (1 citation)
McNeil-SFB2, pp. 162-165, "Daisy Deane" (2 texts, one the original print version and the other a field collection; 2 tunes)
ST MN2162 (Partial)
Roud #4269
RECORDINGS:
Grandpa Jones, "Daisy Dean" (King 834, 1949)
NOTES: There is a "Daisy Deane Songster" dated 1869, presumably named after the heroine of his song. This would seem to imply a high degree of popularity for the song, at least for a time. - RBW
File: MN2162
===
NAME: Dakota Land
DESCRIPTION: "We've reached the land of desert sweet Where nothing grows for man to eat." "O Dakota land, sweet Dakota land, As on thy fiery soil I stand, I look across the plains And wonder why it never rains." Settlers stay only because "we are too poor to get away"
AUTHOR: unknown
EARLIEST_DATE: 1914
KEYWORDS: pioneer hardtimes parody
FOUND_IN: US(Ro)
REFERENCES: (7 citations)
Sandburg, pp. 280-281, "Dakota Land" (1 text, 1 tune)
Fife-Cowboy/West 23, "Dakota Land" (3 texts, 1 tune)
Ohrlin-HBT 9, "Dakota Land" (1 text, 1 tune)
LPound-ABS, 86, p. 185, "Dakota Land" (1 text)
Pankake-PHCFSB, p. 155, "Dakotaland" (1 text, tune referenced); pp. 248-249, "Sweet Dakotaland" (1 text, 1 tune, perhaps a parody of this parody!)
Silber-FSWB, p. 119, "Dakota Land" (1 text)
DT, DAKOTLND* SWTDAKOT
Roud #4899
CROSS_REFERENCES:
cf. "Beulah Land" (tune)
cf. "Saskatchewan" (tune, theme)
NOTES: Although the "Dakota Land" form seems to be the most common in tradition, local versions have sprouted for much of the West. Thus the Fifes lists texts for "Dakota Land," "Nebraska Land," and "Missouri Land." "Saskatchewan" also follows this form, but it has been adapted enough that I think it qualifies as a separate song. - RBW
The Pankakes report this to the tune of "O Tannenbaum." I don't recall any other version to that tune. - RBW
File: San280
===
NAME: Dallas County Jail, The: see Logan County Jail (Dallas County Jail)  [Laws E17] (File: LE17)
===
NAME: Dally Roper's Song, The: see The Chisholm Trail (I) (File: R179)
===
NAME: Dam on Baldwin Creek, The [Laws C21]
DESCRIPTION: Sawmill boss Bill Reed has set up a cofferdam which fails; the sawmill is saved by sandbags placed by Old George Shane. Reed tries to restart the mill too soon; his errors cause him to be replaced by Old George
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: logger flood boss lumbering
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Laws C21, "The Dam on Baldwin Creek"
Beck 30, "The Dam on Baldwin Creek" (1 text)
DT 838, BALDCRK
Roud #1927
NOTES: Beck notes that some versions of this song include a few obscenities. Not [his text], though. - PJS
One can only wish one knew the sources of Beck's information, as his is the only version known to Laws. - RBW
File: LC21
===
NAME: Dame Durden
DESCRIPTION: "Dame Durden kept five servant maids To carry the milking pail, She also kept five lab'ring men To use the spade and flail." The sundry workers are listed, as well as their (amorous) adventures on Valentine's Day
AUTHOR: unknown
EARLIEST_DATE: 1923
KEYWORDS: courting love work servant
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 293, "Dame Durden" (1 text, 1 tune)
DT, DAMEDURD
Roud #1209
RECORDINGS:
Bob & Ron Copper, "Dame Durden" (on FSB1)
CROSS_REFERENCES:
cf. "Under the Greenwood Tree" (form) and references there
File: K293
===
NAME: Dame, Get Up and Bake Your Pies (Christmas Day in the Morning)
DESCRIPTION: "Dame, get up and bake your pies, Bake your pies, bake your pies, Dame, get up... On Christmas day in the morning." "Dame, what makes your maidens lie?" "Dame, what makes your ducks to die?" "Their wings are cut, they cannot fly."
AUTHOR: unknown
EARLIEST_DATE: 1778 (according to Opie-Oxford2)
KEYWORDS: cook food Christmas bird
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
Baring-Gould-MotherGoose #420, pp. 195-196, "(Dame, get up and bake your pies)"
Opie-Oxford2 126, "Dame, get up and bake your pies" (1 text)
Roud #497
File: BGMG420
===
NAME: Damn the Filipinos
DESCRIPTION: "In that land of dopey dreams, happy peaceful Philippines," the singer complains of the hardships suffered by American soldiers and of the lack of social grace of the natives. He calls for "civiliz[ing] them with a Krag" and curses them repeatedly
AUTHOR: unknown
EARLIEST_DATE: 1910 (Harper's Weekly)
KEYWORDS: war rebellion army curse
HISTORICAL_REFERENCES: 1898 - Spanish-American War results in American occupation of the Philippines.
FOUND_IN: 
REFERENCES: (2 citations)
Lomax-ABFS, pp. 547-548, "Damn the Filipinos" (1 text, 1 tune)
DT, DAMFILIP*
Roud #15578
NOTES: During the Spanish-American War, almost the entire population of the Philippines welcomed the Americans as liberators. The Americans didn't live up to their part of the bargain, though; independence was not granted for half a century.
As a result, a strong resistance movement arose under Emilio Aguinaldo (1870-1964). Aguinaldo originally fought against the Spanish (from 1896), then turned against the Americans. He was captured in 1901, but the resistance movement lasted much longer. - RBW
File: LxA547
===
NAME: Damn, Damn, Damn the Filipinos: see Damn the Filipinos (File: LxA547)
===
NAME: Damsel Possessed of Great Beauty, A: see Gallant Hussar, The (A Damsel Possessed of Great Beauty) (File: E147)
===
NAME: Damsel's Tragedy, The
DESCRIPTION: When her son falls in love with a girl she finds unsuitable, his mother first blusters, then murders the girl. The girl's ghost walks to tell her lover. The son accuses his mother, then kills himself. The mother completes the circle by committing suicide
AUTHOR: unknown
EARLIEST_DATE: 1930 (Flanders/Brown)
KEYWORDS: love courting homicide betrayal suicide ghost mother children
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, pp. 97-98, "The Damsel's Tragedy" (1 text)
ST FlBr097 (Partial)
Roud #4663
CROSS_REFERENCES:
cf. "Beautiful Susan" [Laws M29] (theme)
NOTES: Although most of the themes in this song are commonplace, this strikes me as just a little too Antigone-ish to be real. Certainly it didn't become widespread. - RBW
File: FlBr097
===
NAME: Dan Curley
DESCRIPTION: May 18, singer hears Dan Curley's wife crying. Curley is being executed for the Phoenix Park murders on the word of the informer, James Carey. She wishes Carey be evicted, his wife be a widow, and his children wander homeless. She will join Curley soon.
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: betrayal homicide curse revenge nonballad wife death
HISTORICAL_REFERENCES: Chronology of the Phoenix Park murders (source: primarily Zimmermann, pp. 62, 63, 281-286.)
May 6, 1882 - Chief Secretary Lord Frederick Cavendish and the Under Secretary Thomas Henry Burke are murdered by a group calling themselves "The Invincible Society."
January 1883 - twenty seven men are arrested.
James Carey, one of the leaders in the murders, turns Queen's evidence.
Six men are condemned to death, four are executed (Joseph Brady is hanged May 14, 1883; Daniel Curley is hanged on May 18, 1883), others are "sentenced to penal servitude," and Carey is freed and goes to South Africa.
July 29, 1883 - Patrick O'Donnell kills Carey on board the "Melrose Castle" sailing from Cape Town to Durban.
Dec 1883 - Patrick O'Donnell is convicted of the murder of James Carey and executed in London (per Leach-Labrador)
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 19, "Dan Curley" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Phoenix Park Tragedy" (subject: the Phoenix Park murders) and references there
File: McB1019
===
NAME: Dan Curry
DESCRIPTION: The singer meets a woman "dressed in deep mournin' With a babe on her bosom" on the banks of the Effie. She says "Felix Parks murdered my husband, Dan Curry.... May his short life be wrecked and his wife die a widow" She hopes to meet Curry in heaven.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Manny/Wilson)
KEYWORDS: mourning homicide wife husband curse
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 64, "Dan Curry" (1 text, 1 tune)
ST MaWi064 (Partial)
Roud #9210
NOTES: Although the names in this song sound English, and the only known versions seem to be Canadian, it sounds very Irish to me. I checked both current and somewhat older atlases, and found no river Effie. An error for "Liffey," perhaps? - RBW
File: MaWi064
===
NAME: Dan Dan
DESCRIPTION: Shanty. "Oh my name is Dan Dan! Ho! Somebody drink me rum. Ho! Somebody wears me clothes, Ho!" Little more than a chant used for hauling, the pull coming on 'Ho!"
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, p. 440, "Dan Dan" (1 short text, 1 tune) [AbEd, p. 331]
File: Hugi440
===
NAME: Dan Murphy's Convoy
DESCRIPTION: The singer recalls what happened at the convoy. He lists the people who showed up. They start a dance, then interrupt it. There is a fine dinner, and much drink. Fights break out; there is much commotion; a fine time is had by all
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: party dancing drink humorous
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H663, p. 72, "Dan Murphy's Convoy" (1 text, 1 tune)
Roud #9050
File: HHH663
===
NAME: Dan-Doo: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Danae, The: see Isabeau S'y Promene (Isabel) (File: SBoA297)
===
NAME: Dance Song: see Jingle at the Window (Tideo) (File: R525)
===
NAME: Dance the Boatman: see De Boatman Dance (File: BMRF566)
===
NAME: Dance Ti' Thy Daddy: see Dance To Your Daddy (File: FSWB409)
===
NAME: Dance to Your Daddy
DESCRIPTION: "Dance to your daddy, my little laddie, Dance to your daddy, my little man. You shall have a fish and you shall have a fin, You shall have a coddlin' when the boat comes in." The child is told that he will grow up, marry, and love the girl his whole life
AUTHOR: unknown
EARLIEST_DATE: 1842 (Fordyce's Newcastle Song Book, according to Opie-Oxford2)
KEYWORDS: dancing family father nonballad
FOUND_IN: Britain(England(North)), Ireland US(Ap)
REFERENCES: (7 citations)
Stokoe/Reay, pp.  76-77, "Dance Ti' Thy Daddy" (1 text, 1 tune)
Opie-Oxford2 123, "Dance to your daddy" (3 texts)
Baring-Gould-MotherGoose #563, p. 229, "(Dance to your daddy)"
Montgomerie-ScottishNR 104, "(Dance to your daddy)" (1 text)
Ritchie-Southern, p. 83, "Dance to Your Daddy" (1 short  text partly rewritten by Jean Ritchie, 1 tune)
Silber-FSWB, p. 409, "Dance To Your Daddy" (1 text)
DT, DANCEDAD* DANCDAD2*
Roud #2439
RECORDINGS:
Elizabeth Cronin, "Dance to Your Daddy" (on Lomax42, LomaxCD1742)
Ritchie Family, "Dance To Your Daddy" (on Ritchie03)
NOTES: This appears, from the dialect and the unusually full form found in Stokoe, to have originated in Northumbria in England. But there are a lot of filed-down versions; I'm not entirely sure whether these are traditional or pop-folksingers' attempts to make the song more accessible to urban audiences - RBW
Jean Ritchie notes that she sings this song to her son; she doesn't say it's one she learned from her family, but she hints that she did, so I include, "FOUND IN US(Ap)". However, at this point in her life she'd done folklore research in Britain and may have picked it up there. - PJS
File: FSWB409
===
NAME: Dance, Thumbkin, Dance
DESCRIPTION: A childrens's game for the fingers: "Dance, Thumbkin, dance, Dance, ye merry men, every one: But Thumbkin, he can dance alone, Thumbkin, he can dance alone." Similarly for the other four digits, Foreman, Longman, Ringman, Littleman
AUTHOR: unknown
EARLIEST_DATE: 1831 (Mrs Child's Girls Own Book, according to Opie-Oxford2)
KEYWORDS: nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 500, "Dance, Thumbkin, dance" (1 text)
Baring-Gould-MotherGoose #576, p. 233, "(Dance Thumbkin, Dance)"
Roud #12837
File: BGMG576
===
NAME: Dancing in Glenroan (Rinnceoiri Ghleann Ruain)
DESCRIPTION: The singer, "growing old and weary," recalls the dancing of his youth in Glenroan; "my heart is filled with wonder Why we ever leave such pleasure for a world so cold and lone" He is comforted by the thought that youngsters are still dancing there.
AUTHOR: Felix Kearney (source: Tunney-SongsThunder)
EARLIEST_DATE: 1991 (Tunney-SongsThunder)
KEYWORDS: age dancing music lyric nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-SongsThunder, pp. 71-72, "Dancing in Glenroan" (1 text)
CROSS_REFERENCES:
cf. "Kerry Dance" (theme)
NOTES: Tunney-SongsThunder: Translated into Gaelic as "Rinnceoiri Ghleann Ruain" by Arthur Kearney.
Glenroan is in County Tyrone. - BS
File: TST071
===
NAME: Dandoo: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Dandy Apprentice Boy, The: see The Bonny Sailor Boy [Laws M22] (File: LM22)
===
NAME: Dandy Chignon, The: see Oyster Shell Bonnets and Chignons (The Dandy Chignon) (File: HHH227)
===
NAME: Daniel Cooper
DESCRIPTION: The drinking and sexual adventures of Daniel Cooper and others. When the Piper's wife lifts her smock he "claw'd her." He lies with a milk-maid who leaves happy but pregnant. Lady Cardle says he's a bonny loon. A widow dances naked for highland boys.
AUTHOR: 1683 (broadside, Douce Ballads 1(51a))
EARLIEST_DATE: 
KEYWORDS: sex adultery pregnancy drink bawdy humorous nonballad rake
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Douce Ballads 1(51a), "Daniel Cooper" or "The High-land Laddy," P. Brooksby (London)), 1683
NOTES: One text of Opie-Oxford2 523, "We're all dry with drinking on't" quotes the first verse of "Daniel Cooper"
Broadside Bodleian Douce Ballads 1(51a) includes the tune which, the broadside says, is "a Scotch tune, called Wally on't, Or, We'l welcome you to Yarrow. Up go we, Or, Jenny Gin.." - BS
File: BdBDaCoo
===
NAME: Daniel in the Den of Lions: see Who Did Swallow Jonah? (File: FSWB386B)
===
NAME: Daniel in the Lion's Den
DESCRIPTION: "Among the Jewish captives one Daniel there was found." Daniel's piety is renowned. His enemies cause the King to demand that all people worship only the King for 30 days. Daniel does not, is thrown to the lions -- and survives
AUTHOR: unknown
EARLIEST_DATE: 1916 (Brown); there are several older references to songs of this title, but they may not be the same
KEYWORDS: religious animal royalty Bible Jew
FOUND_IN: US(Ap,SE)
REFERENCES: (2 citations)
BrownIII 524, "Daniel in the Lion's Den" (1 text)
SharpAp 194, "Daniel in the Lion's Den" (1 text, 1 tune)
Roud #3614
RECORDINGS:
Sister Rosetta Tharpe, "Daniel in the Lion's Den" (Decca 48116, c. 1948)
NOTES: This is too accurate to be folk song. (Too bad there was no king called Darius the Mede, so the whole section in Daniel is demonstrably historically inaccurate.) This is a dull but correct retelling of the events in Daniel 6. - RBW
File: Br3524
===
NAME: Daniel Monroe: see Donald Munroe [Laws J12] (File: LJ12)
===
NAME: Daniel O'Connell (I)
DESCRIPTION: Singer overhears an old woman and a tinker; he says Daniel O'Connell is now making children in Dublin by steam; those made the old way are too few. She berates O'Connell for removing the people's best diversion; he salutes her
AUTHOR: unknown
EARLIEST_DATE: 1957 (recording, O. J. Abbott)
LONG_DESCRIPTION: Singer overhears an old woman and a tinker talking; he says Daniel O'Connell is now making children in Dublin by steam, because those made the old way are too small and too few. She berates O'Connell for removing the people's best diversion; he salutes her, saying that if all women in Ireland were as plucky as she, the nation would have babies aplenty (for the Queen's army)
KEYWORDS: age disability sex army pregnancy Ireland political baby children tinker
HISTORICAL_REFERENCES: 1775-1847 - Life of Daniel O'Connell
FOUND_IN: Canada(Ont)
REFERENCES: (0 citations)
Roud #2313
RECORDINGS:
O. J. Abbott, "Daniel O'Connell" (on Abbott1)
CROSS_REFERENCES:
cf. "Fergus O'Connor and Independence" (subject: Daniel O'Connell and the Tithe War)
cf. "Daniel O'Connell (II)" (subject: Daniel O'Connell)
cf. "Erin's Green Shore [Laws Q27]" (subject: Daniel O'Connell)
cf. "By Memory Inspired" (subject: Daniel O'Connell)
cf. "Charlie Jack's Dream" (subject: Daniel O'Connell)
cf. "Annie Moore" (subject: Daniel O'Connell)
cf. "An Irish Girl's Opinion" (subject: Daniel O'Connell)
cf. "Old Ireland I Adore" (subject: Daniel O'Connell)
cf. "Granuaile" (subject: Daniel O'Connell)
cf. "Gra-mo-chroi. I'd Like to See Old Ireland Free Once More" (subject: Daniel O'Connell)
cf. "Come to the Bower" (subject: Daniel O'Connell)
cf. "The Shan Van Voght (1828)," (subject: Daniel O'Connell)
cf. "Glorious Repeal Meeting Held at Tara Hill" (subject: Daniel O'Connell)
cf. "The Meeting of Tara" (subject: Daniel O'Connell)
cf. "Erin's King (Daniel Is No More)" (subject: Daniel O'Connell)
cf. "Kerry Eagle" (subject: Daniel O'Connell)
cf. "Grand Conversation on O'Connell Arose" (subject: Daniel O'Connell)
cf. "Not a Word of 'No Surrender'" (subject; Protestant opposition to Daniel O'Connell)
NOTES: Daniel O'Connell (1775-1847) [was] leader of Catholic Association whose pressure led to the Catholic Emancipation Act, 1829.
"Tinker," in this context, means one of the travelling people, rather than a worker in tin. Fowke notes drily that this aspect of O'Connell's long career "seems to have been overlooked by his biographers." - PJS
I wonder if this might not be confused with the life of another Irish hero, Charles Stewart Parnell (1846-1891), whose career was blighted by sex scandals. Given that the only surviving version of this song seems to be O. J. Abbott's, such a thing is possible.
There is severe irony in O'Connell urging that Ireland breed up more people; his last major speech, in 1847, was on the disaster of the potato famine -- which of course was so deadly only because Ireland had more people than it could reasonably support.
There is another Canadian Daniel O'Connell song, a fragment collected by Creighton. It perhaps reveals how many Irish left Ireland after the famines that both songs are found only outside Ireland. - RBW
File: RcDanOco
===
NAME: Daniel O'Connell (II)
DESCRIPTION: "In the year of our Lord eighteen hundred and four There was great rejoicing round Erin's green shore, When Daniel O'Connell he made this appeal: 'All I want is fair justice to gain my repeal.'"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS:  Ireland political
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 95, "Daniel O'Connell" (1 fragment, 1 tune)
Roud #2771
CROSS_REFERENCES:
cf. "The Battle of Carrickshock" (subject: The Tithe War) and references there
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: The current description is all of the Creighton-SNewBrunswick fragment.
See also Bodleian, 2806 c.15(195), "Erin's Green Linnet ("On a fair summer's morning as day was just dawning"); Harding B 19(39), "The Green Linnet"
Daniel O'Connell (1775-1847) tried to convince the British to reform administration of Ireland and was the leading figure on behalf of Catholic Emancipation. (For his history, see also "Erin's Green Shore" [Laws Q27]).
Creighton-SNewBrunswick: "Our solitary stanza may refer to the Tithe War." That may be but does not tie in with 1804. 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) - BS
I am more inclined to accept the date than Creighton's explanation. O'Connell first came to prominence at the time of the 1800 Union of Ireland and England: He opposed it. (Quite reasonably, since Ireland had had a real parliament and significant self-rule under the old constitution which Union replaced.)
The name of the anti-Union movement? "Repeal."
The notion of Repeal became more of a platform in 1832, when O'Connell formed a party in parliament for the purpose. But he had been talking about the notion for decades. The date 1804 makes some sense, because it was the last year in which his primary issue was avoiding Union; starting in 1805 and for many years after, his chief demand was Catholic "emancipation" (read, essentially, enfranchisement, though it's a lot more complicated than that).
Healy-OISBv2 includes a very large section of O'Connell pieces (roughly p. 85-101, plus a few others). Few of these show any hints of being traditional. - RBW
File: CrSNB095
===
NAME: Daniel Prayed
DESCRIPTION: Daniel prays to God three times a day. Cast in the lions' den, the lions' jaws are locked. Listeners should follow his example. Chorus: "Old Daniel served the living God/While here upon this earth he trod...Daniel prayed every morning, noon and night"
AUTHOR: G. T. Speer
EARLIEST_DATE: 1936 (composed)
KEYWORDS: captivity Bible religious animal gods
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #7692
RECORDINGS:
Fred Price, Clint Howard & Doc Watson, "Daniel Prayed" (on Ashley03, WatsonAshley01)
Stanley Brothers "Daniel Prayed" (on StanBros01)
NOTES: Ralph Rinzler notes that Price, Howard & Watson refreshed their memory of this song from the shape-note hymnal "The Best of All," from whence comes the attribution to G. T. Speer and the date. - PJS
In Daniel 6, the (non-existent) king Darius the Mede ordered that no one pray to anyone but him for thirty days (an inconceivable order from the historical Darius I of Persia, who was a Zoroastrian monotheist, and hardly more likely from Cyrus the Great of Persia, who conquered Babylon, since he was religiously tolerant). In 6:13, we read that Daniel nonetheless prayed three times a day. The rest of chapter 6 explains the result. - RBW
File: RcDanlPr
===
NAME: Daniel Sullivan [Laws E22]
DESCRIPTION: Daniel Sullivan offers himself as a warning against passion. As an infant, his mother dreamed of him hanging. Having gone abroad, he murders a man. Lonely and penitent, he is scheduled to die. He bids farewell to family and meets his fate
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: dream homicide execution warning
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Laws E22, "Daniel Sullivan"
DT 833, DANSULL*
Roud #4728
File: LE22
===
NAME: Danny Boy (The Londonderry Air)
DESCRIPTION: The singer laments that her Danny Boy is called away. She promises to be waiting when he returns to her. Even if she dies, she will await him
AUTHOR: Words: Fred(eric) E. Weatherly?
EARLIEST_DATE: 1855 (Petrie Collection); words written 1913
KEYWORDS: love separation
FOUND_IN: Ireland
REFERENCES: (4 citations)
Silber-FSWB, p. 323, "Danny Boy" (1 text)
Fuld-WFM, p. 337, "Londonderry Air"
SHenry H3, p. 286, "The Londonderry Air" (1 tune, plus a text known not to have been traditional)
DT, DANNYBOY*
SAME_TUNE:
O, Jeanie Dear (File: HHH545)
NOTES: Fuld reports that the name "Londonderry Air" came about because the tune "was collected by Miss J. Ross of the county of Londonderry." Little else seems to be known of its ancestry. Anne G. Gilchrist published an article, "A New Light upon the Londonderry Air" in JFSS (December 1934).
Fuld attributes the words to Weatherly (1848-1929) without supporting documentation, and many people seem unaware of it. He has six poems attributed to him in _Granger's Index to Poetry._ "Danny Boy" is not one of then. Three of the pieces ("The Holy City," "The Angels to the Shepherds Sang," and "When the Christ Child Came") are religious; the others appear to be for children. None proved very popular.
 _Bartlett's_ (13th edition) cites three Weatherly pieces, none of them the same as the ones quoted in _Granger's_ -- though one of them, "Nancy Lee," has had some slight traditional popularity. But none have themes similar to this. If Fuld's attribution is correct, this seems to have been a unique item for Weatherly in style as in populatiry. - RBW
File: FSWB323
===
NAME: Danny Sim's Sow
DESCRIPTION: "There was a drunken collier, they ca'd him Danny Sim." Danny, sent to buy feed for the sow, instead spends it drinking. His wife complains. He grabs a pick (pike?) and beats her. He offers a sow to the butcher, and sells his bruised wife
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: drink animal abuse injury commerce
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 401-403, "Danny Sim's Sow" (1 text)
Roud #5616
NOTES: Although clearly meant to be funny, this strikes me as being about as humorous as mud. - RBW
File: Ord401
===
NAME: Danny Winters
DESCRIPTION: "Danny Winters went a-courtin', hi, hey an' ho, Choosed a sweetheart with a red head, bow, bow low, Wed a redhead, wished himself dead, Dan Danny-O. "Danny Winters lay a-moanin... Redhead was too wild a partner... Wife a flyin', Dan a-dyin'...."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Randolph)
KEYWORDS: courting marriage playparty
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 548, "Danny Winters" (1 short text, 1 tune)
Randolph/Cohen, pp. 404-405, "Danny Winters" (1 text, 1 tune -- Randolph's 548)
Roud #7648
File: R548
===
NAME: Dans Les Chantiers (The Winter Camp)
DESCRIPTION: French: A complaint about life in a lumber camp -- Hard work in cold snowy weather, a bed on the icy ground, coupled with slow and insufficient pay. Finally the logger goes home to a happy reunion. He vows never to return to the lumber camp
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: logger work separation reunion foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (2 citations)
Fowke/Johnston, pp. 70-71, "Dans Les Chantiers (The Winter Camp)" (1 text, 1 tune)
Fowke/MacMillan 23, "Dans Les Chantiers" (1 English and 1 French text,, 1 tune)
CROSS_REFERENCES:
cf. "The Lumber Camp Song" (theme) and references there
File: FJ070
===
NAME: Dans les prisons de Nantes (Within the Prisons of Nantes)
DESCRIPTION: French. A man is prisoner in Nantes. The jailer's daughter cries because he is to die next day. She unties him so he escapes. She is pregnant. On another shore he drinks and boasts of his escape.
AUTHOR: unknown
EARLIEST_DATE: 1954 (Creighton-Maritime)
KEYWORDS: foreignlanguage seduction warning escape rake prisoner
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (2 citations)
Peacock, pp. 183-184, "Dans les Prisons de Nantes" (1 text, 1 tune)
Creighton-Maritime, pp. 170, "Dans La Prison de Nantes" (1 text, 1 tune)
ALTERNATE_TITLES:
Dans la Prison de Londres
NOTES: In Peacock's version the prisoner is on London Bridge; the escaped prisoner promises that, if he ever is in France he will have a dress made for her with gold buttons and they will embrace. In another version, all the girls of Nantes are taken prisoner.
The CD _After the Tempest_ by Figgy Duff includes a different London version than Peacock's called, more reasonably, Dans la Prison de Londres: "Dans la prison de Londres Un prisonnier il y a" - BS
File: Pea183
===
NAME: Dans Tous Les Cantons (Through All the Country 'Round)
DESCRIPTION: French: The song notes how boys and girls are often talking of marriage... then highlights all the troubles they will face. The woman must scrub, cook, sew, and obey her husband; the man will find that his wife nags and spends his money
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: marriage humorous husband wife foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke/Johnston, pp. 113-115, "Dans Tous Les Cantons (Through All the Country 'Round)" (1 text, 1 tune)
File: FJ113
===
NAME: Danville Girl, The: see Ten Thousand Miles Away from Home (A Wild and Reckless Hobo; The Railroad Bum) [Laws H2] (File: LH02)
===
NAME: Dar Gingo Tre Flickor
DESCRIPTION: Swedish shanty. Three girls discuss love; three sailors overhear and decide to pay a visit. The girls bar the door but the wind blows it open. They make a bed for the sailors who leave in the morning saying maidens will never regain their beauty.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sternvall, _Sang under Segel_)
LONG_DESCRIPTION: Swedish shanty. Three girls are talking about love, three sailors overhear and decide to pay a visit. The girls bar the door but the wind blows it open. They make a bed for the sailors who leave in the morning saying maidens will never regain their beauty. There is a short chorus following each line of the verses "Fantali for Julia, fantali for Julia." and a longer chorus which translates, roughly, "For a little goblin was with them, It was so lion-like, They walked holding candles, and then took a pinch of snuff. Oh tjohalia, seamen are so amusing.
KEYWORDS: foreignlanguage shanty sailor seduction
FOUND_IN: Sweden
REFERENCES: (1 citation)
Hugill, pp. 393-395, "Dar Gingo Tre Flickor" (2 texts-English & Swedish, 1 tune)
CROSS_REFERENCES:
cf. "Ane Madam" (lyrics)
ALTERNATE_TITLES:
Fantali for Julia
NOTES: There is a German version given in Baltzer's _Knurrhahn_, "Es Gingen Drei Madchen." - SL
File: Hug393
===
NAME: Dar'll Be No Distinction Dar: see There'll Be No Distinction There (File: CSW232)
===
NAME: Darahill
DESCRIPTION: "When I engaged to Darrahill, 'Twas low down in Buchan fair." The singer describes going to work for (Dara/Darra), whose horses are very poor and ill-fed. The workers aren't much better off. The singer looks forward to working for someone else
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: farming horse hardtimes
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 276-277, "Darrahill" (1 text)
Roud #3941
CROSS_REFERENCES:
cf. "The Barnyards o Delgaty" (tune) and references there
File: Ord276
===
NAME: Darby and Joan: see Father Grumble [Laws Q1] (File: LQ01)
===
NAME: Darby Kelly
DESCRIPTION: Grandfather Darby Kelly "beat a drum so neat" for Marlboro at Blenheim and Ramilie. His father drummed "when great Wolf died." The singer was with Wellington in Portugal and when "He made Nap prance right out of France"
AUTHOR: unknown
EARLIEST_DATE: before 1820 (broadside, Bodleian Harding B 12(19))
KEYWORDS: army war nonballad patriotic Napoleon soldier
HISTORICAL_REFERENCES: 1701-1714 - War of the Spanish Succession, in which Marlborough was the chief English general for most of the war, commanding at the battles of:
Aug 13, 1704 - Battle of Blenheim. British/Imperial victory which saves Vienna.
May 23, 1706 - Battle of Ramillies. British and Imperials foil a French campaign to reinforce the Spanish Netherlands
1756-1763 - Seven Years War, in which the British captured Canada from the French, largely as a result of:
Sep 13, 1759 - Battle of the Plains of Abraham. James Wolfe attacks Quebec City; he is mortally wounded, but Canada is taken
1803-1815 - Napoleonic Wars. Many British officers commanded on land; the last and greatest was Wellington, who directed:
1808-1814 - the Peninsular War, which began as a campaign to defend Portugal and eventually became a war to liberate Spain
June 18, 1815 - Battle of Waterloo. Final defeat of Napoleon
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 155, "Darby Kelly" (1 text)
BROADSIDES:
Bodleian, Harding B 12(19), "Darby Kelly", J. Pitts (London), 1802-1819; also Johnson Ballads fol. 109, Harding B 16(67a), Johnson Ballads 1557, 2806 c.18(80), Harding B 11(793), Harding B 11(794), "Darby Kelly"; Harding B 28(63), "Darby Kelly, O"; Harding B 25(469), Harding B 11(696), "Darby Kelly, O!"
NOTES: Broadside Bodleian Harding B 11(696) notes provide the following military references for the grandfather, father, and singer, respectively: "Marlborough, John Churchill, Duke of, 1650-1722; Wolfe, James, 1727-1759; Wellington, Arthur Wellesley, Duke of, 1769-1852" - BS
Given that the earliest possible date for this song is 1814 (when Napoleon abdicated for the first time), and a date after Waterloo (1815) is more likely, it seems clear that the broadsides cited are the original publication of the song in this form. Obviously, from the dates, Darby Kelly was a drummer boy, not an actual soldier, in the War of the Spanish Succession. Nonetheless, the range of dates would better suit four or five generations than three; one wonders if there wasn't an intermediate version, in which perhaps the grandson fought in the American Revolutionary War rather than the Napoleonic Wars. - RBW
File: OCon155
===
NAME: Darby O'Leary
DESCRIPTION: The singer is hired by Darby O'Leary to work at his Galbally mountains farm. The supper is sour milk, the barn "covered with rats," terrible sleeping conditions: "such woeful starvation I never yet seen ... May he or his offspring never live long"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: farming work ordeal
FOUND_IN: Canada(Mar) Ireland
REFERENCES: (2 citations)
Creighton-SNewBrunswick 110, "The Silly Old Miser" (1 fragment, 1 tune)
OLochlainn-More 57, "The Galbally Farmer" (1 text, 1 tune)
ST CrSNB110 (Partial)
Roud #6978
RECORDINGS:
Tom Lenihan, "The Cranbally Farmer" (on Voice05)
BROADSIDES:
Bodleian, Harding B 26(619), "The Spalpeen's Complaint of Darby O'Leary ("One evening of late as I happened to stray"), unknown, n.d.
NOTES: Creighton-SNewBrunswick is a fragment; broadside Bodleian Harding B 26(619) is the basis for the description. - BS
File: CrSNB110
===
NAME: Darby Ram, The: see The Derby Ram (File: R106)
===
NAME: Dark and a Rovin' Eye, A: see The Fire Ship (File: EM068)
===
NAME: Dark and Dreary Weather
DESCRIPTION: "It's dark and dreary weather, Almost inclined to rain, My heart is almost broken, My lover has gone on the train!" The singer wonders why she loves him so much, and he loves her not at all. "Some say that love is a pleasure; What pleasure do I see?"
AUTHOR: unknown
EARLIEST_DATE: 1921
KEYWORDS: love courting separation train suicide
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 750, "Dark and Dreary Weather" (4 texts, 1 tune)
BrownII 168, "Dreary Weather" (1 text)
Roud #6527
RECORDINGS:
Carter Family, "Dark and Stormy Weather" (Bluebird B-8868, 1941)
New Lost City Ramblers, "Dark and Stormy Weather" (NLCR14)
CROSS_REFERENCES:
cf. "Farewell He" (stanza form, floating lyrics)
cf. "Goodnight Irene" (floating lyrics)
cf. "Farewell Ballymoney (Loving Hannah; Lovely Molly)" (floating lyrics)
cf. "The Boys Won't Do to Trust" (floating lyrics)
ALTERNATE_TITLES:
Dark and Stormy Weather
NOTES: Many of Randolph's versions consist of more floating lyrics than anything else (including even the "jump into the river and drown" stanza best known from "Goodnight Irene"). The net result reminds me strongly of "Farewell He" -- but there seems to be no actual dependence, though the form of the verses is the same. Roud apparently agrees, since he splits the songs. - RBW
File: R750
===
NAME: Dark as a Dungeon
DESCRIPTION: "Come all you young fellows so young and so fine, And seek not your fortune in a dark dreary mine." The singer describes how a miner's life slowly kills a man, twisting his soul and turning his blood black. He hopes to turn to coal when he dies
AUTHOR: Merle Travis
EARLIEST_DATE: 1946 (recorded by author)
KEYWORDS: work hardtimes poverty mining death warning
FOUND_IN: US
REFERENCES: (5 citations)
Lomax-FSNA 155, "Dark as a Dungeon" (1 text, 1 tune)
Botkin-SoFolklr, p. 729, "Dark as a Dungeon" (1 text, 1 tune)
Greenway-AFP, p. 172, "Dark as a Dungeon" (1 text, 1 tune)
Green-Miner, pp. 279-281, "Two by Travis": p. 284, "Dark as a Dungeon" (1 text, 1 tune); additional verse on p. 290
DT, DARKDUNG
Roud #6392
RECORDINGS:
Charlie Gore, "Dark as a Dungeon" (King 4879, c. 1957)
Grandpa Jones, "Dark as a Dungeon" (King 896, 1950)
Maddox Bros. & Rose, "Dark as a Dungeon" (4-Star 1540, 1956)
Pete Seeger w. Robert DeCormier, "Dark as a Dungeon" (on HootenannyTonight)
Merle Travis, "Dark as a Dungeon" (Capitol 48001, 1947; on 78 album "Folk Songs of the Hills", Capitol AD 50; rec. 1946)
File: LoF155
===
NAME: Dark Girl Dressed in Blue, The
DESCRIPTION: The singer meets a "dark girl dressed in blue" on a stagecoach. She fools him into paying her fare. They go to a bar. She hands him a banknote to pay their bill. She leaves; he is arrested for passing a bad bill. He is freed but forced to pay the bill
AUTHOR: Harry Clifton?
EARLIEST_DATE: 1868 (sheet music)
KEYWORDS: money courting trick clothes
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 388, "The Dark Girl Dressed in Blue" (1 text plus a fragment)
Spaeth-ReadWeep, pp. 76-78, "The Dark Girl Dressed in Blue" (1 text, 1 tune)
JHJohnson, pp. 47-49, "The Dark Girl Dressed in Blue" (1 text)
ST R388 (Full)
Roud #7022
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(073), "The Dark Girl Dressed in Blue," unknown, c. 1860; also RB.m.168(133)
NOTES: The authorship here is an interesting question. It is not unlikely that the American versions derive from Harry Clifton, who was apparently the source of the 1868 sheet music.
But then there is the Scottish broadside, dated 1850-1870. It is undeniably the same song (same plot, same chorus, many of the same words). But it is set in Glasgow rather than New York, the vehicle is an omnibus rather than a stagecoach, etc. More significant, the woman is caught in the end, with a "reversible dress." Original or derivative? I could argue for either; each text has parts which appear to have been excised from the other. - RBW
File: R388
===
NAME: Dark Hollow (II), The: see Little Birdie (File: R676)
===
NAME: Dark Knight, The
DESCRIPTION: The knight courts "a lass all neat and fair" and takes her home, where she bears him six(?) sons and three daughters. He then kills the children. "She did not live another dawn," whereupon he seeks another bride
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: homicide family madness children knight husband wife
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 59, "The Dark Knight" (1 text)
ST BrII059 (Full)
Roud #6526
CROSS_REFERENCES:
cf. "The Lawson Murder (Charlie Lawson)" [Laws F35] (plot)
NOTES: The notes in Brown show some signs of suspicion of this piece, found in the collection but with no indication of source; it also has some Scottish word forms they find unlikely. But it also shows clear signs of tradition.
There is also the question of source. The editors thought the story sounded familiar -- but couldn't locate it. I find the very lyrics familiar -- but I can't locate it either. - RBW
File: BrII059
===
NAME: Dark Was the Night, Cold Was the Ground
DESCRIPTION: "Dark was the night and cold was the ground On which the Lord was laid; The sweat like drops of blood run down; In agony he prayed." Jesus asks to be released from his burden, but submits to God's will; listeners are advised to learn from him
AUTHOR: unknown
EARLIEST_DATE: 1841 ("Primitive Hymns," publ. by Benjamin Lloyd)
KEYWORDS: religious Jesus Bible death ordeal request
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 526, "Dark Was the Night" (3 texts, though the "C" text, which is rather short, might be another song)
Roud #11819
RECORDINGS:
John & Lovie Griffins, "Dark Was the Night, and Cold the Ground" (on MuSouth07)
Lucy McKeever, "Dark Was the Night, Cold Was the Ground" (on AFS 921 B, 1937)
CROSS_REFERENCES:
cf. "Frankie and Albert" [Laws I3] (lyrics)
NOTES: The request that God remove the cup from Jesus is found in all four Gospels (Matt. 26:42, Mark 14:26, Luke 22:42, cf. John 12:27). The main source, however, is probably Luke, because only Luke includes the bloody sweat.
At least, the King James translation does.
The reference is to Luke 22:43-44 -- verses which, however, are likely not part of Luke's original Greek; of the earliest seven Greek witnesses, six -- those known as P75 Aleph(1) A B T W -- omit, as do some later witnesses of great weight.Also, Jesus's prayer before his arrest is said to have taken place in a garden in John 18:1, but Gethsemane is not called a garden in the other three gospels -- and in John, Jesus had prayed for release from his fate rather earlier.
Incidentally, although Jesus was arrested at night, there is no reason to think the night was unusually dark (it was Passover time, after all, and Passover is a full moon festival); we have reports of darkness as Jesus died, but not at the time of his arrest, and there are no reports of bad weather at the time (not that that inherently means anything, of course). It reportedly was chilly, though, since Peter would warm his hands during the night (Mark 14:67, John 18:18). - RBW
The song appears in the Baptist Standard Hymnal (but not the New National Baptist Hymnal) as "Dark Was the Night" with arrangers' names listed, but no author. The song passed into folk tradition, and the title seems to have caught the imagination as well; the phrase appears in Mississippi John Hurt's recording of "Frankie and Albert" (!) and it's also used as the title of an extraordinary recording of slide guitar and wordless moaning by Blind Willie Johnson. - PJS
File: Br3526
===
NAME: Dark-Clothed Gypsy, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Dark-Eyed Molly: see Farewell Ballymoney (Loving Hannah; Lovely Molly) (File: R749)
===
NAME: Dark-Eyed Sailor, The (Fair Phoebe and her Dark-Eyed Sailor) [Laws N35]
DESCRIPTION: The singer courts a girl, but she remains true to William, her sailor, gone these seven years. William at last identifies himself and produces his half of their broken ring. The two are married and settle down
AUTHOR: unknown
EARLIEST_DATE: before 1809 (broadside, Bodleian Johnson Ballads 2483)
KEYWORDS: love courting brokentoken marriage
FOUND_IN: US(Ap,MA,MW,NE,SE) Canada(Mar,Newf) Britain(Scotland,England(Lond,West)) Ireland
REFERENCES: (23 citations)
Laws N35, "The Dark-Eyed Sailor (Fair Phoebe and her Dark-Eyed Sailor)"
Gardner/Chickering 57, "The Dark-Eyed Sailor" (1 text plus 1 excerpt and mention of 2 more, 1 tune)
Doerflinger pp. 300-301, "The Dark-Eyed Sailor" (1 text, 1 tune)
SHenry H232, p. 318, "The Dark-Eyed Sailor" (1 text, 1 tune)
JHCox 93, "The Broken Ring" (1 text)
Huntington-Whalemen, pp. 120-122, "The Dark-Eyed Sailor" (1 text, 1 tune)
Ord, pp. 323-324, "The Dark-Eyed Sailor" (1 text, 1 tune)
BrownII 95, "The Dark-Eyed Sailor" (1 text (with mention of a variant collection) plus 1 excerpt)
Scarborough-SongCatcher, pp. 267-270, "Fair Phoebe and her Dark-Eyed Sailor" (3 texts; the first, "Young Willie's Return, or The Token," with tune on pp. 426-427, is this song; the second, "The Sailor," with tune on p. 427, is "John (George) Riley (II)" Laws N37; the third, "Billy Ma Hone," with tune on p. 427, seems to be its own song)
MacSeegTrav 26, "The Dark-Eyed Sailor" (1 text, 1 tune)
Creighton/Senior, pp. 144-146, "The Dark-Eyed Sailor" ( 2 texts, 1 tune)
Creighton-NovaScotia 29, "The Dark-Eyed Sailor" (1 text, 1 tune)
Greenleaf/Mansfield 36, "The Dark-Eyed Sailor" (1 text)
Peacock, pp. 513-514, "The Dark-Eyed Sailor" (1 text, 1 tune)
Karpeles-Newfoundland 55, "The Dark-Eyed Sailor" (1 text, 1 tune)
Lehr/Best 27, "The Dark-eyed Sailor" (1 text, 1 tune)
Mackenzie 64, "The Dark-Eyed Sailor" (1 text)
Ives-DullCare, pp. 93-94,244, "The Dark-Eyed Sailor" (1 text, 1 tune)
Manny/Wilson 65, "The Dark-Eyed Sailor" (1 text, 1 tune)
OLochlainn 5, "The Dark-Eyed Sailor" (1 text, 1 tune)
Darling-NAS, pp. 125-126, "The Dark Eyed Sailor" (1 text)
Silber-FSWB, p. 147, "The Dark-Eyed Sailor" (1 text)
DT 460, DARKEYED* DARKEYE2
Roud #265
RECORDINGS:
Warde Ford, "Nightingales of Spring" (AFS 4198 A1, 1938; in AMMEM/Cowell)
Fred Jordan, "The Dark-Eyed Sailor" (on Voice02)
BROADSIDES:
Bodleian, Johnson Ballads 2483, "Fair Phoebe and her Dark-ey'd Sailor," unknown [Printer's Series:(39)], 1767-1808; also Harding B 11(498), "Fair Phoebe and her Dark-Eyed Sailor," J. Catnach (London), 1813-1838; Harding B 11(499), Johnson Ballads 452, Firth c.18(141), Harding B 15(99a), Harding B 11(1120), Firth c.12(261), Harding B 11(1119), Harding B 11(3030), Harding B 16(84b), "Fair Phoebe and her Dark-Eyed Sailor"; Firth c.17(53), Harding B 11(2824), Firth b.27(475), "Fair Phoebe and her Dark-ey'd Sailor"; Harding B 16(326b), "Fair Phoebe and her Dark Eyed Sailor"; Firth b.25(142), Harding B 15(98b), "Fair Phoebe and her Dark Ey'd Sailor"; Harding B 11(3493), Johnson Ballads 1837, "Fair Phoebe, and the Dark-Eye'd Sailor"; Firth b.25(193), "Fair Phoebe and the Dark-Eyed sailor"; Harding B 15(99b), "Fair Phoeby and Her Dark Eyed Sailor"; Harding B 18(114), "Dark Ey'd Sailor" ("'Tis of a comely young lady, fair")
LOCSinging, as102640, "Dark Ey'd Sailor," J. Andrews (New York), 1853-1859; also sb10077b, "Dark Ey'd Sailor"
Murray, Mu23-y1:016, "The Dark-Eyed Sailor," R. M'Intosh (Calton), 19C; also Mu23-y1:102, "Fair Phoebe And Her Dark-Eyed Sailor," James Lindsay (Glasgow), 19C
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there
cf. "Brave Wolfe" [Laws A1] and references there (tune)
cf. "The Female Smuggler" (tune, per broadsides Bodleian Johnson Ballads 2483, Bodleian Harding B 11(498), Bodleian Harding B 11(499))
NOTES: Ford sings this to the tune usually associated with "The Blacksmith," which -- so far as I know -- hasn't been otherwise collected outside Britain except as "Brave Wolfe." - PJS
Lines shared with The Banks of Sweet Primroses: Young girl's be true while your love's at sea, For a dark cloudy morning Brings forth a pleasant day."
Broadside LOCSinging as102640: 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: LN35
===
NAME: Dark-Haired Girl, The
DESCRIPTION: The singer and a comrade go rambling on July 20, (18)39. They see a girl, whose beauty he praises extravagantly. He promises to be true to her. Though she is a servant and he is rich, "a pretty curl Will be all I want as dower from my dark-haired girl."
AUTHOR: unknown
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: love courting rambling beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H559, p. 237, "The Dark-Haired Girl" (1 text, 1 tune)
Roud #9471
File: HHH559
===
NAME: Dark-Haired Jimmy Owen: see Seimidh Eoghainin Duibh (Dark-Haired Jimmy Owen) (File: K046)
===
NAME: Darky School Song: see Walkin' in the Parlor (File: Wa177)
===
NAME: Darky Sunday School, The: see Walkin' in the Parlor (File: Wa177)
===
NAME: Darlin' (I)
DESCRIPTION: "If I'd a-known my captain was blind, darlin', darlin'... Wouldna gone to work till half past nine." The captain and the worker quarrel; the captain won't tell the time, and will throw him in jail if he argues. The singer wishes he had listened to mother
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: prison work hardtimes chaingang floatingverses
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 68, "Darlin'" (1 text)
DT, DARLNCAP
CROSS_REFERENCES:
cf. "Pay Me My Money Down" (floating lyrics)
NOTES: Every word of this song floats -- so much so that I was tempted to list it as a variant of some other song. But the form is unique. It is probably someone's rework, but it's hard to tell what the "original" was. - RBW
File: FSWB068
===
NAME: Darlin' (II): see New River Train (File: AF073)
===
NAME: Darlin' You Can't Have One: see New River Train (File: AF073)
===
NAME: Darling Cora: see Darling Corey (File: LxU087)
===
NAME: Darling Corey
DESCRIPTION: "Wake up, wake up, darling Corey, what makes you sleep so sound? The revenue officers are coming, Gonna tear your still-house down." The singer describes Corey's wild career as a moonshiner, and (dreams of) her death and burial
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: drink police death burial dream
FOUND_IN: US(Ap)
REFERENCES: (10 citations)
Fuson, pp. 134-135, "Little Cora" (1 text, an unusually full version though with several floating verses)
SharpAp 152, "The Gambling Man" (2 texts, 2 tunes, but only the "B" text is this song; the "A" text is "I Wonder Where's the Gambler")
Ritchie-Southern, p. 39, "Little Cory" (1 text, 1 tune)
Lomax-FSUSA 87, "Darlin' Corey" (1 text, 1 tune)
Lomax-FSNA 135, "Dig a Hole in the Meadow" (1 text, 1 tune)
Arnett, p. 173, "Darlin' Corrie" (1 text, 1 tune)
Botkin-SoFolklr, p. 734, "Darling Cory" (1 text, 1 tune)
PSeeger-AFB, p. 73, "Darlin' Corey" (1 text, 1 tune)
Silber-FSWB, p. 193, "Darlin' Corey" (1 text)
DT, DARLCORY
Roud #5723
RECORDINGS:
Logan English, "Little Cory" (on LEnglish01)
Roscoe Holcomb, "Darlin Corey" (on Holcomb2, HolcombCD1)
Buell Kazee, "Darling Cora" (Brunswick 154, 1927); "Darling Corey" [fragment] (on Kazee01)
Pleaz Mobley, "Darling Cory" (AFS; on AAFS 69, LC14)
Monroe Brothers, "Darling Corey" (Bluebird B-6512, 1936; Victor 27493, 1941)
Pete Seeger, "Darling Corey" (on PeteSeeger02, PeteSeegerCD01)
B. F. Shelton, "Darling Cora" (Victor 35838, 1927; on ConstSor1)
Jack Wallin, "Darling Cora" (on Wallins1)
Doc Watson, Gaither Carlton & Arnold Watson, "Darling Corey" (on Watsons01)
CROSS_REFERENCES:
cf. "Little Maggie" (words)
cf. "Country Blues" (words)
cf. "Don't Get Trouble in Your Mind" (floating phrase)
File: LxU087
===
NAME: Darling Cory: see Darling Corey (File: LxU087)
===
NAME: Darling Little Joe
DESCRIPTION: The dying boy asks how life will be when he is dead, e.g. "Oh what will the birds do, mother, in the spring... Will they harp at the door... Asking why Joe wanders out no more?" The boy asks mother to care for his pets, and tells her he will be in heaven
AUTHOR: unknown
EARLIEST_DATE: 1866 (sheet music, "The Death of Little Joe")
KEYWORDS: death children animal farewell
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 712, "Darling Little Joe" (3 texts plus a fragment, 1 tune)
Randolph/Cohen, pp. 460-461, "Darling Little Joe" (1 text, 1 tune -- Randolph's 712A)
Roud #3545
RECORDINGS:
Carter Family, "Darling Little Joe" (Victor [Canada] CNV-102, n.d.); "Little Joe" (Decca 5632, 1939)
Bradley Kincaid, "Little Joe" (Montgomery Ward M-4457, 1934)
Monroe Brothers, "Little Joe" (Bluebird B-7598, 1938)
Charles Nabell, "Little Joe" (OKeh 40418, 1925)
BROADSIDES:
Levy 105.044, "The Death of Little Joe," G. Andre & Co., Philadelphia, 1866
LOCSheet, sm1876 10660, "Little Joe," Blackmar & Finney (New Orleans), 1876 (tune)
NOTES: Cohen notes two sheet music printings, one (dated 1876) crediting it to Charles E. Addison, the other (1866) by V. E. Marsten. Draw your own conclusions. - RBW
The 1866 sheet music lists V. M. Marston as the composer, with no information as to the lyricist. It includes a chorus ("Little Joe will soon, will soon be sleeping, sleeping calmly...") which does not seem to have entered oral tradition. - PJS
Broadside LOCSheet sm1876 10660: "Composed and sung by Maj. Chas. E. Addison the noted Confederate Spy and Scout of Gen. John H. Morgan's Command." Attributed to the same author, and published the same year by the same publisher is
LOCSheet, sm1876 10661, "The Dying Message" ("Raise the window, Mother darling, Let the soft breeze fan me now," Blackmar & Finney (New Orleans), 1876 (tune) - BS
File: R712
===
NAME: Darling Little Pink: see Little Pink (File: San166)
===
NAME: Darling Neddeen
DESCRIPTION: O'Shaughnessy's song in praise of Neddeen: whales flap their tail to raise a breeze for birds; girls' eyes are so bright no gas lamps are needed in cabins; geese run around ready roasted; cows give whisky; ganders give milk; girls never grow old.
AUTHOR: unknown
EARLIEST_DATE: 1823 (_The Freeholder_, according to Croker-PopularSongs)
KEYWORDS: nonballad talltale animal bird whale
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 250-254, "Darling Neddeen" (1 text)
CROSS_REFERENCES:
cf. "The Sprig of Shillelah" (tune, according to Croker-PopularSongs)
cf. "Oleanna" (absurdist sorts of claims for the town)
NOTES: Croker-PopularSongs: "'Neddeen,' says Mr Weld,'is the principal place of trade on the Kenmare river ...' now generally known as Kenmare."
Croker-PopularSongs: "The Editor has no doubt that the authorship may be correctly assigned to the writer of 'O! Blarney Castle, my Darling', and the subsequent song entitled 'Darling Neddeen.'" But, at "O! Blarney Castle, my Darling" he "has no doubt" that its author also wrote "aint Patrick's Arrival." See that song if you are interested in Croker's speculations there." - BS
File: CrPS250
===
NAME: Darling Nelly Gray
DESCRIPTION: The singer recalls the time he spent with Nelly. But now "the white man has bound her with his chain;" he laments "Oh my darling Nelly Gray, they have taken you away And I'll never see my darling any more." He hopes they will be reunited after death
AUTHOR: B. R. Hanby
EARLIEST_DATE: 1856 (broadside, LOCSheet sm1856 600230)
KEYWORDS: love separation slave
FOUND_IN: US(MW)
REFERENCES: (4 citations)
Dean, p. 73, "Darling Nelly Gray" (1 text)
RJackson-19CPop, pp. 53-56, "Darling Nelly Gray" (1 text, 1 tune)
Silber-FSWB, p. 251, "Darling Nelly Gray" (1 text)
DT, NELLGRAY*
ST RJ19053 (Full)
Roud #4883
RECORDINGS:
Louis Armstrong & the Mills Brothers, "Darling Nellie Gray" (Decca 1245, 1937)
The Carver Boys, "Darling Nellie Gray" (Paramount 3198, 1930)
Carroll Clark, "Darling Nellie Gray" (Columbia A-770, 1909)
Al Hopkins & his Buckle Busters, "Darling Nellie Gray" (Brunswick 185/Vocalion 5186 [as the Hill Billies], 1927)
 W. W. MacBeth, "Darling Nellie Gray" (Brunswick 571, 1931; rec. 1929)
[Asa] Martin & [James] Roberts, "Darling Nellie Gray" (Perfect 12762/Banner 32306 [as by Asa Martin], 1931; Conqueror 7935, 1932)
McMichen's Melody Men, "Darling Nellie Gray" (Banner 32306, 1931; Conqueror 7965, 1932)
Metropolitan Quartet, "Darling Nellie Gray" (CYL: Edison [BA] 1860, n.d.)
Chubby Parker, "Darling Nellie Gray" (Supertone 9187, 1928)
Peerless Quartet, "Darling Nellie Gray" (Gennett 4532, 1919)
Roba Stanley [or Stanley Trio], "Nellie Gray" (OKeh 40271, 1925)
Henry Whitter's Virginia Breakdowners, "Nellie Gray" (OKeh 40211, 1924)
BROADSIDES:
LOCSheet, sm1856 600230, "Darling Nelly Gray," Oliver Ditson (Boston), 1856 (tune) [attributed to B. R. Hanby]
LOCSinging, as102660, "Darling Nelly Gray," Charles H. Anderson (Washington), 19C; also cw103950, "Nelly Gray"
CROSS_REFERENCES:
cf. "The Eumerella Shore" (tune)
cf. "Memphis Flu" (tune)
NOTES: This was the first popular success of Benjamin Russell Hanby (1833-1867), who eventually wrote some eighty songs. It is reported to be based on an actual event; a runaway slave named Joseph Shelby died at the Ohio home of Hanby's father. Shelby was hoping to raise money to win the freedom of another slave named Nelly Gray.
In one of the odd turns of history, Wharton's _War Songs and Poems of the Southern Confederacy_ , following one Mrs. A. T. Smythe, suggests Stephen Foster as the author; even if the sheet music did not disprove this, the anti-Slavery sentiment would surely do so. - RBW
File: RJ19053
===
NAME: Darling Old Stick
DESCRIPTION: Bull Morgan McCarthy inherits his brother's shillelah and fights with those he'd heard of as "informer" and "canary." Partly as result, partly as cause, he meets Kate. "I bought this gold ring, sir, And Kate to the priest I shall bring, sir"
AUTHOR: unknown
EARLIEST_DATE: before 1853 (broadside, Bodleian Harding B 11(798))
KEYWORDS: marriage fight trial humorous
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
Mackenzie 137, "Bull Morgan McCarthy" (1 text)
O'Conor, p. 51, "Darling Old Stick" (1 text)
Roud #3276
BROADSIDES:
Bodleian, Harding B 11(798), "The Darlin' Old Stick," John Ross (Newcastle), 1847-1852; also 2806 c.15(258), 2806 b.11(11), "The Darlin' Old Stick"; Harding B 20(34), Harding B 11(799), Harding B 11(797), "The Darlin' Ould Stick"; Harding B 11(1370), "Darling Old Stick"; Firth b.25(73), "The Darling Ould Stick" 
NLScotland, L.C.178.A.2(300), "The Darlin' Old Stick," unknown, c.1870
SAME_TUNE:
Teddy O'Toole (per broadside Bodleian Harding B 20(34))
File: Mack137
===
NAME: Darling Song: see My Mother's Last Goodbye (File: RcMMoLaG)
===
NAME: Darling You Can't Love but One: see New River Train (File: AF073)
===
NAME: Darrahil: see Darahill (File: Ord276)
===
NAME: Dat's All Right
DESCRIPTION: Floating-verse with chorus "Dat's all right (x2), Dat's all right, babe, dat's all right. I'll be with you right or wrong; When you see a good thing, shove it right along...." Verses about visiting honey and seeing her dead or working for the rich folks
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: love death separation money floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 234-235, "Dat's All Right" (1 text)
File: ScNF234B
===
NAME: Daughter of Peggy-O, The
DESCRIPTION: Husband marries a wife who won't work; he beats her and threatens to yoke her to the plow. She submits.
AUTHOR: unknown
EARLIEST_DATE: 1908
KEYWORDS: marriage abuse work humorous wife
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Vaughan Williams/Lloyd, p. 29, "The Daughter of Peggy-O" (1 text, 1 tune)
Roud #117
CROSS_REFERENCES:
cf. "The Wife Wrapt in Wether's Skin" [Child 277] (plot)
NOTES: Although there are strong similarities to "Wife Wrapt in Wether's Skin", the class distinction does not appear, and neither does the sheepskin. I call it a different song. -PJS
In the absence of intermediate versions, I tend to agree. Although both songs have nonsense refrains, they are not the SAME nonsense refrains, and the stanza forms and lyrics are distinct. Though Roud, of course, lumps them. - RBW
File: VWL029
===
NAME: Daughters, Will You Marry: see Soldier Boy for Me (A Railroader for Me) (File: R493)
===
NAME: David Dodd
DESCRIPTION: "Drums were beating, troops were marching." "Captured by the Federal minions, As a hated Rebel spy," Dodd is asked to name his informant. The boy answers that he is prepared to die. "In the grave in old Mount Holly Lie the bones of David Dodd."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Allsopp)
KEYWORDS: Civilwar execution burial
FOUND_IN: US(So)
REFERENCES: (1 citation)
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 231-232, (no title) (1 text)
ST FORA231 (Partial)
NOTES: Allsopp lists this under the heading "The Nathan Hale of Arkansas," and says that a school was dedicated in 1927 to the memory of David Dodd.
The story Allsopp tells is a little confused. His age is given as 17 when he was executed in 1864 -- yet he is called "too young to enlist." This is simply false -- by the end of the war, the Confederates were taking 15-year-olds. Either his age is wrong or he had avoided military service.
If Allsopp's account is true, he not only was serving as a courier but was spying on Union positions. It also sounds as if he could have told everything he knew without it doing the Confederates any harm; the Union army command was just too slow to react. But the kid seems to have been a romantic.
Allsopp's account gives few substantial details except that Dodd was executed in Little Rock.
Allsopp's account is in error in at least one particular: The Federal general in charge of the Department of Arkansas in 1864 was not General "Steel" but Major General Frederick Steele, 1819-1868. The fact that Steele was opposed by General Fagan seems to date the the incident to the Arkansas campaign of 1864; the general involved is James Fleming Fagan (1828-1893), a cavalry division commander. Dodd must therefore have been active some time between March 23 (when Steele set out) and April 30 (when Steele was forced to retreat largely as a result of Fagan's actions); the likeliest date would appear to be around April 20-25; it was on the latter date that Fagan hit Steele's supply line.
Steele's campaign is of course mentioned in most major Civil War histories (though usually only in connection with the Red River expedition of Banks, which it was supposed to support). I haven't found any mentions of Dodd, though.
I don't know whether this poem is a traditional song or not. But Allsopp lists no author, and the tale is very folkloric, so I have very hesitantly indexed the piece. - RBW
File: FORA231
===
NAME: David Ward: see Old David Ward (File: Be014)
===
NAME: David, David, Yes, Yes: see O David (File: LoF250)
===
NAME: David's Flowery Vale
DESCRIPTION: The singer sees the Armagh coach arrive; one of the passengers is a beautiful girl. He steps up to her, point out his family's wealth, and asks if she will come away with him. She says that she is not wealthy and is pledged to another
AUTHOR: unknown
EARLIEST_DATE: 1845 (by John Hume, according to Leyden)
KEYWORDS: courting rejection beauty
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H212, p. 370, "Drummond's Land" (1 text, 1 tune)
Leyden 12, "Young McCance" (1 text, 1 tune)
Roud #2943
RECORDINGS:
Eddie Butcher, "David's Flowery Vale" (on Voice01, IREButcher01)
Robert Cinnamond, "Young McCance" (on IRRCinnamond01)
ALTERNATE_TITLES:
Young McCance
NOTES: I have found no references to "David's Fountain" or "David's Flowery Vale" in maps of Ireland. There are, however, some clues. The lad and lass look at ships sailing to Chester (in western Britain). She comes from Hamiltonsbawn, and is riding the Armagh coach.
Hamiltonsbawn is almost due east of Armagh, half a dozen or so miles from the city center. It is not on any body of water. Armagh isn't on anything navigable, either. But the road from Armagh to Hamiltonsbawn heads on in the general direction of Belfast. Thus it seems likely that David's Flowery Vale is somewhere on the shores of the Belfast Lough. - RBW
Leyden: "John McCance, the owner of this splendid mansion [near Belfast], was born in 1772 and lived until 1835.... The song is correct in mentioning McCance's dwelling at the foot of Divis Mountain: he lived at Roselands on the Upper Falls before moving to Suffolk House in 1811." - BS
File: HHH212
===
NAME: David's Lamentation
DESCRIPTION: "David the king was grieved and moved, He went to his chamber, his chamber and wept. And as he went, he wept and said, 'Oh my son! Oh my son, would to God I had died, would to God I had died for thee, Oh Absalom, my son, my son."
AUTHOR: William Billings
EARLIEST_DATE: 1840 (Missouri Harmony)
KEYWORDS: royalty death family Bible religious
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 412, "Oh, Absalom, My Son" (1 text)
DT, DAVLAMNT ABSALON*
Roud #15055
NOTES: The original William Billing song (of slightly uncertain date, though obviously in existence by the early nineteenth century) is taken almost verbatim from 2 Samuel 18:33. A second verse, rarely sung and not found in the Sacred Harp or the Missouri Harmony, is almost as  close to 2 Samuel 19:2:
Vict'ry that day was turned into mourning
When the people did see how the King grieved for his son.
He covered his face and in a loud voice cried,
"Oh my son...."
I cannot absolutely prove that the round "Absalom My Son" is descended from the Billings piece; the words are straight from the Bible, after all. There is, however, melodic similarity (though not identity), and the Billings tune was designed as a fugue, which would encourage its conversion to a round. - RBW
File: FSWB412B
===
NAME: Davie and His Kye Thegither
DESCRIPTION: Davie comes to his mother, "some good news to lat her ken." She warns against hasty marriage, but the wedding goes ahead. He and his wife fight; she breaks a pot over his head. The parson arrives, the wife hits him too, and he concedes Davie's misfortune
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting marriage clergy humorous injury
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 120-121, "Davie and His Kye Thegither" (1 text)
Roud #5545
File: Ord120
===
NAME: Davy
DESCRIPTION: Dance tune; "Davy, Davy, where is Davy/Down in the henhouse eating up the gravy/Davy, Davy, where is Davy/Down in the chickenyard, sick on the gravy." (There may also be a "why can't a white man dance like a nigger" verse). 
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Weems String Band)
KEYWORDS: dancing nonballad food discrimination
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 68, "Davy" (1 text, 1 tune)
ST CSW068 (Full)
RECORDINGS:
New Lost City Ramblers, "Davy, Davy" (on NLCR01)
Weems String Band, "Davy" (Columbia 15300-D, 1928)
NOTES: This piece instantly makes me think of some of the versions of "Black-Eyed Susie (Green Corn)." I can't prove any connection, though. It also bears some slight similarities to "Davy Crockett" -- but, again, nothing concrete, just isolated words. - RBW
Only, I think, the name. - PJS
George Lineberry, the husband of the grand-niece of "Uncle Dick" Weems and "Uncle Frank" Weems, explains how the song actually came about:
"The Weems String Band (Perry County, TN) traveled to Memphis, TN in 1928 where Columbia was recording groups for the potential '1928 version American Idol.' (NOT).
"[Their] musical numbers were instrumental -- not vocal arrangements. However, Columbia wanted lyrics, i.e. no lyrics -- no record.  So the Weems String Band went back to the hotel, created some lyrics (kind of) for their two songs: 'Greenback Dollar' and 'Davy' (sometimes referred to as 'Davy, Davy'). The lyrics met the minimum requirement, but both songs remained basically instrumentals.
"The next day they returned to Columbia's 'studio' and recorded both songs, resulting in their only record."
The New Lost City Ramblers proceeded to bowdlerize the song to within an inch of its life (Lineberry's transcription is in the Supplemental Tradition, and it will demonstrate why they did so). Had the Ramblers known its story, they probably would have just played it as an instrumental. Though the instrumental style also apparently puzzled them, based on the notes in Cohen/Seeger/Wood. Lineberry's comments may explain that, too: A third Weems, Jess, played bowed 'cello. - RBW
File: CSW068
===
NAME: Davy Crockett
DESCRIPTION: Davy and/or the singer engage in various improbable activities such as hunting coons without a gun. The singer and Davy have a fight and agree to a draw: "I was hard enough for him, and so was he for me."
AUTHOR: unknown
EARLIEST_DATE: 1906 (Belden); "Pompey Smash" appeared 1847 in Lloyd's Ethiopian Song Book
KEYWORDS: nonsense humorous hunting fight
FOUND_IN: US(Ap,So)
REFERENCES: (7 citations)
Belden, p. 339, "Davy Crockett" (1 stanza)
Randolph 423, "Davy Crockett" (2 texts, 1 tune)
Randolph/Cohen, pp. 338-340, "Davy Crockett" (1 text, 1 tune -- Randolph's 423A)
Combs/Wilgus 168, pp. 182-183, "Davy Crockett" (1 text)
JHCox 177, "Davy Crockett" (1 text)
Lomax-ABFS, pp. 251-253, "The Ballad of Davy Crockett" (1 text, 1 tune)
DT, DAVCROCK
Roud #3589
RECORDINGS:
Chubby Parker, "Dav[e]y Crockett" (Conqueror 7895, 1931; on StuffDreams1)
CROSS_REFERENCES:
cf. "Settin' on a Rail" (lyrics)
NOTES: Obviously not to be confused with the pop song "The Ballad of Davy Crockett."
Randolph says that this piece is derived from the minstrel piece "Pompey Squash," (called "Pompey Smash" by Cox). This is clearly true of Randolph's "B" text and less obviously so in the case of the Lomax text; I am not certain in the case of the other versions. I might theorize that Randolph's text is a hybrid. - RBW
File: R423
===
NAME: Davy Faa (II): see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Davy Faa (Remember the Barley Straw)
DESCRIPTION: (A man courts a neighbour's daughter by disguising himself as) a tinker. The tinker follows the girl into bed and sleeps with her. (He departs, leaving her with a rich fee, giving his name as Davy Faa/Shaw. Her father seeks a husband for her)
AUTHOR: unknown
EARLIEST_DATE: 1895 (Baring-Gould)
KEYWORDS: disguise seduction sex trick abandonment money father rape tinker bastard
FOUND_IN: Britain(England(South,Lond),Scotland(Aber))
REFERENCES: (3 citations)
Bronson 279, "The Jolly Beggar" (37 versions, but #28 is "Davy Faa (Remember the Barley Straw)")
Kennedy 188, "Remember the Barley Straw" (1 text, 1 tune)
DT, DAVYFAA* BARLSTRW
Roud #118
CROSS_REFERENCES:
cf. "Tramps and Hawkers" (tune)
cf. "Paddy West" (tune)
ALTERNATE_TITLES:
The Barley Straw
NOTES: I've never really been sure whether this song involves rape or not. It's clear that the girl gets the worst of it, though.
It will be observed that the only parts of this song that are constant are the tinker and the seduction. No doubt various attempts at bowdlerization account for some of this, but there does seem to be some mixture involved as well. - RBW
I suggest renaming this main entry; as far as I know, only in one version of the song (Jeannie Robertson's) is the man  (or the song) named Davy Faa, while "The Barley Straw" or variants thereon seem relatively common. More important, I'd  rather avoid confusion with the more common "Davy Faa", aka "The Gypsy Laddie." Also, the tune given in Kennedy isn't that of "Tramps and Hawkers/Paddy West", and I'm not sure it's been collected from tradition with that tune (Jean Redpath doesn't count.) - PJS
All true, except that the Robertson/Redpath versions seems to be the ones everyone knows. Which is why I used the title I did. And while Robertson's tune is not "Tramps and Hawkers," it has similarities.
Roud lumps this with Child #279, "The Jolly Beggar." The similarity in plot is obvious. So is the dissimilarity in form. - RBW
File: K188
===
NAME: Davy Lowston
DESCRIPTION: "My name is Davy Lowston, I did seal, I did seal." Lowston and crew are left to hunt seal;  the which is to retrieve them is wrecked. After much privation, the survivors are rescued by the Governor Bligh. Lowston advises against sealing
AUTHOR: unknown
EARLIEST_DATE: 1967 (Bailey & Roth, Shanties by the Way)
KEYWORDS: hunting wreck disaster hardtimes rescue New Zealand ordeal
FOUND_IN: New Zealand
REFERENCES: (1 citation)
DT, DAVYLOWS
CROSS_REFERENCES:
cf. "We Will Not Go to White Bay with Casey Any More" (plot)
NOTES: This song is a mostly-true story, though there has been a lot of confusion along the way. The best summary seems to be from "The Story of David Lowston, a pre-colonial NZ song," an article by Frank Fyfe published in the Journal of New England Folklore in 1970 and now available online at the New Zealand folklore web site.
All dates in what follows are somewhat uncertain. I'm going to leave out all the "probablies" and just summarize.
It was in 1809 that the brig _Active_, Captain John Bader (corrupted to Bedar in the song, probably for metrical reasons) advertised for hands. The _Active_ sailed from Sydney on December 11, 1809; on February 16, 1810, a party of ten sealers under David Lowrieston was left on an island off New Zealand. They had relatively few supplies; Bader promised to return soon with more, but the _Active_ was never seen again.
The sealing crew had to survive by hunting seals and digging up roots; they seem to have been amazingly inept, watching two boats destroyed, but despite their privations (and the implication of the song), none of them actually died. They were rescued by the _Governor Bligh_, and arrived in Sydney on December 15, 1813.
The rest of Fyfe's speculation must be taken with a grain of salt. He believes the song to be based on "Captain Kidd," and there are obvious resemblances of form. However, "Davy Lowston" as it was collected (from an American, of all things) is not sung to "Captain Kidd," and while several of the musical phrases are similar, others are strikingly different.
Indeed, "Davy Lowston" cannot be sung to the usual "Captain Kidd"/"Wondrous Love" by any amount of squeezing, as the following analysis will show; I print the common text of "Davy Lowston," and note the differing number of syllables in "Captain Kidd."
My name is Davy Lowston   (1 extra syllable in DL; could perhaps be adapted -- though Fyfe argues that the original was "My name is David Lawrieston," which would never fit no matter what squeezing applied)
I did seal, I did seal (compatible)
My name is Davy Lowston, I did seal. (compatible)
Though my men and I were lost (1 extra syllable in DL; could be adapted)
Though our very lives it cost (1 fewer syllable in DL, hard to adapt)
We did seal (2 fewer syllable in DL, no adaption possible)
We did seal, we did seal. (compatible with some versions of Captain Kidd).
I allow the possibility that "Davy Lowston" is derived from Captain Kidd, or one of its folk relatives, but it's far from certain. - RBW
File: DTdavylo
===
NAME: Davy, Davy: see Davy (File: CSW068)
===
NAME: Dawning of the Day (I), The [Laws P16]
DESCRIPTION: The singer meets a milk-maid at the dawn of day, seduces her despite her reluctance, and leaves her. Months later they meet again; she asks him to marry her, but he answers that he has married a rich girl. She warns against such rovers
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian 2806 b.11(56))
KEYWORDS: seduction warning poverty betrayal
FOUND_IN: US(MA) Canada(Mar) Britain(Scotland(Aber))
REFERENCES: (4 citations)
Laws P16, "The Dawning of the Day"
Ord, p. 163, "The Dawning of the Day" (1 text)
Mackenzie 56, "The Dawning of the Day" (1 text, 1 tune)
DT 498, DAWNDAY
Roud #370
RECORDINGS:
Cathie Stewart, "The Dawning of the Day" (on SCStewartsBlair01) (a fragmentary version, ending with the girl's reluctance)
BROADSIDES:
Bodleian, 2806 b.11(56), "Dawning of the Day," J. Pitts (London), 1819-1844; also Harding B 11(2026), Harding B 6(4), Harding B 25(480), Johnson Ballads fol. 412 View 1 of 2, Harding B 11(806), 2806 c.8(283), 2806 c.16(25), 2806 b.11(197), Harding B 26(119) [badly faded], Harding B 11(804), Harding B 11(803), Harding B 16(69a), Harding B 17(73a), Firth c.13(301), Harding B 11(805), Harding B 20(23), Harding B 17(72b), Harding B 16(69b), "[The] Dawning of the Day"
LOCSinging, as102690, "Dawning of the Day," L. Deming (Boston), 19C 
NLScotland, L.C.Fol.70(148), "The Dawning of the Day," James Lindsay (Glasgow), c.1853 
File: LP16
===
NAME: Dawsonville Jail
DESCRIPTION: Singer is told by Sheriff Glen Wallace that he's "a little too full." He is taken to jail. His friend Shorty objects but is arrested too; they work on the sheriff's chicken farm, and the food is bad. They swear they'll drink no more.
AUTHOR: Words: L. D. Snipes & Shorty Lunsford; tune: traditional
EARLIEST_DATE: 1982 (recording, Ray Knight)
LONG_DESCRIPTION: Singer gets up, but is told by Sheriff Glen Wallace that he's "a little too full." He heads for town; Wallace & his deputy, Toy, come to arrest him and take him to jail. His friend Shorty objects but is arrested too; they work on the sheriff's chicken farm, and the food is bad -- "the peas was green and the meat was fat." They fall on their knees and swear they'll drink no more. Released, they advise that "before we take a drink we'd better look twice." Refrain: "Comin' for to carry me home"
KEYWORDS: warning farming crime prison punishment drink friend police prisoner
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #4960
RECORDINGS:
Ray Knight w. Ed Teague & Art Rosenbaum, "Dawsonville Jail" (on FolkVisions2)
CROSS_REFERENCES:
cf. "Swing Low, Sweet Chariot" (tune, refrain)
cf. "Hand Me Down My Walkin' Cane" (lyrics)
cf. "Cryderville Jail" (subject)
NOTES: Clearly not a traditional song, but I include it because (a) the form, structure and style are traditional, and (b) it uses tune, structure and refrain from a traditional song, and borrows a floating verse from another. It's *not* "Cryderville Jail"; in fact, according to the liner notes, the writers, who knew that song, deliberately chose a different structure. - PJS
File: RcDawsJa
===
NAME: Day Columbus Landed Here, The
DESCRIPTION: "I never shall forget the day Columbus landed here. Myself and forty Indians were standing on the pier.... 'Twas I who built the Rockies up and placed them where they are; Sold whiskey to the Indians behind my little bar"
AUTHOR: unknown
EARLIEST_DATE: 1908
KEYWORDS: humorous talltale bragging
FOUND_IN: Canada(West)
REFERENCES: (1 citation)
Fowke/Johnston, pp. 178-179, "The Day Columbus Landed Here" (1 text, 1 tune)
ST FJ178 (Partial)
Roud #4546
CROSS_REFERENCES:
cf. "I Was Born About Ten Thousand Years Ago (Bragging Song)"
ALTERNATE_TITLES:
I Never Shall Forget
The Old Timer's Song
File: FJ178
===
NAME: Day is Past and Gone, The
DESCRIPTION: "The day is past and gone, The evening shades appear, Oh, may we all remember well The hour of death is near." The singer, preparing to sleep, things ahead to the sleep of death and asks to be taken to God when the time comes
AUTHOR: unknown
EARLIEST_DATE: 1965 (Ritchie)
KEYWORDS: death religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Ritchie-Southern, p. 46, "The Day is Past and Gone" (1 text, 1 tune)
Roud #5718
File: RitS046
===
NAME: Day of Waterloo, The
DESCRIPTION: "Revolving time has brought the day That beams with glory's brightest ray In history's page or pet's lay -- The day of Waterloo." The singer urges the British to rejoice in the humbling of France, and praises Wellington and his soldiers
AUTHOR: "Lieutenant Skinner" ?
EARLIEST_DATE: 1930 (Ord), from a notebook dated 1817
KEYWORDS: soldier battle nonballad
HISTORICAL_REFERENCES: June 18, 1815 - Battle of Waterloo
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 303, "The Day of Waterloo" (1 text)
Roud #2184
CROSS_REFERENCES:
cf. "Scots Wha Hae (Bruce Before Bannockburn)" (tune)
File: Ord303
===
NAME: Day That I Played Baseball, The
DESCRIPTION: "Oh, my name it is OÕHoulihan, IÕm a man that's influential." He normally lives a quiet life, but one day is convinced to play baseball. He strikes out, he hits fouls but runs the bases anyway; he ends up drunk and on a cattle train
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: humorous sports
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 58-59, "The Day That I Played Baseball" (1 text)
Roud #4961
File: Dean057
===
NAME: Day We Packed the Hamper for the Coast, The
DESCRIPTION: About the great difficulties a couple has "the day we packed the hamper for the coast." First the food is loaded in extravagant quantities. Then the wife tries to add cooking utensils; the husband proposes adding the cat. And so forth.
AUTHOR: unknown
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: travel husband wife humorous food fight
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H488, pp. 501-502, "The Day We Packed the Hamper for the Coast" (1 text, 1 tune)
Roud #9466
NOTES: The Sam Henry text (the only one known; I suspect Henry's informant was close to the author) seems to end in mid-song, with the hamper full but nothing much happening. I suspect an explosion -- either of the hamper or of the quarreling couple -- followed. - RBW
File: HHH488
===
NAME: Day We Went to Rothesay-O, The: see Rothesay-O (File: K282)
===
NAME: Days Are Awa That I Hae Seen, The
DESCRIPTION: In words familiar from many songs, the girl says that she has been jilted through no real fault of her own. Her lover had bid her farewell. She will dress well and show no sorrow, and vows she will love him no more.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting farewell abandonment
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 179, "The Days Are Awa That I Hae Seen" (1 text)
Roud #5530
CROSS_REFERENCES:
cf. "Farewell He" (subject) and references there
cf. "A-Growing (He's Young But He's Daily A-Growing)" [Laws O35] (lyrics)
NOTES: This is one of those songs that seems to be assembled entirely out of floating materials. The first stanza in Ord's version, "The flowers are bonnie and the trees are green, But the days are away that I hae seen," is of course reminiscent of "A-Growing." Both the first and second stanzas have parts reminiscent of "I'll Be All Smiles Tonight." The overall effect is more like "Farewell He." And a couple of lines remind me of "No, Never, No."
The combined effect seems to be unique, though. - RBW
File: Ord179
===
NAME: Days of '49, The: see The Days of Forty-Nine (File: R198)
===
NAME: Days of Forty-Nine, The
DESCRIPTION: The singer, "Old Tom Moore from the Bummer's Shore," a relic of the California gold rush of 1849, recalls the various characters that he encountered "in the days of old when we dug up the gold"
AUTHOR: Charles Bensell ("Charley Rhoades") ?
EARLIEST_DATE: 1874 (The Great Emerson's New Popular Songster)
KEYWORDS: gold mining drink death moniker
HISTORICAL_REFERENCES: 1849 - Beginning of the California gold rush
FOUND_IN: US(MA,So,SW)
REFERENCES: (7 citations)
Randolph 198, "The Days of Forty-Nine" (1 text, 1 tune)
Warner 12, "The Days of Forty-Nine" (1 text, 1 tune)
FSCatskills 91, "The Days of 'Forty-Nine" (1 text, 1 tune)
Lomax-FSUSA 54, "The Days of '49" (1 text, 1 tune)
Silber-FSWB, p. 285, "The Days of Forty-Nine" (1 text)
Darling-NAS, pp. 172-174, "The Days of '49" (1 text)
DT, DAYSOF49*
Roud #2803
RECORDINGS:
Jules Allen, "The Days of Forty-Nine" (Victor 21627, 1928; Montgomery Ward M-4463, 1933)
Logan English, "The Days of '49" (on LEnglish02)
"Yankee" John Galusha, "Days of '49" (on USWarnerColl01)
File: R198
===
NAME: Days of Seventy-Six, The
DESCRIPTION: "The days of '76, boys, We ever must revere, Our fathers took their muskets then To fight for freedom dear.... Oh 'tis a great delight to march and fight As a Yankee volunteer." Battles of the Revolutionary War are recalled, and potential enemies warned
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: war freedom nonballad America rebellion
HISTORICAL_REFERENCES: Apr 18, 1775 - Battle of Lexington. A British force routs the American Minutemen. The colonials gain some revenge as the Redcoats advance on Concord
Dec 25, 1776 - Washington leads his troops across the Delaware to rout the British at Trenton
Oct 17, 1777 - Saratoga. British General John Burgoyne, advancing from Canada into New York, is forced to surrender when the British forces in the mid-Atlantic region do not undertake their planned advance
Oct 19, 1781 - Surrender of Cornwallis at Yorktown causes the British to give up hope of reconquering America
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 19, "In the Days of '76" (1 text, 1 tune)
Roud #6666
File: LoF019
===
NAME: Days of the Past Are Gone, The
DESCRIPTION: "The harness hangs in the old log barn, The wagon rots in the shed...." "For we've caught up with the Joneses now, with a fine new car and a truck...." "Them were the days when We were young and able. We rode good broncs, and we had fast dogs...."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: age cowboy recitation
FOUND_IN: Canada
REFERENCES: (1 citation)
Ohrlin-HBT 91, "The Days of the Past Are Gone" (1 text)
File: Ohr091
===
NAME: Days of the Week: see A Week's Matrimony (A Week's Work) (File: Pea322)
===
NAME: Daysman, The
DESCRIPTION: The singer quits as day labourer for bad wages, takes his only fiver and goes to a hiring fair, but receives no bid. He spends the five on a maid pretending to hire him. Now he's back at the same wages as before, but without his fiver.
AUTHOR: unknown
EARLIEST_DATE: 1961 (IREButcher01)
KEYWORDS: sex lie money work drink
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #2942
RECORDINGS:
Eddie Butcher, "The Daysman" (on IREButcher01)
File: RcDaysm
===
NAME: De Ballet of de Boll Weevil: see The Boll Weevil [Laws I17] (File: LI17)
===
NAME: De Blues Ain't Nothin': see Blues Ain' Nothin, De (File: San234)
===
NAME: De Boatman Dance
DESCRIPTION: A minstrel song about a boatman's life, observing that there is no one like a boatman. "O dance, de boatman, dance all night 'till broad daylight, And go home wid de gals in de morning. Hi, ho, de boatman row, Floating down de ribber on de Ohio"
AUTHOR: Daniel Decatur Emmett
EARLIEST_DATE: 1843 (copyright)
KEYWORDS: dancing river minstrel ship sailor
FOUND_IN: US(SE)
REFERENCES: (6 citations)
Hugill, pp. 492-493, "Dance the Boatman" (1 text, 1 tune)
BrownIII 223, "Hi You Boat Row" (1 fragment)
Botkin-MRFolklr, p. 566, "De Boatman Dance" (1 text, 1 tune)
Silber-FSWB, p. 39, "Boatman's Dance" (1 text)
DT, BOATDANC*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Dance the Boatman Dance" is in Part 1, 7/14/1917.
Roud #5898
RECORDINGS:
Elizabeth Cotten, "Boatman Dance" (on Cotten02)
Byrd Moore & his Hot Shots, "Boatman's Dance" (Gennett, unissued, 1930)
Eleazar Tillet, "Come Love Come" (on USWarnerColl01) [a true mess; the first verse is "Nancy Till", the chorus is "Come, Love, Come, the Boat Lies Low," and it uses part of "De Boatman Dance" as a bridge.)
CROSS_REFERENCES:
cf. "Seeing the Elephant (When I Left the States for Gold)" (tune)
File: BMRF566
===
NAME: De Fust Banjo: see De Fust Banjo (The Banjo Song; The Possum and the Banjo; Old Noah) (File: R253)
===
NAME: De Shucking ob de Corn
DESCRIPTION: Named for the chorus, "Ain't you goin' (x3) to de shuckin' ob de corn? Yes, I'se goin' (x3)... to de shuckin ob de corn." Verses are various: White children go to school to learn, negroes to fight; a beau offers his love gold; Satan tempts the singer
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: work food courting floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 199, "De Shucking ob de Corn" (1 text plus a fragment of the chorus)
File: Br3199
===
NAME: De Valera
DESCRIPTION: The singer favors the republic rather than Redmond's Home Rule. "At Ringsend in Boland's De Valera took his stand." "We'll carry arms openly as in the days of yore The defence of the realm won't be heard of anymore When De Valera's president of Ireland"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Tunney-StoneFiddle)
KEYWORDS: rebellion England Ireland nonballad patriotic political
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 24, "De Valera" (1 text)
CROSS_REFERENCES:
cf. "The Pride of Petravore" (tune, according to Tunney-StoneFiddle)
NOTES: de Valera -- Eamon de Valera (1882-1975) was born in America but became a leader of the 1916 rising, and barely avoided execution after its collapse. He became the President of Sinn Fein in 1917, then of the rebel Irish parliament; he opposed the treaty which led to the partition of Ireland, but formed the Fianna Fail party and won the 1932 election, then established the 1937 constitution. He remained Ireland's leading politician for fifty years, serving as President from 1959 to 1973. - RBW
John Redmond (1856-1918) led the Home Rule Party. The Home Rule issue, which might have caused an Irish Civil War, was made a side issue during the World War, and Redmond's political fate was sealed by the Easter Rising. After the war the Home Rule party lost lost power to Sinn Fein. (source: _John Redmond_ at the History Learning Site)
During the Easter Rising, in April 1916, Eamon de Valera led the Irish Republican Brotherhood [IRB] Third Battalion attack at "Boland’s Mills, with outposts from Westland Row Station to Ringsend and at Mount Street Bridge." (source: _Dublin Flames Kindled A Nation's Spirit: Extract from Irish Independent 1916-66 Supplement_ at IrelandOn-Line site) - BS
(I have to disagree with the History Site's interpretation of Redmond pretty strongly. The strong majority of histories I have read say that the largest group in Ireland in the period 1880-1915 was in favor of Home Rule. The only threat of civil war was from the Ulster Protestants. General Irish opinion did not begin to shift until after the British botched the response to the 1916 Easter Rising. Ireland *did* have a Civil War in the 1920s, and it was the de Valera faction who started it, attacking the legitimate government. Poor John Redmond, who ended up picking up the pieces of the Parnellite fiasco, tried to find a solution which would satisfy both sides -- Home Rule. The British muffed *that*, too, and Redmond died too soon to find another answer, and of course it's easy, now that Ireland is independent, for people to say they were for it all along, meaning that many songs that were once the province of a militant -- even terrorist -- minority are now the general property of the Irish people.)
(For the background to this controversy, see the notes to "Home Rule for Ireland" and "Loyal Song Against Home Rule." For how it worked out, including the start of the Irish Civil War, see "General Michael Collins." For more on the relations between de Valera and the government he both helped found and fought against, see "Legion of the Rearguard.")
(The reference to the "defence of the realm" could have two interpretations, depending on the exact dating of the song. If it is during World War I, it might refer to the British attempts to raise troops in Ireland; first they picked up volunteers, then they started trying to impose conscription -- yet another stupid move that helped to turn Ireland against them. If, on the other hand, the song is in fact from the time it was collected, then it presumably refers to the fact that the British, under the Free State treaty, kept control of a handful of ports for naval use. Ports which they eventually gave back to Ireland when de Valera and Neville Chamberlan were running Ireland and England. It was one of Chamberlain's less-noticed mistakes; it made the Battle of the Atlantic much more deadly for Britain. Had he just promised to turn them over, say, ten years later, it might well have shortened World War Two.)
Eamon de Valera is one of the great enigmas of history. Like Joan of Arc, or RIchard III, or Julius Caesar, he inspires violently conflicting opinions. Tim Pat Coogan, who wrote the monumental biography _Eamon de Valera: The Man Who Was Ireland_ (1993; I use the 2001 Dorset Press edition), p. 2, describes how difficult it is to sum him up:
"'Dev.' was the greatest political mover and shaker of post-revolutionary Ireland. His towering figure continues to cast shadows that are both benign and baleful. Therefore, as a biographer, I have been conscious of the two linked and major problems in the course of trying to chart the career of this extraordinary man: First, to convey a sense of his importance to Ireland and her relationships with Great Britain, America and the members of the British Commonwealth; second, while doing so to steer between the Scylla of hagiography and the Charybdis of denigration. Practically everything of substance written about him falls into one category or the other. There is no _via media_ where Eamon de Valera is concerned. The problem is compounded by the fact that not only did de Valera shape history, he attempted to write it too...."
The difficulty, I think, is that de Valera was a man who operated by assumptions -- that Ireland was somehow unique, that the Catholic Church was absolutely correct and great (except where he disagreed with it), that the British were the enemy and extremely untrustworthy, and that he was himself a moderate steering between the radical Cathal Brugha and the realist Michael Collins factions of the Irish independence movement. All of these are, of course, just assumptions, and how one interprets de Valera will depend entirely on how many of those assumptions one accepts. - RBW
File: TSF024
===
NAME: De'il Stick the Minister
DESCRIPTION: "Our wife she keeps baith beef and yell And tea to treat the Minister... While I the water-stand maun try, May the De'il stick the Minister." The minister can explain the Covenant and curse Papists, but he's otherwise grasping and useless
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: clergy curse humorous
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 116-117, "De'il Stick the Minister" (1 text, 1 tune)
ST StoR116 (Partial)
Roud #3153
NOTES: Although reported seemingly only in Northumberland, the references to the Covenant seem to imply Scottish origin. As, for that matter, does the clear anti-clericalism. (Though we might note that the Covenanting army long was engaged around Newcastle and other parts of Northumberland.) I'm amazed it doesn't quote the passages in Matthew and James which condemn the clergy. Apparently The Minister didn't preach those passages to the congregation. - RBW
File: StoR116
===
NAME: Deacon's Calf
DESCRIPTION: The deacon goes out to feed his calf; it kicks over the bucket and the deacon too. He reviles it; were it not for Christian love, he'd tear the calf's miserable soul apart. Ch.: "Ah-ha-ha-ha-ha, what makes the monkey laugh/To see the deacon feed his calf"
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Georgia Yellow Hammers)
KEYWORDS: curse farming humorous animal clergy
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Georgia Yellow Hammers, "The Deacon's Calf" (Victor V-40004, 1929)
CROSS_REFERENCES:
cf. "Le Petit Moine (The Little Monk)" (subject)
cf. "Mourner, You Shall Be Free (Moanish Lady)" (floating lyrics)
File: RcDCalf
===
NAME: Deacon's Daughter, The
DESCRIPTION: A young man is engaged to a "treacherous" deacon's daughter. Just before the wedding, in the middle of the night, the lady runs off with her blacksmith lover. The final stanzas tell how those left behind piously wring their hands
AUTHOR: Wheeler Hakes?
EARLIEST_DATE: 1945 (Flanders/Olney)
KEYWORDS: betrayal elopement marriage
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Flanders/Olney, pp. 23-25, "The Deacon's Daughter" (1 text, 1 tune)
DT, DEACDAUT*
Roud #4674
File: FO023
===
NAME: Dead Horse Chanty: see Poor Old Man (Poor Old Horse; The Dead Horse) (File: Doe014)
===
NAME: Dead Horse, The: see Poor Old Man (Poor Old Horse; The Dead Horse) (File: Doe014)
===
NAME: Dead Little Boys, The: see The Wife of Usher's Well [Child 79] (File: C079)
===
NAME: Dead Man's Chest 
DESCRIPTION: "Fifteen men on a dead man's chest, Yo ho ho and a bottle of rum, Drink and the devil had done for the rest." A combination of rebellion and civil war in a (pirate?) crew results in the death of captain, bosun, cook, and most of the rest of the crew.
AUTHOR: Allison & Waller ?
EARLIEST_DATE: 1915
KEYWORDS: death homicide rebellion pirate
FOUND_IN: 
REFERENCES: (2 citations)
Lomax-ABFS, pp. 512-514, "The Buccaneers (The Dead Man's Chest)" (1 text)
DT, YOHOHO*
ALTERNATE_TITLES:
Fifteen Men on a Dead Man's Chest
Yo Ho Ho
NOTES: The origin of this piece is more than usually confused. The initial quatrain appears in Robert Louis Stevenson's _Treasure Island_ (1883), but he reports that he had it from another source. (According to David Cordingly, _Under the Black Flag: The Romance and Reality of Life among the Pirates_, Harcourt Brace, 1997 [copyright 1995], p. 5, the Dead Man's Chest comes from Charles Kingsley's _At Last_.)
In 1901, the full form of the piece is said to have appeared in a musical by Allison & Waller. Did they write it? I don't know. The Lomaxes printed their version from _Seven Seas_, September 1915. Apparently no author was listed.
Chances are that this is not a folk song, but it may have folk roots somewhere. - RBW
File: LxA512
===
NAME: Dead Man's Journey, The
DESCRIPTION: It was in the spring of (?) Just a little before the war was o'er, That 'twas mine the mail bags to transport." The singer and Josh Murphy set out from Stevenson's Post; Murphy is killed by Indians. The path comes to be called Deadman's Journey
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: travel Indians(Am.) homicide
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 140-141, "(The Dead Man's Journey)" (1 excerpted text)
NOTES: The dating on this piece is curious and difficult. Burt's text dates it to (18)54, but the next line says "Just a little  before the war was o'er," which implies 1864. And the destination was "Totten Fort," which -- if Burt is correct in assuming this is Fort Totten -- was not established until 1867.
There is also the problem of the Indian tribes listed. The event took place in North Dakota (the supposed singer, Carlie Reynolds, was a historical person who died at the Little Bighorn), but the piece mentions Chippewa (Ojibwe) and Sioux (Dakota) -- and that territory was entirely Sioux. - RBW
File: Burt140
===
NAME: Deaf Woman's Courtship, The
DESCRIPTION: An old man comes to an old woman and asks her is she will (mend his jacket). She says she cannot hear him. He asks about other mundane tasks. She still can't hear him. He asks her to marry. She says, "I hear you now quite clearly"
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd)
KEYWORDS: age courting humorous questions
FOUND_IN: US(Ap,MW,NE,SE,So)  Britain(England,Scotland) Canada(Mar)
REFERENCES: (12 citations)
Belden, p. 265, "Hard of Hearing" (1 text)
Randolph 353, "Old Woman, Old Woman" (2 texts, 2 tunes)
Eddy 136, "Old Woman, Old Woman" (1 text)
BrownII 187, "Hard of Hearing" (1 text)
SharpAp 178, "The Deaf Woman's Courtship" (1 text, 1 tune)
Sharp/Karpeles-80E 54, "Old Woman (The Deaf Woman's Courtship)" (1 text, 1 tune)
Creighton/Senior, pp. 243-244, "The Deaf Woman's Courtship" (1 text plus 1 fragment)
Opie-Oxford2 535, "Old woman, old woman, shall we go a-shearing?" (1 text)
Baring-Gould-MotherGoose #94, p. 89, "(Old woman, old woman, shall we go a-shearing?)"
Montgomerie-ScottishNR 168, "(Old wife, old wife)" (1 short text)
Chase, pp. 136-137, "The Deaf Woman's Courtship" (1 text, 1 tune)
DT, DEAFWOMN*
Roud #467
File: R353
===
NAME: Dear Companion (The Broken Heart; Go and Leave Me If You Wish To, Fond Affection)
DESCRIPTION: "I once did have a dear companion (or: "love with fond affection"); Indeed I thought his love my own Until a dark eyed girl betrayed me And now he cares no more for me." The girl, looking at her baby, recalls her unfaithful love and regrets her shame
AUTHOR: unknown
EARLIEST_DATE: 1909 (Belden)
KEYWORDS: love infidelity pregnancy lyric floatingverses
FOUND_IN: US(Ap,SE,So) Britain(Scotland) Canada(Newf)
REFERENCES: (15 citations)
Belden, pp. 209-210, "Fond Affection" (1 text)
Randolph 755, "The Broken Heart" (7 texts plus 1 excerpt and mention of 1 more, 2 tunes, though some, especially the fragments, may not go here; the "A" text contains material from "I Loved You Better Than You Knew" and several others, notably "H,"  are or are mixed with "The Broken Engagement (II -- We Have Met and We Have Parted)"' "F" is "Thou Hast Learned to Love Another")
Randolph/Cohen, pp. 493-495, "The Broken Heart" (1 text, 1 tune -- Randolph's 755A)
SharpAp 111, "The Dear Companion" (1 text, 1 tune)
Sharp/Karpeles-80E 43, "The Dear Companion" (1 text, 1 tune)
Ritchie-Southern, p. 10, "Dear Companion" (1 text, 1 tune)
Ord, pp. 181-182, "Go And Leave Me If You Wish To" (1 text)
BrownII 153, "Fond Affection" (13 text, including several much longer than the usual versions; the "M" text in particular seems conflate; the first four verses may be a separate song beginning "Darling, do you know who loves you?")
Chase, p. 166, "(Dear Companion") (1 text, tune referenced)
Spaeth-WeepMore, pp. 32-33, "Now Go and Leave Me If You Wish" (1 text)
MacSeegTrav 59, "Blue-Eyed Lover" (1 text, 1 tune, an incredibly composite version I file here for lack of any better idea; it has lyrics from many songs of this type and even "The Widow in the Cottage by the Sea")
Peacock, p. 453, "Go and Leave Me If You Wish, Love" (1 text, 1 tune)
Sandburg, p. 323, "Fond Affection" (1 short text, with this title and some lyrics which belong here but with other elements reminiscent of "Carrickfergus")
Silber-FSWB, p. 164, "Dear Companion" (1 text)
DT, DEARCOMP* GOLEAVME ONCEILUV
Roud #411
RECORDINGS:
Dock Boggs, "I Hope I Live a Few More Days" (on Boggs3, BoggsCD1 -- an incredibly complex composite of lost love/abandonment songs, jumbled together and confused, but seemingly with more lines from this song than any other)
Carter Family, "Fond Affection" (Victor 23585, 1931; Montgomery Ward M-4744, 1935; Zonophone [Australia] 4364, n.d.)
Crowder Brothers, "Leave Me Darling, I Don't Mind" (Melotone 7-04-70, 1937)
Clarence Green, "Fond Affection" (Columbia 15311-D, 1928)
Sid Harkreader, "Many Days With You I Wandered" (Vocalion 15100, 1925)
Kelly Harrell, "Bye and Bye You Will Forget Me" (Victor 20535, 1926; on KHarrell02 -- clearly this song, though it borrows lyrics from "Bye and Bye You Will Forget Me")
Mainer's Mountaineers "Let Her Go God Bless Her" (Bluebird [Canada] B-6104, 1935)
Lester McFarland & Robert Gardner, "Go and Leave Me If You Wish" (Brunswick 293, 1929; rec. 1928)
David Miller, "Many Times With You I've Wandered" (Champion 15429, 1928)
CROSS_REFERENCES:
cf. "Wayfaring Stranger" (approximate tune) and references there
cf. "The Bonny Boy (I)" (lyrics)
cf. "Columbus Stockade Blues" (lyrics)
cf. "Sweet Heaven (II)" (lyrics)
cf. "Saint James Infirmary" (the "let her go" lyrics)
ALTERNATE_TITLES:
Once I Loved with Fond Affection
If It's In Your Heart
I Once Did Love Your Fond Affection
Fond of Affection
Raven Dark Hair
Fond Devotion
Future Days
Separation
NOTES: This piece would appear to break up into two subfamilies, "Dear Companion" ("I once did have a dear companion") and "A Fond Affection." I tried to separate the two -- but when I saw the incredible mixture in Randolph, I gave up. - RBW
It's also getting harder to distinguish "Columbus Stockade Blues" from this song. We use the "Columbus Stockade" line as a marker, but several versions of "Dear Companion" overlap heavily with that song in lyrics. - PJS
So true. Peacock's version, e.g., is "Columbus Stockade Blues" minus the first verse, though the tune is different. - RBW
File: R755
===
NAME: Dear Cork City by the Lee
DESCRIPTION: The singer is far from Cork but recalls its hills, chimes, streets, restaurants in Coal-Quay, hurling and "Glen Rovers' Christy Ring"; "now for the finish we'll drink a pint... We can never forget ... the night we won the Free State Championship"
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: pride sports drink nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 112-113, "Dear Cork City by the Lee" (1 text, 1 tune)
NOTES: The first and second verses -- before the hurling verses -- remind me of "Cork's Own Town" (I) for the description of local streets and Fishamble or Coal-Quay restaurants.
OCanainn: "I suppose it is just possible that there are people looking at this song who might not be aware that Glen Rovers Hurling Club is situated in Blackpool, on the Northside of the city. Equally, it is possible that they might not know that Christy Ring, one of the most famous hurlers of all time, is the 'rock of Cloyne' referred to in the song, for Cloyne, in East Cork, is his native place though he now lives in the city. The 'eight counties in a row' refers to their many victories in the Cork County Championship." - BS
File: OCan112
===
NAME: Dear Evalina
DESCRIPTION: The singer met Evalina "way down in the meadow." They courted for a time, but after three years he still has no money; though he cannot marry her, "Dear Evalina, Sweet Evalina, My love for thee shall never, never die."
AUTHOR: unknown
EARLIEST_DATE: 1909 (Heart Songs)
KEYWORDS: love courting poverty separation
FOUND_IN: US(MW,Ro,So)
REFERENCES: (5 citations)
Randolph 823, "Sweet Evelina" (1 text)
LPound-ABS, 101, pp. 211-212, "Evalina" (1 text)
Cambiaire, p. 87, "Sweet Evelena" (1 text)
Gilbert, p. 113, "(Sweet Evelina -- parody)" (1 text)
Silber-FSWB, p. 257 "Sweet Evelina" (1 text)
Roud #7437
RECORDINGS:
Arkansas Woodchopper [pseud. for Luther Ossenbrink], "Sweet Evalina" (Supertone 9643, 1930)
The Blue Sky Boys, "Sweet Evalina" (Bluebird 7348, c. 1938)
W. Lee O'Daniel & the Light Crust Doughboys, "Dear Evalina, Sweet Evalina" (Vocalion 04440, 1938)
Ola Belle & Bud Reed, "Sweet Evalina" (on Reeds01)
Phil Reeve & Ernest Moody, "Sweet Evalina" (Victor 21188, 1928)
File: R823
===
NAME: Dear Evelina, Sweet Evalina: see Dear Evalina (File: R823)
===
NAME: Dear Irish Boy, The: see My Dear Irish Boy (File: HHH142)
===
NAME: Dear Irish Maid, The: see My Dear Irish Boy (File: HHH142)
===
NAME: Dear Land
DESCRIPTION: "When comes the day all hearts to weigh if they be staunch or vile, Shall we forget the sacred debt we owe our mother isle?" The singer recalls the wrongs of Ireland, and his family's long devotion
AUTHOR: Sliach Cuilinn (John O'Hara, 1822-1890)
EARLIEST_DATE: 1887 (Sparling)
KEYWORDS: Ireland patriotic
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 54-55, "Dear Land" (1 text)
Roud #9558
NOTES: John O'Hara was a writer associated with _The Nation_, though he is almost forgotten today; this is pretty definitely his best and most famous work. Supposedly Charles Gavin Duffy whispered the first few lines on his deaathbed. - RBW
File: Dean054
===
NAME: Dear Little Shamrock, The
DESCRIPTION: "There's a dear little plant that grows on our isle" brought by St Patrick "and he called it the dear little shamrock of Ireland." The shamrock still grows. "When its three little leaves are extended" they denote that "we together should toil."
AUTHOR: Words: Andrew Cherry (1762-1812)
EARLIEST_DATE: 1806 (sung by Mrs Mountain, Dublin Opera House, according to Croker-PopularSongs)
KEYWORDS: Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (3 citations)
O'Conor, pp. 112-113, "The Dear Little Shamrock" (1 text)
Croker-PopularSongs, pp. 46-48, "The Green Little Shamrock of Ireland" (1 text)
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 149-150, 497, "The Green Little Shamrock of Ireland"
Roud #13278
BROADSIDES:
Bodleian, Harding B 11(658), "The Dear Little Shamrock," J. Harkness (Preston), 1840-1866; also Harding B 11(823), Harding B 11(824), 2806 c.15(239), "The Dear Little Shamrock"
LOCSheet, sm1870 02376, "The Dear Little Shamrock," Whittemore Swan & Stephens (Detroit), 1870; also sm1875 00381, sm1878 07872, "[The] Dear Little Shamrock" (tune)
NOTES: The shamrock has been associated with St. Patrick for centuries; the earliest legend has it that he used it to explain the concept of the Trinity. (The argument, however, is not found in his extant writings.) In the earliest accounts, though, there is no claim that Patrick actually imported the shamrock -- and, of course, good evidence that he didn't.
Either there are two tunes for this (not unlikely), or there have been multiple claims; Croker-PopularSongs lists the tune as by "Shield," but [no author listed] _A Library of Irish Music_ (published by Amsco) credits the tune to "W. Jackson." - RBW
File: OCon112
===
NAME: Dear Mallow, Adieu
DESCRIPTION: The singer bids adieu to Mallow, "where all may live just as they please," and recalls its pleasures. Now he is leaving "for the city's dull uniform scene." He will miss women, companions, and freedom. He hopes to return next spring.
AUTHOR: Samuel Whyte (1724-1811) (source: Croker-PopularSongs)
EARLIEST_DATE: 1772 (Samuel Whyte,_The Shamrock, or Hibernian Cresses_, according to Croker-PopularSongs)
KEYWORDS: farewell nonballad home
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 243-249, "Dear Mallow, Adieu" (1 text)
NOTES: Croker-PopularSongs: "In 1750, Dr Smith thus describes Mallow, which was then a very fashionable watering-place:'... Here is generally a resort of good company during the summer months, both for pleasure and the benefit of drinking the waters....'"
File: CrPS243
===
NAME: Dear Mother
DESCRIPTION: "I'm going away to leave you... Don't weep for me, dear mother, For I'll be back someday." The singer's girl has abandoned him; he will cross the sea to find another, then return to mother. But she dies and tells him to trust in God before he can return
AUTHOR: unknown
EARLIEST_DATE: 1932 (JAFL 45, from Granville Gadsey)
KEYWORDS: separation mother death courting emigration
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 210-211, "Dear Mother" (1 text)
Roud #4214
NOTES: I have a feeling this is a composite of an emigration song with a religious song, with perhaps one of those "Don't leave your mother when her hair turns gray" songs thrown in as well. But they've all been thoroughly mixed up. - RBW
File: MHAp210
===
NAME: Dear-A-Wee Lass, The
DESCRIPTION: The singer first sees the girl on a May morning, and is drawn by her beauty and "killing glances." Men of all occupations court her; he thinks them doomed to be disdained, but he too loves her always. He wishes he could marry and bless her
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love courting beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H74, p. 236, "The Dear-A-Wee Lass" (1 text, 1 tune)
File: HHH074
===
NAME: Dearest Mae
DESCRIPTION: The singer describes his life as a slave and his love for Mae. When master gives him a holiday, he visits Mae and they court happily; he then returns home. Master dies; the singer is sold down the river; Mae dies of grief
AUTHOR: unknown
EARLIEST_DATE: 1850 (The Ethiopian Glee Book)
KEYWORDS: slave death separation love courting
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 405, "Dearest Mae" (1 text plus an excerpt -- a verse which has floated in from "Massa Had a Yellow Gal" -- and mention of 2 more)
Roud #9089
NOTES: The notes in Brown list versions attributed to "A. F. Winnemore" and "Francis Lynch/L. V. H. Crosby." Draw your own conclusions.
It's worth noting that this is *not* a "happy slave" piece; the singer works hard, but is cruelly betrayed on his master's death, and Mae dies. In that sense, it rather resembled "Darling Nellie Gray" -- though seemingly without provoking the reactions the latter produced. - RBW
File: Br3405
===
NAME: Death and the Lady
DESCRIPTION: Young woman meets Death; offers him rich gifts if he will grant her more time in this world. (In some versions, she wishes to mend her ways after a life of wickedness.) He refuses. She dies.
AUTHOR: unknown
EARLIEST_DATE: 1736 ("A Guide to Heaven")
KEYWORDS: death bargaining dialog
FOUND_IN: Britain(England(South),Scotland(Bord)) US(SE)
REFERENCES: (5 citations)
Sharp-100E 22, "Death and the Lady" (1 text, 1 tune)
Vaughan Williams/Lloyd, p. 30, "Death and the Lady" (1 text, 1 tune)
Chappell/Wooldridge II, pp. 170-171, "Death and the Lady" (1 text, 1 tune)
BBI, ZN843, "Fair lady leave your costly Robes aside"; ZN1415, "In Cambridge lives a maiden fair/" (composite text also containing part of "Weaver to My Trade")
DT, DEATHLDY*
Roud #1031
BROADSIDES:
NLScotland, L.C.Fol.70(52), "Death and the Lady," unknown, c. 1890
CROSS_REFERENCES:
cf. "Conversation with Death (Oh Death)" (theme)
ALTERNATE_TITLES:
Oh Death
My Name is Death
File: ShH22
===
NAME: Death is a Melancholy Call [Laws H5]
DESCRIPTION: The singer observes a young man dying as a result of a dissolute life. Both the youth and his friends are frightened by the prospect of hell. The singer concludes with a stock exhortation to repent
AUTHOR: unknown
EARLIEST_DATE: 1906 (Belden)
KEYWORDS: death farewell Hell youth
FOUND_IN: US(Ap,SE,So)
REFERENCES: (5 citations)
Laws H5, "Death is a Melancholy Call"
Belden, pp. 464-465, "Death is a Melancholy Call (3 texts)
Randolph 595, "The Dying Youth" (1 text, 1 tune)
Scarborough-NegroFS, p. 95, "The Lost Youth" (1 text)
DT 718, DEATHMEL
Roud #655
CROSS_REFERENCES:
cf. "The Dying Boy" (theme)
cf. "Wicked Polly" [Laws H6] (theme)
ALTERNATE_TITLES:
Awful, Awful, Awful
NOTES: Many versions of this piece have the tragicomic refrain "And it's awful, awful, awful...."
Not to be confused with "Death 'Tis a Melancholy Day."
Barry wrote a study of this piece and "Wicked Polly," treating them as variants (male and female, presumably) of the same piece. The moral is of course the same, and they use the same metrical form -- but I can't see any actual dependence in the lyrics. - RBW
File: LH05
===
NAME: Death is Awful: see Conversation with Death (Oh Death) (File: R663)
===
NAME: Death Letter Blues
DESCRIPTION: Singer gets a letter, telling him to come home, because the girl he loves is dead. He comes home, to find her on the "cooling board." He buries her, weeping, telling her he'll meet her on Judgement Day
AUTHOR: unknown
EARLIEST_DATE: 1927 (verses floated to recording by Papa Harvey Hull). As a discrete song, 1966 (recording, Eugene "Son" House)
KEYWORDS: grief love home return burial death mourning lover
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Eugene "Son" House, "Death Letter" (on SonHouse1)
Papa Harvey Hull, "France Blues" (Black Patti 8001/Gennett 6106/Champion 15264, 1927; on BefBlues1)
CROSS_REFERENCES:
cf. "France Blues" (verses)
NOTES: The Hull recording ["France Blues"] incorporates the core of "Death Letter" but adds floating non-narrative verses from "Mobile Line" and elsewhere. - PJS
File: RcDLetB
===
NAME: Death of a Maiden Fair: see A Fair Lady of the Plains (Death of a Maiden Fair) [Laws B8] (File: LB08)
===
NAME: Death of a Romish Lady, The: see The Romish Lady [Laws Q32] (File: LQ32)
===
NAME: Death of Admiral Benbow, The: see Admiral Benbow (File: PBB076)
===
NAME: Death of Alec Robertson (I)
DESCRIPTION: "A good man has gone, he's drawn his last breath, Struck down in the midst of his pride. Poor Alec Robertson met his sad death On his favorite horse, Silvermine."
AUTHOR: unknown
EARLIEST_DATE: 1959
KEYWORDS: death horse racing
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 150, "Death of Alec Robertson" (1 text, tune referenced)
CROSS_REFERENCES:
cf. "Donald Campbell" (theme)
cf. "Tom Corrigan (theme)
cf. ""The Jockey's Lament" (theme)
cf. "Alec Robertson (I)" (theme)
cf. "Alec Robertson (II)" (theme)
File: MA150
===
NAME: Death of Alec Robertson (II), The: see Alec Robertson (I) (File: MA065)
===
NAME: Death of Andrew Sheehan, The: see Bold Larkin (Bull Yorkens) (File: Pea907)
===
NAME: Death of Ben Hall (II), The: see Ben Hall (File: MA164)
===
NAME: Death of Ben Hall, The
DESCRIPTION: Ben Hall's cowardly murder is recalled, as well as his nobility: "He never robbed a needy man, The records sure will show. How staunch and loyal to his mates, how manly to the foe." The singer bids him farewell
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson, Old Bush Songs)
KEYWORDS: death homicide outlaw abuse 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. 98-99, "Bold Ben Hall" (1 text, 1 tune)
Fahey-Eureka, pp. 90-91, "The Death of Ben Hall" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 81-84, "The Death of Ben Hall" (1 text. Note that the song appears to begin with the unrelated stanza "My name is Ben Hall from Urunga I came," but this is in fact a separate poem which just ended up on the same page)
CROSS_REFERENCES:
cf. "Ben Hall" (plot)
cf. "The Ballad of Ben Hall" (plot)
cf. "Streets of Forbes" (plot)
cf. "My Name is Ben Hall" (subject)
NOTES: Ben Hall is widely regarded as "the noblest 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. For background, see the notes to "Ben Hall."
To tell this song from the other Ben Hall songs, consider this first stanza:
Come all Australia's sons to me, a hero has been slain,
Cowardly butchered in his sleep upon the Lachlan plain.
Oh, do not stay your seemly grief but let a teardrop fall,
Oh, so many hearts will always mourn the fate of bold Ben Hall.
(note: with some settings of the tune, this is the first two stanzas) - RBW
File: MA098
===
NAME: Death of Bendall, The: see The Murder of F. C. Benwell [Laws E26] (File: LE26)
===
NAME: Death of Bernard Friley, The
DESCRIPTION: "It was down in the level land A murder came to light, The death of Bernard Friley 'Twas on a Monday night." A boy discovers the body as the man's dog sits by his side. The crime is blamed on drink; his murderer is imprisoned; listeners are warned
AUTHOR: James W. Day ("Jilson Setters")
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: drink homicide dog corpse
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 135-136, "The Death of Bernard Friley" (1 text)
File: ThBa135
===
NAME: Death of Birchie Potter
DESCRIPTION: "In the state of North Carolina, In a place called Pottertown, Two cousins took to drinking; One shot the other down." Birchie Potter, the victim, is praised; the singer hopes Glen Brown, the murderer, will face justice. He warns against drink
AUTHOR: Jim Brown?
EARLIEST_DATE: 1937 (Wautagua Democrat)
KEYWORDS: homicide family warning drink
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 295, "Death of Birchie Potter" (1 text)
Roud #6637
File: BrII295
===
NAME: Death of Brugh, The
DESCRIPTION: In 1922, rebel leader Cathal Brugh(a) is trapped (in a Dublin hotel) along with his fighting comrades; attempting to escape through the back door, he is shot. The singer praises and laments him
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Johnny McDonagh)
KEYWORDS: grief rebellion death lament IRA
FOUND_IN: 
REFERENCES: (0 citations)
Roud #12941
RECORDINGS:
Johnny McDonagh, "The Death of Brugh" (on Lomax42, LomaxCD1742)
CROSS_REFERENCES:
cf. "All Around My Hat" (tune)
NOTES: Cathal Brugha  was an officer in the resistance forces during the rebellion of 1916, famed for how hard he fought. He was also a political leader, arguing strenuously for a Republican government. - PJS
Brugha (born Charles Burgess, but like many Irish revolutionaries, he changed his name to a Gaelic form) fought and was wounded in the Easter Rebellion, but survived and was the Defence Minister in the 1919 Dail (the Irish parliament, which at that time would have to be regarded as provisional).
By the time he died, the Irish Free State had been organized (admittedly as a dominion) by Britain. But when the Irish cabinet voted (1921) on the dominion Treaty with Britain, Brugha (along with de Valera and Stack) voted against it (it was a 4-3 vote, with Barton, Collins, Cosgrave, and Griffith voting for the treaty). The vote in the Dail was 64-57 in favor.
When, later, Archbishop Byrne arranged a conference between Griffith, Collins, Brugha, and de Valera, Brugha called Collins a British agent, and when the latter proposed a referendum on the treaty, declared that circumstances were such that the people should not be allowed to vote (see Tim Pat Coogan, _Michael Collins_, p. 320).
The result was civil war, with pro- and anti-Treaty forces bitterly contesting the nature of a future Ireland. The legitimate government was pro-Treaty; Brugha was against. Thus Brugha was actually fighting *against* the legitimate government of Ireland when he died, fleeing from a burned building, gun in hand.
According to Robert Kee, _Ourselves Alone_, being volume III of _The Green Flag_, p. 166, "Out of one of the blazing buildings in which a group of anti-Treaty men had eventually surrendered there emerged... a small dark man carrying a Thompson sub-machine gun. He hadshaken off a St. John's Ambulance man who tried to make him surrender, and suddenly started firing... He was brought down in a hail of bullets, and died two days later. Altogether some sixty people were killed and three hundred wounded in eight days' fighting in Dublin."
To be fair, Brugha had allowed the remainder of his forces to surrender before setting out alone. Calton Younger, in _The Irish Civil War_, pp. 341-342, speculates that Brugha wanted to die as a sacrifice. But he did flee the Granville Hotel, breaking away from the men who served under him -- and when he was cornered, he fought rather than surrendering, and forced the army to kill him.
Perhaps the fittest description of him came from Richard Mulcahy (1886-1971), chief of staff of the Irish Volunteers and one of the most important men in holding together the Free State government: he was "as brave and as brainless as a bull" (Coogan, p. 34). He was tough as a bull, too; during the Easter Rising, he had taken "frightful" grenade wounds and lay  for hours in a room "with little or no plaster left on the walls and every piece of furniture wrecked" (see Michael Foy and Brian Barton, _The Easter Rising_, p. 102). He was spared a firing squad in 1916 because he was thought too wounded to survive. Obviously he proved the doctors wrong (Coogan, p. 71).
Even Collins had mild words for him: "Because of his sincerity, I would forgive him anything. at worst he was a fanatic though in what has been a noble cause" (Kee, p. 167).
Reading Coogan's description of Brugha (p. 70), which describes an inflexible, unimaginative, doctrinaire man -- so doctrinaire that he actually wanted to fight pitched battles against the English! (p. 142) -- I can't help but think how much he sounds like an *English* officer -- even though Brugha, were he alive, would doubtless beat me to a pulp for saying that.
The idiocy of this viewpoint is shown by a comment by Richard Mulcahy, the Irish Chief of Staff, who (after Collins) was probably the man most responsible for forcing the British to negotiate; he observed that, for all the deaths, the Irish rebels had never managed to drive the English out of anything more significant than "a fairly good-sized police barracks" (Kee, p. 145.)
Nor was Brugha particularly close to the "men in the trenches"; Coogan on p. 142 reports that he continued to work at his business through most of the Troubles.
He would have made a wonderful prison camp commandant, I think: Loyal, dependable, and completely lacking in imagination. As a senior government official, he was probably more trouble than he was worth.
Brugha was not the only famous casualty in this period; the Irish shed at least as much of their own blood in the Civil War as the English ever had, and many leaders on both sides were ambushed, executed, or otherwise eliminated. For an even stronger example, and a far greater loss, see "General Michael Collins."
It is sad to note that much of this may have been based on personality rather than policy: Sean Dowling state that "Cathal Brugha hated Collins like poison. It was pathological. ... Brugha was Minister for Defence but he never did anything.... Collins was so energetic that he had usurped many of Brugha's functions; he sure was hated by him." (Quoted by Coogan, p. 175.) - RBW
File: RcTDOB
===
NAME: Death of Charlie Burger: see Hanging of Charlie Birger (File: DTcbirge)
===
NAME: Death of Cilley, The (The Duelist)
DESCRIPTION: "Hark! Didst though hear that startling shriek, That agonizing yell? Which bathed in tears the widow's cheek, When murdered Cilley fell?" "O tell it not in Askelon... What deeds are done in Washington." "The duellist... Must stand condemned...."
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: homicide political
HISTORICAL_REFERENCES: Feb 24, 1838 - Jonathan Cilley, a Maine congressman, killed in a duel with Kentucky Representative William Graves
FOUND_IN: US
REFERENCES: (1 citation)
Burt, p. 256, "The Duellist, or The Death of Cilley" (1 excerpted text)
NOTES: The mention of Askelon and Gath is a reference to 2 Samuel 1:20, David's lament over Saul. - RBW
File: Burt256
===
NAME: Death of Cock Robin, The: see Who Killed Cock Robin? (File: SKE74)
===
NAME: Death of Colonel Crafford, The
DESCRIPTION: Crafford leads a party out to slaughter the Indians outside Sandusky. Despite the valor of the white officers, they are forced back and Crafford is taken. The tribal council condemns him to be burnt. The survivors go home and cry for revenge
AUTHOR: unknown
EARLIEST_DATE: 1873 (Eddy)
KEYWORDS: Indians(Am.) execution war
HISTORICAL_REFERENCES: Mar 7, 1782 - American militia massacre 96 Delaware Indians (all Christians) at Gnadenhutten, Ohio. This was in retaliation for raids in which the Delaware took no part
May 25-June 6, 1782 - Colonel William Crawford's campaign against the Indians (and British loyalists) on the Sandusky River, culminating in his severe defeat and the massacre of his army.
June 11, 1782 - Execution by burning of Crawford. Crawford's defeat brought many Indians into the Revolutionary War on the British side, but this did little to change the balance of power; Cornwallis had already surrendered and American independence was assured
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 115, "A Song on the Death of Colonel Crafford" (1 text)
ST E115 (Full)
Roud #5341
File: E115
===
NAME: Death of Ella Speed, The: see Ella Speed (Bill Martin and Ella Speed) [Laws I6] (File: LI06)
===
NAME: Death of Fan McCoy, The
DESCRIPTION: "On her death bed lay Fan McCoy, Her child standing near." She reminds her son, "The Hatfields got your pappy, Jed," and tells the history of the feud, bidding him carry it on. Judge and jury are urged not to treat him harshly because of his history
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: feud death mother children revenge
HISTORICAL_REFERENCES: 1880 - Beginning of the Hatfield/McCoy feud
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Thomas-Makin', pp. 12-13, "The Death of Fan McCoy" (1 text)
Burt, p. 248, "(The Death of Fan McCoy)" (1 excerpt)
ST ThBdM012 (Partial)
CROSS_REFERENCES:
cf. "Jim Hatfield's Boy" (subject)
NOTES: The Hatfields of West Virginia were a clan mostly of Democrats and Confederate sympathizers; the McCoys, from just across the Kentucky line, were Unionist Republicans. Their feud began in 1880, and some have claimed that 200 people died in the eight years before Kentucky police suppressed the Hatfields and functionally ended the conflict. - RBW
File: ThBdM012
===
NAME: Death of Fred Lowry, The
DESCRIPTION: "Come all young men and gentle maids, Come listen to me now...." The singer tells how troopers surround Fred Lowry's home. He vows to fight while ammunition lasts, but is shot from ambush. He proclaims his honesty, bids farewell to his girl, and dies
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: outlaw death police prison Australia love
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 58-60, "The Death of Fred Lowry" (1 composite text, 1 tune)
File: MCB058
===
NAME: Death of General Wolfe, The: see Brave Wolfe [Laws A1] (File: LA01)
===
NAME: Death of Geordie, The: see Geordie [Child 209] (File: C209)
===
NAME: Death of Harry Bradford, The [Laws C12]
DESCRIPTION: Harry Bradford, the foreman's son, cannot escape being crushed by falling logs. The father learns of his son's tragic death
AUTHOR: W. J. Taylor
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: death logger lumbering father children
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Laws C12, "The Death of Harry Bradford"
Beck 52, "The Death of Harry Bradford" (1 text)
DT 836, HARBRADF
Roud #2218
CROSS_REFERENCES:
cf. "The Jam on Gerry's Rock" [Laws C1] (plot, tune)
cf. "The Death of Harry Bradford" [Laws C12] (plot, tune)
NOTES: Beck describes this song as "frankly in imitation" of "The Jam on Gerry's Rock". - PJS
File: LC12
===
NAME: Death of Harry Simms, The
DESCRIPTION: Harry Simms is nineteen and "the bravest union man That I have ever seen." The singer worked with Simms; one day in 1932, after they separate, Simms is killed for his union activities. The singer says "The thugs... cannot kill our spirit"
AUTHOR: Aunt Molly Jackson (Jim Garland listed as second author in some sources)
EARLIEST_DATE: 1953
KEYWORDS: homicide labor-movement death mining
FOUND_IN: US
REFERENCES: (2 citations)
Greenway-AFP, pp. 271-273 (plus notes on p. 261), "The Death of Harry Simms" (1 text, 1 tune)
DT, HARRYSIM*
RECORDINGS:
Pete Seeger, "The Death of Harry Simms" (on PeteSeeger13, AmHist1) (on PeteSeeger39, possibly the same recording as on PeteSeeger13)
NOTES: Greenway claims this song has gone into oral tradition and developed variants. I have no supporting evidence for this -- but without counter-evidence, it goes into the Index. - RBW
Seeger lists authorship as "Words: Jim Garland; Music: As sung by Aunt Molly Jackson." - PJS
File: Grnw271
===
NAME: Death of Herbert Rice, The [Laws D6]
DESCRIPTION: "A fine young man," Herbert Rice, "is lost at sea" off Block Island in a storm. The family mourns. Listeners are advised to turn to God.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: sea storm death
HISTORICAL_REFERENCES: 1868 - Herbert A. Rice, not yet nineteen, is lost at sea
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Laws D6, "The Death of Herbert Rice"
DT 822, HERBRICE
Roud #2232
File: LD06
===
NAME: Death of Jack Hinton, The: see The Wreck on the C & O [Laws G3] (File: LG03)
===
NAME: Death of Jerry Damron, The
DESCRIPTION: Jerry Damron and his crew are killed on the C & O railroad, apparently in a derailment. His friends mourn for him, and hope to meet him in heaven
AUTHOR: unknown
EARLIEST_DATE: Early 1930s (given to Dock Boggs by Damron's sister)
KEYWORDS: grief train death mourning railroading wreck disaster lament worker
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #14022
RECORDINGS:
Dock Boggs, "The Death of Jerry Damron" (on Boggs2, BoggsCD1)
File: RctDoJD
===
NAME: Death of Jesse James, The: see Jesse James (II) [Laws E2] (File: LE02)
===
NAME: Death of Molly Bender: see Molly Bawn (Shooting of His Dear) [Laws O36] (File: LO36)
===
NAME: Death of Morgan, The
DESCRIPTION: The outlaw Daniel Morgan is killed in an ambush.
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: outlaw death
FOUND_IN: Australia
REFERENCES: (1 citation)
Hodgart, p. 230, "The Death of Morgan" (1 text)
Roud #8240
NOTES: According to George Boxall, _The Story of the Australian Bushrangers_, "[Daniel Morgan] was credited with being the most bloodthirsty of the New South Wales bushrangers after Willmore." It was in 1863 that the police realized that he was not associated with Ben Hall or his gang and set out pursuing Morgan. Eventually a price of one thousand pounds was placed on his head.
On the night of April 8, 1865, Morgan set out on a raid in Victoria on a dare from a newspaper. He came to the station of Macpherson and Rutherford. (Asked why he had taken to a life of crime, he claimed he was convicted of a crime he hadn't committed and had escaped.) Morgan was tired enough after several nights without sleep that someone was able to sneak out and summoned help. One of the rescuers shot Morgan from behind a bush. - RBW
File: Hodg230
===
NAME: Death of Mother Jones, The
DESCRIPTION: "The world is mourning today The death of Mother Jones; Grief and sorrow hover Around the miners' homes." The miners lament the death of the organizer who "was ready to help them; she never turned them down."
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, Gene Autry)
KEYWORDS: labor-movement death mining
HISTORICAL_REFERENCES: c. 1837-1930 - life of Mary Harris "Mother" Jones
FOUND_IN: US
REFERENCES: (3 citations)
Greenway-AFP, pp. 154-155, "Mother Jones" (1 text)
Green-Miner, pp. 241-243, "Mother Jones" (1 text, 1 tune)
DT, DETHJONE*
Roud #15157
RECORDINGS:
Gene Autry, "The Death of Mother Jones" (Banner 32133/Jewel 20033/Oriole 8033/Perfect 12696/Regal 10311/Romeo 5033/Conqueror 7702, 1931)
NOTES: Greenway notes that his text differs from that in Korson's "Coal Dust on the Fiddle," implying oral transmission. I'm not sure this really follows -- but there is enough doubt that I have indexed the song. - RBW
While copyright was registered in the name of American Record Company talent scout William R. Callaway, it's virtually certain that he did not compose it, but rather purchased the rights from an unknown composer. His widow told Archie Green that her husband never had composed anything, but would often purchase material from musicians he worked with or people he met on the road. - PJS
File: Grnw154
===
NAME: Death of Parcy Reed, The [Child 193]
DESCRIPTION: Parcy Reed captures the raider Crosier. Crosier plans vengeance. When Reed goes hunting, the Halls find him asleep, disable his weapons, then awaken him but refuse to stand with him against the Crosiers. Reed is fatally injures. (He makes his farewells)
AUTHOR: unknown
EARLIEST_DATE: 1846 (Richardson's Border's Table Book)
KEYWORDS: homicide revenge trick betrayal outlaw borderballad
FOUND_IN: Britain(England(North))
REFERENCES: (6 citations)
Child 193, "The Death of Parcy Reed" (2 texts)
Bronson 193, "The Death of Parcy Reed" (1 version)
Stokoe/Reay, pp.  49-51, "The Death of Parcy Reed" (1 text, 1 tune) {theoretically Bronson's #1, but in fact the two have substantial differences}
Leach, pp. 522-528, "The Death of Parcy Reed" (2 texts)
OBB 146, "The Death of Parcy Reed" (1 text)
DT, PRCYREED*
Roud #335
File: C193
===
NAME: Death of Parker, The: see Poor Parker (File: BrII117)
===
NAME: Death of Queen Jane, The [Child 170]
DESCRIPTION: Queen Jane has hard labor. She begs her attendants to remove her baby surgically. They call King Henry; he will not permit the operation. Queen Jane falls unconscious; the baby is delivered but she dies. King, baby, and court mourn
AUTHOR: unknown
EARLIEST_DATE: 1776 (Percy)
KEYWORDS: royalty pregnancy death
HISTORICAL_REFERENCES: 1536 - Execution of Henry VIII's second wife Anne Boleyn. His marriage to Jane Seymour (one of Anne's women in waiting) follows swiftly
Oct 12, 1537 - Birth of the future Edward VI
Oct 24, 1537 - Death of Jane Seymour
FOUND_IN: Britain(England(South,West),Scotland(Bord)) US(Ap,SE)
REFERENCES: (16 citations)
Child 170, "The Death of Queen Jane" (9 texts)
Bronson 170, "The Death of Queen Jane" (10 versions)
BarryEckstormSmyth p. 466, "The Death of Queen Jane" (brief notes only)
Davis-Ballads 35, "The Death of Queen Jane" (1 text)
Scarborough-SongCatcher, pp. 254-255, "Queen Jane" (1 text, the Lunsford version which has no true plot; tune on pp. 422-423) {Bronson's #7}
Leach, pp. 478-480, "The Death of Queen Jane" (4 texts)
Friedman, p. 285, "The Death of Queen Jane" (1 text)
SharpAp 32, "The Death of Queen Jane" (2 texts, 2 tunes){Bronson's #4, #5}
Sharp-100E 29, "The Death of Queen Jane" (1 text, 1 tune) {Bronson's  #3}
Niles 50, "The Death of Queen Jane" (1 text, 1 tune)
Sharp/Karpeles-80E 21, "The Death of Queen Jane" (1 text, 1 tune) {Bronson's #4}
Vaughan Williams/Lloyd, p. 31, "The Death of Queen Jane" (1 text, 1 tune) {Bronson's #2}
DBuchan 52, "The Death of Queen Jane" (1 text)
Abrahams/Foss, pp. 56-57, "Queen Jane" (1 text, 1 tune) {Bronson's #7}
Silber-FSWB, p. 212, "Queen Jane" (1 text)
DT 170, QUENJANE* QUENJAN2*
Roud #77
RECORDINGS:
Douglas Kennedy, "The Death of Queen Jane" (on FieldTrip1)
Bascom Lamar Lunsford, "Death of Queen Jane" (on BLLunsford01; a lyric fragment in which everyone comes to Jane and says simply, "The red rose of England shall flourish no more.") (on BLLunsford02) {Bronson's #7}
CROSS_REFERENCES:
cf. "Six Dukes Went A-Fishing" (lyrics)
NOTES: [A. L. Lloyd reports,] "We do not know how old this ballad is, nor if it derives from a piece called "The Lamentation of Queen Jane", licensed for publication in 1560."
This ballad is also, as "Dronning Dagmar (Queen Dagmar)," found in Danish tradition. - PJS
If actually the same song, the Danish version would appear to be much older; the most famous Dagmar in Danish history was the daughter of Ottocar I of Bohemia and the wife of Valdemar II (c. 1170-1241; reigned 1202-1241; the name of the Danish king on "Dronning Dagmar" is in fact Valdemar). They were married in 1215; she died in 1222, leaving a son who, in an interesting coincidence, predeceased his father, meaning that the Danish throne went to younger half-brothers. - RBW
Re "Queen Dagmar's Death" translated in R.C. Alexander Prior _Ancient Danish Ballads_ (1860), Vol. II, No. LXII, pp. 136-140: "Dagmar, the first wife of King Waldmar the second, died at Ribe in the year 1212, and is buried at Ringsted by the side of her husband." The plot is very close to "The Death of Queen Jane." However, the king reaches her side after she has died. The king asks that everyone pray that he be allowed to hear her wishes. The Queen wakes, asks that all prisoners be released, that Berngerd [Berengaria] not be taken as a wife, and that her youngest son Knud be heir to the crown. Finally, she explains the reason for her death and damnation: "Had I on a Sunday not laced my sleeves, Or border upon them sewn, No pangs had I felt by day or night, Or torture of hell-fire known." She returns to death. - BS
Note therefore the (minor) differences between the songs: Valdemar arrives at his wife's bedside only after she dies, and she attributes her death to dressing too gaily on a Sunday. She also speaks after death; I know of no supernatural versions of "Queen Jane." Still, it's noteworthy that "Queen Jane's" plot, where it differs from the facts, always differs in a way that brings it closer to "Dronning Dagmar." - (RBW, PJS, BS)
Incidentally, Jane Seymour's ghost is alleged to still appear at Hampton Castle, one of Henry VIII's primary residences and the place where Jane died. The other side of the coin is, the place is alleged to have quite a few ghosts, very many of whom have been explicitly identified with one or another historical person. One can't help but wonder if the real explanation isn't someone (perhaps in a tourism office) with an overactive imagination.... - RBW
File: C170
===
NAME: Death of Robin Hood, The: see Robin Hood's Death [Child 120] (File: C120)
===
NAME: Death of Roy Rickey, The
DESCRIPTION: "Little Roy was missing, Where was he found? A-hangin' by the roadside ...." He was hangin' on a whiteoak.... Where he could have saved himself If he had not been dead." His parents are accused of killing the boy then hanging the dead body
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: death homicide father mother children crime
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 163-164, "The Death of Roy Rickey" (1 text)
CROSS_REFERENCES:
cf. "Mary Phagan" [Laws F20] (tune)
SAME_TUNE:
Mary Phagan [Laws F20] (File: LF20)
NOTES: This is so feeble a piece that, after the first two verses, I thought it intended to be humorous. But it evidently wasn't so meant. The outcome of the case apparently was not known to the informants, but rumor had it that Roy had discovered his mother in a compromising position with Jim Andy Day (who later discovered Roy's body). The two disposed of Roy to make sure no word reached Roy's father.
Amazing no one made a movie out of that plot.... - RBW
File: ThBa163
===
NAME: Death of Samuel Adams
DESCRIPTION: "In the state of old Kentucky... A horrible crime was committed And later brought to light." "A man was cruelly murdered, Samuel Adams was his name." The buried body washes up in a flood, and Joe Schuster and gang sentenced to life imprisonment
AUTHOR: Grover Frazier?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: homicide trial prison work
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 242-243, "Death of Samuel Adams" (1 text)
Roud #4131
CROSS_REFERENCES:
cf. "The Rowan County Crew (Trouble, or Tragedy)" [Laws E20] (lyrics)
NOTES: Neither this song nor Thomas's notes are very clear as to what actually happened here. Reading a great deal into a small amount between the lines, I suspect that Samuel Adams, left without work in the Depression, arrived perhaps at Ashland during the labor troubles. He took a job as a guard and was killed as a result.
This is item dF62 in Laws's Appendix II. - RBW
File: ThBa242
===
NAME: Death of William Gilley, The [Laws D5]
DESCRIPTION: A widow tells of how, within weeks of her marriage, her husband went to sea. Neither ship nor sailor ever returned, leaving her trying to find strength in her faith
AUTHOR: Mary Lurvey Stanley (broadside)
EARLIEST_DATE: 1926
KEYWORDS: sea death religious
HISTORICAL_REFERENCES: Jan 14, 1829 - Marriage of Clarissa Gott and William Gilley
Mar 1, 1829 - Gilley sets sail in the Minerva, never to return
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Laws D5, "The Death of William Gilley"
DT 821, WMGILLEY
Roud #2231
File: LD05
===
NAME: Death of Willie Stone, The
DESCRIPTION: "In a graveyard at Toowong, where the river rolls along, Lies Willie Stone a trusted man and true." Well-beloved and handsome, he falls and is killed in a horserace. Listeners are told that "'Twas God's decree and he alone knows best."
AUTHOR: unknown
EARLIEST_DATE: 1975
KEYWORDS: horse racing death
FOUND_IN: Australia
REFERENCES: (1 citation)
Fahey-Eureka, pp. 224-225, "The Death of Willie Stone" (1 text, 1 tune)
NOTES: Stone came from a well-known family of horse trainers, but he was not killed in a race; rather, he was thrown in a practice run. The informant, M. Sullivan, thought this piece might be the work of "Cyclone" Jimmy Connors. - RBW
File: FaE224
===
NAME: Death-Bed Song: see When Sorrows Encompass Me 'Round (File: Wa094)
===
NAME: Death, 'Tis a Melancholy Day
DESCRIPTION: "Death, 'tis a melancholy day For those who have no God, When the poor soul is forced away To seek her last abode." The girl is condemned to Hell; others are warned of it. The singer is glad to be rescued from it.
AUTHOR: unknown
EARLIEST_DATE: 1911 (Sacred Harp)
KEYWORDS: religious Hell death
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 645, "Death, 'Tis a Melancholy Day" (1 text)
Roud #655
NOTES: In the Sacred Harp, where the text is credited to Isaac Watts (1707) and the tune to H. S. Reed, this is called "Melancholy Day."  The Missouri Harmony sets the first verse to the tune "Tribulation."
Roud lumps this with "Death Is a Melancholy Call" [Laws H5], which strikes me as more reasonable than many of his other lumps. But I keep them separate based on Laws. - RBW.
File: R645
===
NAME: Death, Ain't You Got No Shame?
DESCRIPTION: "Death, ain't you got no shame, shame...." "Left his pappy to moan, moan...." "Left his widder alone, lone...." "Left his mammy to weep, weep...."
AUTHOR: unknown
EARLIEST_DATE: 1936
KEYWORDS: religious death nonballad
FOUND_IN: US(Ap,SE)
REFERENCES: (1 citation)
Lomax-FSNA 129, "Death, Ain't You Got No Shame?" (1 text, 1 tune)
Roud #6682
File: LoF129
===
NAME: Deceitful Husband, The
DESCRIPTION: The singer says she was courted and married by a stranger. They had been married six weeks when a woman claims him as the father of her infant. The singer believes the story although her husband denies it. She drives him away to "where he ought to go"
AUTHOR: Hugh McWilliams (source: Moulden-McWilliams)
EARLIEST_DATE: 1831 (according to Moulden-McWilliams)
KEYWORDS: marriage accusation rejection baby husband lover wife
FOUND_IN: Ireland
REFERENCES: (1 citation)
ADDITIONAL: John Moulden, Songs of Hugh McWilliams, Schoolmaster, 1831 (Portrush,1993), p. 8, "The Deceitful Husband"
Roud #7002
RECORDINGS:
Robert Cinnamond, "Young Girls Beware" (on IRRCinnamond02)
NOTES: The description is based on Moulden. - BS
File: RcTDeHus
===
NAME: Deceived Girl, The: see The Fair Flower of Northumberland [Child 9] (File: C009)
===
NAME: Decision in the Gypsy's Warning: see The Gypsy's Warning (File: R743)
===
NAME: Deck of the Willow Green
DESCRIPTION: Edgar ships on the Willow Green. Being God-fearing, he refuses to join the crew and captain in drink. Edgar tells the captain that drink will lead him to Hell. In drunken gloom the captain kills himself. Edgar prays for the crew. They all swear off rum.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: virtue suicide sea ship drink religious sailor
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 89, "Deck of the Willow Green" (2 texts, 2 tunes)
ST LLab089 (Partial)
Roud #9974
ALTERNATE_TITLES:
Faithful Edgar
NOTES: Yeah, sure. - RBW
File: LLab089
===
NAME: Deck the Halls (with Boughs of Holly)
DESCRIPTION: Listeners are urged to "Deck the halls with boughs of holly," wear "gay apparel," "troll the ancient yuletide carol," and welcome in the new year
AUTHOR: unknown
EARLIEST_DATE: 1881 (tune published 1784 as "Nos Galan" in Musical and Poetical Relics of the Welsh Bards)
KEYWORDS: Christmas nonballad
FOUND_IN: 
REFERENCES: (5 citations)
OBC 50, "Nos Galan" (2 texts, of which the second is this piece, 1 tune)
Silber-FSWB, p. 382, "Deck the Halls" (1 text)
Fuld-WFM, pp. 193-194, "Deck the Halls with Boughs of Holly"
DT, DECKHALL*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #17, "Deck the Halls with Boughs of Holly" (1 text)
SAME_TUNE:
Deck the Halls with Lefse Slices (Pankake-PHCFSB, p. 19)
Deck the Halls (with Gasoline) (Pankake-PHCFSB, p. 99)
NOTES: This seems certainly to have been originally a Welsh New Year's song, "Nos Galan." According to Fuld, this was originally published, in Welsh, in 1784. Despite the appearance of the words in the "Oxford Book of Carols," the commentators cited by Fuld consider the song to be exclusively American.
The English words bear no relationship to the Welsh, which is said to be a love song used as a circle dance. Bradley in the _Penguin Book of Carols_ claims it could be used for a forfeit game: The singers danced around a harp, and each singer was called upon to sing a verse in turn, with the singer who failed to do so dropping out of the circle. - RBW
File: FSWB382A
===
NAME: Deep Blue Sea (I), The
DESCRIPTION: The girl's lover set off to sea, promising to write to her. She never hears from him. She seeks out his captain, who tells her "he is drowned in the deep blue sea." She bids "farewell to friends and relations" and decides to drown herself
AUTHOR: unknown
EARLIEST_DATE: 1928 (Carter Family recording)
KEYWORDS: death suicide ship sea drowning
FOUND_IN: US(SE,So)
REFERENCES: (5 citations)
Randolph 794, "The Deep Blue Sea" (1 short text plus 2 excerpts, 1 tune)
Randolph/Cohen, pp. 518-520, "The Deep Blue Sea" (1 text, 1 tune -- Randolph's 794A)
Cohen/Seeger/Wood, p. 26, "Sailor on the Deep Blue Sea" (1 text, 1 tune, perhaps rewritten by the Carter Family)
Silber-FSWB, p. 181, "Sailor On The Deep Blue Sea" (1 text)
DT, SAILDEEP*
Roud #4291
RECORDINGS:
Carter Family, "I Have No One to Love Me" (Victor V-40036, 1929)
Lake Howard, "I Have No One to Love Me" (Perfect 13151, 1935)
New Lost City Ramblers, "Sailor on the Deep Blue Sea" (on NLCR01)
CROSS_REFERENCES:
cf. "The Sailor Boy (I)" [Laws K12] (plot)
NOTES: Paul Stamler suggests that this is a worn-down form of "The Sailor Boy" (Laws K12). I consider the characteristic of Laws K12 to be the request for a boat that the girl may seek her lover. Also, there are very few words in common between the two. So I have,
with some hesitation, decided to split the two songs.
It is quite possible that the separation is recensional; Cohen notes that Randolph's texts appear to be a warn down version of the Carter Family version, and Randolph's is the only genuinely traditional source. So this may be the remnants of a Carter Family rewrite of "The Sailor Boy." - RBW
File: R794
===
NAME: Deep Blue Sea (II)
DESCRIPTION: "Deep blue sea, baby, deep blue sea...It was Willie what got drownded in the deep blue sea"; "Dig his grave with a silver spade..."; "Lower him down with a golden chain..."
AUTHOR: unknown
EARLIEST_DATE: 1955 (recording, Pete Seeger)
KEYWORDS: death burial drowning floatingverses lullaby
FOUND_IN: US
REFERENCES: (3 citations)
PSeeger-AFB, p. 76, "Deep Blue Sea" (1 text, 1 tune)
Silber-FSWB, p. 58, "Deep Blue Sea" (1 text)
DT, DEEPBLUE*
Roud #3119
RECORDINGS:
Pete Seeger, "Deep Blue Sea" (on PeteSeeger04) (on PeteSeeger12) (on PeteSeeger15)
CROSS_REFERENCES:
cf. "Old Blue" (floating verses)
cf. "The 'Cholly' Blues" (floating verses)
cf. "Stormalong" (floating verses)
cf. "Dig My Grave With a Silver Spade" (floating lyrics)
NOTES: In this case, perhaps we should refer to "sinkingverses." This song should not be confused with "The Deep Blue Sea", aka "Sailor on the Deep Blue Sea," as recorded by the Carter Family. It may have been a shanty at some point. - PJS
File: PSAFB076
===
NAME: Deep Elem Blues
DESCRIPTION: The listener is advised to be prepared when going to (Deep Elem): "If you go down to Deep Elem just to have a little fun, You'd better have your fifteen dollars when the policeman comes." The singer details his experiences with the women there
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Cofer Brothers)
KEYWORDS: whore money police theft trick sex warning crime humorous clergy
FOUND_IN: US
REFERENCES: (2 citations)
BrownIII 501, "Went Down Town"; 502, "Standin' on de Street Doin' No Harm" (2 fragments, consisting of little more than a declaration of innocence and a statement "along came the police and grabbed me by the arm," also found in some versions of this song)
DT, DEEPELM  BLCKBTTM
RECORDINGS:
The Cofer Brothers, "The Georgia Black Bottom (Black Bottom Blues)" (Okeh 45111, 1927)
Richard O. Hamilton, "Deep Elm Blues" [excerpt] (on USWarnerColl01)
Lone Star Cowboys, "Deep Elm Blues" (Victor 23846, 1933)
Prairie Ramblers, "Deep Elem Blues" (Perfect 5-11-51, 1935)
The Shelton Brothers, "Deep Elem Blues" (Decca 5099, 1935; Decca 46008, 1946)
SAME_TUNE:
Shelton Brothers, "Deep Elem Blues - No. 2" (Decca 5198, 1936)
Shelton Brothers, "Deep Elem Blues - No. 3" (Decca 5422, 1937)
NOTES: "Deep Elem," according to Michael Cooney, refers to Elm Street, the red light district in Dallas, Texas (for the reputation of this area, see also, e.g., "Take a Whiff On Me"). It's not clear whether the Cofer Brothers' "Black Bottom Blues" or the Shelton Brothers' "Deep Elem Blues" is the older form; the latter seems to have inspired more recordings. - RBW
File: DTdeepel
===
NAME: Deep in Love: see Waly Waly (The Water is Wide) (File: K149)
===
NAME: Deep River
DESCRIPTION: "Deep River, "(My home is over Jordan), I want to cross over (to the campground)." The singer hopes to cross (the Jordan) to heaven , there to meet family, friends, etc.
AUTHOR: unknown
EARLIEST_DATE: 1875 ("The Story of the Jubilee Singers")
KEYWORDS: religious death river
FOUND_IN: US
REFERENCES: (4 citations)
Lomax-ABFS, pp. 594-595, "Deep River" (1 text, 1 tune)
Silber-FSWB, p. 370, "Deep River" (1 text)
Fuld-WFM, p. 195, "Deep River"
DT, DEEPRVR2
Roud #12332
RECORDINGS:
Marian Anderson, "Deep River" (Victor 19227, 1924) (Victor 22015, 1929; Victor 2032, 1940)
Carroll Clark w. Fletcher Henderson [Orch.?] "Deep River" (Columbia 128-D, 1924)
Commonwealth Quartet, "Deep River" (Conqueror 7079, 1928)
Hampton Institute Quartette, "Deep River" (RCA, unissued, 1941)
The King's Heralds, "Deep River" (Chapel CR 23, n.d.)
Lions Quartet, "Deep River" (Columbia 1167-D, 1927)
Oriole Male Quartette, "Deep River" (Oriole 893, 1927)
Randolph's Kentucky Jubilee Choir, "Deep River" (Brunswick 4063, 1928)
Paul Robeson, "Deep River" (Victor 20793, 1927)
NOTES: Not to be confused with either of two songs called "Deep River Blues" (one traditional, with the opening "Let it rain, let it pour; Let it rain a whole lot more..."; the other coming from the W. C. Handy tradition and beginning "Deep river, deep river, Mississippi River, so deep and wide my heart is breaking"). - RBW
File: LxA594
===
NAME: Deep Sheephaven Bay
DESCRIPTION: The singer is exiled from Ireland. He thinks about his old home, the fishing fleet, the fields, and "bonnie blue-eyed Mary in her shawl of Galway grey," Now he is old but hopes he can return and "sleep in that old churchyard" near his old home.
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: exile home separation Ireland nonballad return
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 21, "Deep Sheephaven Bay" (1 text, 1 tune)
NOTES: McBride: "A favourite song of emigration in Donegal. Sheephaven Bay lies west of Inishowen...." - BS
File: McB1021
===
NAME: Deep Water: see Poor Omie (John Lewis) (Little Omie Wise) [Laws F4] AND Naomi Wise [Laws F31] (File: LF04)
===
NAME: Deer Chase, The: see The Bear Chase (File: LoF081)
===
NAME: Defence of Crossgar
DESCRIPTION: Thrashers prepare "not to leave a Protestant soul in Crossgar" on St Patrick's Day. A policeman encourages them and the peelers don't stop them. "Many a Thrasher that day was detained" by Orange shot. "We fought them and beat them an hundred to one"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: violence Ireland patriotic political police
HISTORICAL_REFERENCES: Mar 17, 1849 - "Ribbon parades at Castlewellan and Crossgar were attacked by Orangemen, and at Crossgar a policeman and a young woman were killed" (source: Neil Jarman and Dominic Bryan, _From Riots to Rights; Nationalist Parades in the North of Ireland_ (1997),
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 13, "Defence of Crossgar" (1 text)
CROSS_REFERENCES:
cf. "The Seige of Carrick" (tune, according to OrangeLark)
NOTES: OrangeLark: "The Irish Constabulary, like the R.I.C. which superseded it, was largely composed of Roman Catholics."
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.)
The Thrashers were one of the Catholic agrarian groups like the Defenders, Whiteboys and Ribbonmen (source: "Orange Institution" at the Wikipedia site). - BS
File: OrLa013
===
NAME: Defender's Song, The
DESCRIPTION: The singer, "a Defender and a member of the Church of Rome," is banished from his home by "Luthers black and Calvin crew." He flees to the mountains. He recalls Christ's travails. He considers the despair of Calvinists: "their compass needle it is broke"
AUTHOR: unknown
EARLIEST_DATE: 1953 (Tunney-StoneFiddle)
KEYWORDS: Ireland religious exile
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, pp. 134-135, "The Defender's Song" (1 text)
CROSS_REFERENCES:
cf. "The Banished Defender" (some text)
NOTES: Tunney-StoneFiddle pp. 134-135 shares its first verse and theme with "The Banished Defender" but the remaining verses are entirely different.
Zimmermann p. 19: "In some parts of Ulster, Protestant and Catholic tenants were mingled and contended for the land; the peasantry was thus divided into two camps, each having its oath-bound association. This led to a sort of religious war. At the end of the eighteenth century the Catholic "Defenders" were opposed to the Protestant "Peep o'Day Boys" or "Orangemen." The "Defenders were succeeded by the "Ribbonmen" - BS
An irony of this song is that, while there were Calvinists in Ulster (the Presbyterian church is Calvinist), the main force of Protestantism in Ireland was the Anglican church, which is neither Lutheran (Protestant) nor Calvinist (Reformed); Anglicanism is third major branch to split off from the Church of Rome.
The Calvinist despair is, I assume, based on their extreme doctrine of predestination, which holds that no amount of effort to do right can save a person; it depends entirely on God's grace (or God's whim, as it appears to non-Calvinists). This position is summed up in the Reformed faith's "TULIP" acronym, affirmed at the Synod of Dort: Total depravity, Uncondition election, Limited atonement, Irresistible grace, and Perseverance of the Saints.
To show why all of this is relevant to Ireland: Cromwell, who did more than anyone (including even William III) to destroy Irish society, could well be called a Calvinist's Calvinist. - RBW
File: TSF134
===
NAME: Defenders' Song
DESCRIPTION: "Arise, ye sons of liberty, awake out of your slumber." United defenders must "plant the tree of liberty" in Ireland. Follow the examples of America and France. "The harp and shamrock will unite, when tyrants are no more"
AUTHOR: unknown
EARLIEST_DATE: 1863 (according to Moylan)
KEYWORDS: America France Ireland nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 44, "Defenders' Song" (1 text)
NOTES: For more about the Defenders, who spread starting around 1790 in response to the Protestant Peep o' Day boys, see e.g. the notes to "Bold McDermott Roe," "The Banished Defender," and "The Noble Ribbon Boys." - RBW
File: Moyl044
===
NAME: Deitcher's Dog, Der: see O Where O Where Has My Little Dog Gone (File: RJ19057)
===
NAME: Delhi Jail, The
DESCRIPTION: The singer is going down the road "with a tired feeling and a heavy load" when the Sheriff apprehends him. The food in Delhi Jail is abominable, and the singer, once freed, proclaims, "I hope to the Lord I go there no more." Tune: "Turkey in the Straw"
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: prison parody
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 169, "The Delhi Jail" (1 text, 1 tune, plus a stanza of "Turkey in the Straw" from the same informant)
ST FSC169 (Partial)
CROSS_REFERENCES:
cf. "Turkey in the Straw" (tune) and references there
File: FSC169
===
NAME: Delia: see Delia's Gone [Laws I5] (File: LI05)
===
NAME: Delia Holmes: see Delia's Gone [Laws I5] (File: LI05)
===
NAME: Delia's Gone [Laws I5]
DESCRIPTION: Tony/Coonie shoots Delia (for breaking her promise to marry him). Delia's mother grieves. Coonie writes a letter from prison, where he has been sent for life, asking the governor for a pardon
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: homicide prison punishment
FOUND_IN: US(SE) Bahamas
REFERENCES: (5 citations)
Laws I5, "Delia (Holmes)"
Botkin-AmFolklr, pp. 911-912, "Delia Holmes" (1 text, 1 tune)
Darling-NAS, pp. 238-239, "Delia" (1 text)
Silber-FSWB, p. 177, "Delia's Gone" (1 text)
DT 657, DELIAGON* DELIAGO2 (DELIA2 -- heavily adapted)
Roud #3264
RECORDINGS:
Pete Seeger, "Delia's Gone" (on PeteSeeger04)
NOTES: In oral tradition this ballad has split into two texts which are so distinct that they can hardly be recognized as one. (Indeed, I wasn't sure until I came across an unusually full Bahaman version.)
"Delia's Gone," from the Bahamas, tells only the bare facts of Delia's murder, which is committed by Tony.
"Delia" ("Delia Holmes") provides a motive for the shooting (Delia Holmes had broken her promise to marry Coonie), and gives details about the murderer's conviction.
One theory has it that this story is based on a murder committed in Georgia around 1900.
If this is true, then Tony/Coonie is Moses Houston (variously called "Mose" and "Cooney/Coony" in the newspapers). His age is uncertain; he gave it as fourteen, and the papers estimated it at fourteen to sixteen.
Delia Green was fourteen year old who had been dating. He claimed there was a sexual relationship; she denied it. He killed her in 1900, at a rowdy party in which they argued, apparently over whether their relationship was sexual. He was tried in 1901. Found guilty (in a trial which, in retrospect, does not sound very fair), he was sentenced to prison but parolled in 1913; a later request to overturn his sentence does not seem to have been acted upon. (Information compiled by John Garst.)
Almost all that is known about this song is summarized by Chapman J. Milling in Volume 1, Number 4 of _Southern Folklore Quarterly_ (December 1937); Botkin excerpts several important paragraphs. - RBW
File: LI05
===
NAME: Deliverance Will Come : see Palms of Victory (Deliverance Will Come) (File: R626)
===
NAME: Deluded Lover, The
DESCRIPTION: Singer greets his  love; but she reproaches him for deluding her. He says he's free of obligation to her. She points out that he broke his vows to her. He says *he* was deluded, and that he still thinks of his true-love. He wishes all wars were over 
AUTHOR: unknown
EARLIEST_DATE: c.1945 (Tunney-StoneFiddle); 1952 (IRTunneyFamily01)
LONG_DESCRIPTION: Singer meets his true love; he greets her, but she reproaches him for deluding her. He denies it, saying he's free of obligation to her, and so is she. He admits giving her diamond rings; she points out that he broke his vows to her, and married "the lassie with the land." He admits that too, but says *he* was deluded, and that he still thinks of his true-love. He wishes all wars were over (, that the soldiers may be called home from their war-brides,) and that they might meet again
KEYWORDS: love marriage accusation promise abandonment betrayal lover wife
FOUND_IN: Ireland
REFERENCES: (2 citations)
Kennedy 150, "The Deluded Lover" (1 text, 1 tune)
Tunney-StoneFiddle, pp. 78-79, "As I Roved Out" (1 text, 1 tune)
Roud #3479
RECORDINGS:
Paddy Tunney, "As I Roved Out" (on IRPTunney02)
Michael Gallagher, "The Deluded Lover" (on IRTunneyFamily01)
ALTERNATE_TITLES:
The Briar and the Rose
NOTES: Schmuck. - PJS
The final verse of this song wishes that "the Queen would call home her armies From England, Ireland, from Amerikay and Spain." This strongly implies a date in the reign of Queen Anne (1702-1714) and the War of the Spanish Succession; Elizabeth I had no armies in America (though she did fight Spain), and Victoria, though she had armies in North America if you count Canada as British, was no longer involved in Spain.
The War of the Spanish Succession (1701-1713) did keep British troops on the continent (mostly in the Low Countries) far longer than previous wars, and there were also troops stationed in Ireland for long periods for fear of Jacobite activities. So foreign marriages did become a possibility. - RBW
While Michael Gallagher's recording has the title "The Deluded Lover" he himself introduces the song as "As I Roved Out."
Tunney-StoneFiddle calls this "'As I Roved Out' or 'The False Bride'." This doesn't seem in any way related to "The False Bride." Tunney's melody is the one used by Planxty for "As I Roved Out" on _Planxty -- The Well Below the Valley_ on LP Shanachie 79010 (1979). Perhaps "The False Bride" is a typo for a title mentioned on p. 137, viz., "The Forsaken Bride."
Peter Boyle's notes to IRPTunney02: "The song sung here has been equated, rightly or wrongly, with the English ballad 'The False Bride' (BBC Recorded Programmes Library), but to me it seems rather to be a mixture of two or three themes taken over from Provencal folk poetry, and one really Irish theme -- that of land hunger. Easily recognizable in the verses are (1) the love debate, (2) chanson de jeune fille, and (3) a folk-memory of amour courtois." In Tunney's own comment on IRPTunney02 considers land hunger one issue but speculates that the outcome might be blamed on a matchmaker making the best deal.
From "As I Roved Out on a Bright May Morning" for _Scottish Songs--Lyrics and Melodies_ at Glasgow Guide site: "A copy of this song was recently found in Russia, by Dr. Urbanov, folded into the diary of a Captain Dougal Frazer who presumably died at Balaclava in the Crimean war around 1853, as a member of the 93rd Highland Regiment, under Sir Colin Campbell, one time Aide de Camp to the Duke of Wellington." [For Colin Campbell, commander of the Highland Brigade at Alma, see e.g. "The Kilties in the Crimea," "Grand Conversation on Sebastopol Arose (II)," and "The Heights of Alma (I)" [Laws J10] - RBW] - BS
File: K150
===
NAME: Demon Lover, The: see The Daemon Lover (The House Carpenter) [Child 243] (File: C243)
===
NAME: Demon of the Seas, The
DESCRIPTION: On board the pirate ship Demon of the Seas Captain Moore outrun ships of war until "two men of war were fitted out By Edward, England's King" to bring him in. The pirates destroy those ships but are destroyed by a third.
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: fight navy death pirate
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Ives-NewBrunswick, pp. 151-153, "The Demon of the Seas" (1 text, 1 tune)
Huntington-Whalemen, pp. 78-79, "The Demon of the Sea" (1 text, 1 tune)
Roud #1962
NOTES: Huntington states, without evidence, that the King Edward involved is Edward VI (reigned 1547-1553). The difficulty in this, of course, is that Edward VI died while he was still only a boy; he didn't fit out anything in his own right.
Nonetheless, if an English King Edward is meant, it almost has to be Edward VI. Edward VII (reigned 1901-1910) is obviously too late. The Edwards prior to Edward VI are largely eliminated by the mention of guns. Edward I (1272-1307) and Edward II (1307-1327) simply didn't have cannon. They began to be used in the reign of Edward III (1327-1377), but not on shipboard -- they were still too experimental.
By the time of Edward IV (1461-1470, 1471-1483) and Edward V (1483), cannon were well-established as weapons, but only on land; they had been mounted on ships, but hardly used. It's surprising to hear guns mentioned even in connection with Edward VI's navy, since this is before the Spanish Armada really caused naval gunnery to be tested -- but at least it's possible.
I know of no famous pirate named Moore (excluding the Captain of the _Flying Cloud_, which is obviously too late). Could it possibly be an error for "Moor" -- i.e. one of the corsairs from North Africa? - RBW
File: IvNB151
===
NAME: Dempsey's Lumber-Camp Song
DESCRIPTION: Singer describes the characters at Dempsey's lumber camp
AUTHOR: Frank Ward
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering work nonballad moniker logger humorous
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 70, "Dempsey's Lumber-Camp Song" (1 text)
Roud #8840
CROSS_REFERENCES:
cf. "The Lumber Camp Song" (theme) and references there
NOTES: The "moniker song" consists mostly of listing the names of one's compatriots, and perhaps telling humorous vignettes about each; it's common among lumberjacks, hoboes, and probably other groups. - PJS
File: Be070
===
NAME: Denis O'Reilly: see True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man) (File: MA062)
===
NAME: Dennis McGonagle's Daughter Mary Ann
DESCRIPTION: "I am a decent Irishman, IÕve a daughter Mary Ann... and you bet she is so fresh, she will never spoil." The girl is always going to balls and courting young men. At one, she is arrested, but promptly freed when the police learn who she is
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: courting police humorous floatingverses
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 80-81, "Dennis McGonagle's Daughter Mary Ann" (1 text)
Roud #9569
NOTES: This song poses a bit of a conundrum. The chorus runs, "She's a darling, she's a daisy, and she nearly drives me crazy, With a hand and foot upon her like a man. And everywhere she goes you can tell by her turned-up nose That she's Dennis McGonagle's daughter Mary Ann." This obviously has the same source as the as the lyric "She's my darling, she's my daisy, She's humpbacked and she's crazy... She's my freckled-faced consumptive Mary Ann" found in "Hungry Hash House" and "Sara Jane."
And yet, the feeling of the two versions is so different that they can properly be considered separate songs. And which one (if either one) is original? I have no answer. - RBW
File: Dean080
===
NAME: Dennis O'Reilly: see True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man) (File: MA062)
===
NAME: Dennis Ryan: see Janie of the Moor [Laws N34] (File: LN34)
===
NAME: Denny Byrne, the Piper: see The Cow Ate the Piper (File: PBB091)
===
NAME: Dens of Ireland, The
DESCRIPTION: A young hunter accidentally kills a man. He is captured and faces the death penalty. A girl sets out to save him. She enters the courtroom and pleads on her knees for his life. The judge frees him; the man agrees to marry the girl
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: love death trial reprieve
FOUND_IN: US(MA)
REFERENCES: (2 citations)
FSCatskills, "The Dens of Ireland" (1 text, 1 tune)
DT, DNIRELND*
File: FSC060
===
NAME: Dens of Yarrow, The: see The Dowie Dens o Yarrow [Child 214] (File: C214)
===
NAME: Departed Loved Ones
DESCRIPTION: "Is it wrong to wish to meet them Who were dear to us in life?" "I've a mother up in heaven, And oh, tell me if you will, Will my mother know her children When to glory they will go?" The singer thinks of family and how they live in heaven
AUTHOR: unknown
EARLIEST_DATE: 1933 (SFLQ)
KEYWORDS: religious death
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 525, "Departed Loved Ones" (1 text)
Roud #11818
CROSS_REFERENCES:
cf. "We Have Fathers Gone to Heaven" (floating lyrics)
cf. "The Other Bright Shore" (theme)
NOTES: This may be an elaboration "We Have Fathers Gone to Heaven," or that piece may be an expanded repetition of a single version of this. Dependence seems nearly certain -- but since "We Have Fathers" is just a set of  stanzas repeated with variations, they must be listed separately. - RBW
File: Br3525
===
NAME: Deportee: see Plane Wreck at Los Gatos (Deportee) (File: SBoA367)
===
NAME: Der Deitcher's Dog: see O Where O Where Has My Little Dog Gone (File: RJ19057)
===
NAME: Derby Ram, The
DESCRIPTION: The singer travels to Derby and sees the amazing Derby Ram. Its size and power are described in expansive detail (with the details varying). Most versions end with the slaughter of the ram. "If you had been to Derby, you'd have seen it as well as I"
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: animal talltale bawdy bragging humorous lie
FOUND_IN: Britain(England) US(Ap,MA,MW,NE,SE,So,SW) Australia Canada(Mar,Newf,Ont) Jamaica
REFERENCES: (37 citations)
Belden, pp. 224-225, "The Derby Ram" (1 text)
Randolph 106, "The Derby Ram" (2 texts plus a mixed fragment, 1 tune)
Randolph/Cohen, pp. 137-139, "The Derby Ram" (1 text, 1 tune -- Randolph's 106A)
Randolph-Legman I, pp. 89-96, "The Darby Ram" (8 texts, 1 tune)
Eddy 81, "The Darby Ram" (1 text)
Gardner/Chickering 190, "The Darby Ram" (2 texts plus an excerpt and mention of 1 more, 2 tunes)
Meredith/Anderson, pp. 112-113, 120-121, "The Derby Ram"; p. 153, "Inky Dinky Derby Town" (3 texts, 3 tunes)
BrownII 176, "The Derby Ram" (1 text plus a fragment)
Chappell-FSRA 105, "Ram of Darby" (1 text)
Hudson 127, pp. 273-274, "The Ram of Derby" (1 text)
Fuson, p. 58, "Darby's Sheep" (1 text)
Brewster 75, "The Derby Ram" (2 texts, 1 tune)
Creighton/Senior, pp. 241-242, "Derby Ram" (2 texts, 1 tune)
Colcord, p. 136, "The Derby Ram" (1 text, 1 tune -- sailors' version; the ram goes to sea but still gets slaughtered)
Hugill, pp. 437-438, "The Derby Ram" (1 text, 1 tune) [AbEd, pp. 328-329]
Peacock, pp. 10-11, "The Derby Ram" (1 text, 1 tune)
Flanders/Brown, pp. 100-101, "The Derby Ram" (1 text, 1 tune)
SharpAp 141, "The Derby Ram" (3 texts, 3 tunes)
Friedman, p. 441, "The Derby Ram" (1 text)
Cray, pp. 23-28, "The Derby Ram" (2 texts, 2 tunes)
FSCatskills 151, "The Darby Ram" (1 text, 1 tune)
Fahey-Eureka, pp. 212-213, "The Albury Ram" (1 text, 1 tune, with a chorus borrowed from "Clear Away the Morning Dew")
Paterson/Fahey/Seal, pp. 270-272, "The Albury Ram" (1 text, with the same "Clear Away the Morning Dew" chorus as in Fahey-Eureka)
Kennedy 304, "The Ram Song" (1 text, 1 tune)
Ritchie-SingFam, pp. 38-40, "[The Darby Ram]" (1 text, 1 tune)
Ritchie-Southern, p. 53, "Darby Ram (1 text, 1 tune)
Chase, pp. 134-136, "The Darby Ram" (1 text, 1 tune)
Botkin-NEFolklr, pp. 577-578, "The Derby Ram" (1 text, 1 tune)
Manifold-PASB, p. 97, "The Ram of Dalby" (1 text, 1 tune)
Meredith/Covell/Brown, pp. 139-140, "The Derby Shed Ram" (1 text, 1 tune)
Kinloch-BBook XXVI, pp. 80-81, "The Ram of Diram" (1 text)
Ford-Vagabond, pp. 124-125, "The Ram o' Bervie" (1 text, 1 tune)
Opie-Oxford2 129, "As I was going to Derby" (1 text)
Baring-Gould-MotherGoose #805, p. 298-300, "(As I was going to Derby)"
Silber-FSWB, p. 404, "The Darby Ram" (1 text)
DT 312, DERBYRAM DERBYRM2 DRBYRAM3* (DERBYRM4) DRBYRAM5 DERBYRM7*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Derby Ram" is in Part 1, 7/14/1917.
Roud #126
RECORDINGS:
Warde Ford, "The Derby ram / The Darby ram" (AFS 4214 B1, 1939; in AMMEM/Cowell)
Charles Ingenthron, "The Derby Ram" (AFS; on LC12)
Grandpa Jones w. Delmore Brothers, "Darby's Ram" (King 708, 1948)
Arthur Lennox, "The Ram Song" (on FSB10)
A. L. Lloyd, "The Derby Ram" (on Lloyd4, Lloyd8)
Bascom Lamar Lunsford, "Darby's Ram" (Brunswick 228, 1928)
Cyril O'Brien, "The Derby Ram" (on NFMLeach)
Lawrence Older,  "Derby Ram" (on LOlder01)
Abigail Hall Ritchie, "Darby Ram" (on Ritchie03)
Pete Seeger, "The Darby Ram" (on PeteSeeger09, PeteSeegerCD02)
Skyland Scotty, "Darby's Ram" (Conqueror 8309, 1934)
Sid Steer, "The Derby Ram" (on Voice07)
CROSS_REFERENCES:
cf. "Didn't He Ramble" (lyrics)
cf. "The Grey Goose" (theme)
cf. "The Red Herring" (theme)
cf. "The Sucking Pig" (theme)
cf. "T'Owd Yowe wi' One Horn" (theme)
cf. "Paul Bunyan's Big Ox" (theme)
cf. "The Loft Giant (Song of Marvels)"
cf. "The Wonderful Crocodile" (theme)
SAME_TUNE:
Frankfort Town (Greenway-AFP, p. 18)
ALTERNATE_TITLES:
The Beast of Derbytown
The Darby Tup
The Old Tup
The Ram of Derby (Darby)
The Ram Song
The Wattle Flat Ram
The Great Sheep
NOTES: This is another of the ballads Child excluded from his ESPB, presumably because the "hero" is an animal. The contemporary bawdy song is descended from English mummer plays, and those, in turn, are perhaps relics of medieval mystery plays.
Randolph-Legman has extensive, if rambling and opinionated, notes on this ballad. - EC
And if it had been trimmed, we'd say "He rambled till that editor cut him down." (Sorry.) -PJS
It's times like these I'm REALLY glad I can blame these notes on somebody else.
Ford reports, without accepting it, that "a prisoner had been condemned to death, in the time of the feudal laws, and was promised free pardon should he succeed in composing a song without a grain of truth in it, and that this was the song he produced." Of course, he could just as well have produced the previous story.... - RBW
File: R106
===
NAME: Derby Shed Ram, The: see references under The Derby Ram (File: R106)
===
NAME: Derby, Derby
DESCRIPTION: "Oh, Derby, Derby, won't you marry me? Derby, Derby, won't you say yes? Derby, Derby, won't you marry me? Show your legs to the Cockney girls"
AUTHOR: unknown
EARLIEST_DATE: c. 1974 (recording, Minty Smith)
KEYWORDS: humorous nonballad nonsense marriage
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
RECORDINGS:
Minty Smith, "Derby, Derby" (on Voice14)
NOTES: The current description is all of the Voice14 text. - BS
File: RcDerDer
===
NAME: Dermody and Hines
DESCRIPTION: The police shoot the innocent without penalty. It's murder when a policeman's shot. The informer Noctor is persuaded to say Dermody and Hines shot M'Goldrick. Nevertheless, the jury finds them not guilty. Must we continue to play at being fools?
AUTHOR: Susan Mitchell (source: OLochlainn-More)
EARLIEST_DATE: c.1909 (_Bean na h-Eireann,_ according to OLochlainn-More)
KEYWORDS: homicide trial freedom patriotic police lie
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 62, "Dermody and Hines" (1 text, 1 tune)
Roud #9766
NOTES: O Lochlainn recalls the lines "Cut yourself an ash plant, and never heed the fines, But strike a blow for Freedom, like Darmody and Hynes" - BS
File: OLcM062
===
NAME: Dermot Astore
DESCRIPTION: "Oh! Dermot Astore! between waking and sleeping I heard thy dear voice, and I wept to its lay" She asks whether this is their last meeting. "I know we must part, but oh! say not for ever."
AUTHOR: Anne Barry Crawford
EARLIEST_DATE: before 1861 (broadside, LOCSinging sb10099a)
KEYWORDS: love separation parting exile
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 146, "Dermot Astore" (1 text)
Roud #4884
BROADSIDES:
Bodleian, Harding B 18(613), "Dermot Astore. Reply to Kathleen Mavourneen," H. De Marsan (New York), 1859-1860 [same as LOCSinging sb10099a]; also Harding B 11(878), "Dermot Astore. The Reply to Kathleen Mavourneen"
LOCSinging, sb10099a, "Dermot Astore," H. De Marsan (New York), 1859-1860 [same as Bodleian Harding B 18(613)]; also as102940, "Dermot Astore. Reply to Kathleen Mavourneen" 
CROSS_REFERENCES:
cf. "Kathleen Mavourneen" (characters)
NOTES: See the description for "Kathleen Mavourneen" for the background to this song. Mrs. Crawford is a co-author to that.
Broadsides LOCSinging sb10099a and Bodleian Harding B 18(613): 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: OCon146
===
NAME: Derriere Chez Nous (Behind Our House)
DESCRIPTION: French. Behind our house is a tree. On the tree is a branch. On the branch is a nest. In the nest is an egg. In the egg is a small bird. In this bird you do not know what there is.
AUTHOR: unknown
EARLIEST_DATE: 1948 (Creighton-Maritime)
KEYWORDS: foreignlanguage nonballad bird
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 169, "Derriere Chez Nous" (1 text, 1 tune)
SAME_TUNE:
cf. "The Rattling Bog" (theme)
File: CrMa169
===
NAME: Derry Down Fair: see Rambleaway (File: ShH31)
===
NAME: Derry Gaol: see Gallows [Laws L11] (File: LL11)
===
NAME: Derry Pipe, The: see The Wee Cutty Pipe (The Derry Pipe) (File: HHH465)
===
NAME: Derry Walls Away
DESCRIPTION: The singer recalls when "Lord Antrim's men came down yon glen" While some opposed them "our 'Prentice Boys" closed the gates. The seige is recounted including Walker's and Murray's parts. "When we close our gates again We'll then all be True Blue"
AUTHOR: unknown
EARLIEST_DATE: 1865 (broadside, Bodleian 2806 b.10(3))
KEYWORDS: battle rescue death starvation Ireland patriotic youth
HISTORICAL_REFERENCES: Dec 7, 1688 - The "Apprentice Boys" close the Londonderry gates against Lord Antrim's "Redshanks" (source: Kilpatrick [see Notes])
FOUND_IN: 
REFERENCES: (2 citations)
OrangeLark 6, "Shutting of the Gates of Derry by the Apprentice Boys of Derry" (1 text, 1 tune)
Graham, p. 5, "Derry Walls Away" (1 text, 1 tune)
BROADSIDES:
Bodleian, 2806 b.10(3), "Derry Walls" ("Full many a long wild winter's night," The Poet's box (Glasgow), 1865; also 2806 b.10(2), "The Seige of Derry"
CROSS_REFERENCES:
cf. "No Surrender (I)" (subject)
cf. "The Shutting of the Gates of Derry" (subject) and references there
cf. "The Maiden City" (subject)
cf. "Derry's Walls" (subject)
NOTES: The Protestant Plantation of Ulster was created after the 1607 "Flight of the Earls" - heads of the Ulster clans - to Rome allowed James I to declare their lands forfeit to the Crown. In the Plantation, the City of Londonderry was fortified and gated walls built around it. When James brought troops from Ireland Londonderry was left unguarded. On December 7, 1688, Lord Antrim's Catholic "Redshanks" camped outside the city. With the city government undecided as to how to handle the situation, thirteen young "Apprentice Boys" seized the gate keys, drew up the drawbridge and locked the four gates. Antrim's troops withdrew. Lord Mountjoy's Protestant regiment was allowed to garrison the city. To escape the war, residents surrounding areas flooded into the city. Reinforcements sent by William to relieve Derry in April turned away. Then James's attempt at negotiating with Derry failed. Colonel Murray led Protestant troops to the gate, which was opened for them, and the Derry government, which had been willing to negotiate with James, was overturned. Reverend George Walker and Colonel Henry Baker were appointed joint Governors. The seige began "in earnest" on May 5, 1689. On July 28 three ships on the Foyle broke the seige bringing food; captain of the Mountjoy was Michael Browning, who was killed in the battle. The beseigers left on August 1, 1689. (source: Cecil Kilpatrick, "The Seige of Derry: A City of Refuge" at the Canada-Ulster Heritage site)
"True Blue": "A substantial number of the earliest Volunteers, the Belfast First Volunteer Company, also called the Green Company, and another the Blue Company, were identified as belonging to the Orange and True Blue Masonic Lodges. Indeed it seems likely that the Volunteer Companies were a Masonic initiative." (source: Dr Clive Gillis, "Days of Deliverance Part 13: The Providential rise of the Orange Order: What it was and what it was not," posted 5/26/2004, Ian Paisley's European Institute of Protestant Studies site) This seems a simple statement of fact. However, keep in mind this statement from the home page of the EIPS site: "The Institute's purpose is to expound the Bible, expose the Papacy, and to promote, defend and maintain Bible Protestantism in Europe and further afield." Later, in the same article, Dr Gillis explains his antipathy to the Masons and the United Irishmen: "The evaporation of the Protestant Catholic divide from 1780 onwards, which so threatened Protestantism, can only be explained in terms of secret co-operation within Freemasonry."
The Belfast Volunteers were formed in 1778 because of the threat of war between France and Britain. Similar groups formed, became politicized, and supported "those in favour of legislative independence from the British parliament and the removal of impediments to Irish commerce." Henry Grattan and Harry Flood supported this program in the Irish House of Commons. (Source: Moylan) - BS
For a good deal more on the Siege of Derry, see "The Shutting of the Gates of Derry." For Grattan and Flood, see "Ireland's Glory." - RBW
File: OrLa006
===
NAME: Derry's Walls
DESCRIPTION: 200 years ago "James and all his rebel band" were forced to retreat from Derry's Walls. "Blood did flow ... For many a winter's night." "At last, with one broadside Kind heaven sent them aid" and broke the seige. Now "we'll guard old Derry's Walls"
AUTHOR: unknown
EARLIEST_DATE: c.1895 (Graham)
KEYWORDS: battle rescue death starvation Ireland patriotic
HISTORICAL_REFERENCES: Dec 7, 1688 - The "Apprentice Boys" close the Londonderry gates against Lord Antrim's "Redshanks"
Jul 28, 1689 - Browning's ships break the 105 day seige of Derry (source: Cecil Kilpatrick, "The Seige of Derry: A City of Refuge" at the Canada-Ulster Heritage site)
FOUND_IN: 
REFERENCES: (1 citation)
Graham, p. 4, "Derry's Walls" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Shutting of the Gates of Derry" (subject) and references there
cf. "No Surrender (I)" (subject)
cf. "Derry Walls Away" (subject)
File: Gra004
===
NAME: Derwentwater
DESCRIPTION: "Oh! Derwentwater's a bonny lord, And golden is his hair." He travels the land calling for people to support "good King James." The lord of the castle he visits will have nothing to do with him, but the lady sighs for the handsome young man.
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: Jacobites love
HISTORICAL_REFERENCES: 1715 - the 1715 Jacobite rebellion
Sept. 1715 - Warrant issued for Derwentwater's arrest. He responds by openly going into revolt
Nov. 14, 1715 - Derwentwater and his comrades forced to surrender
Feb 24, 1716 - Execution of Derwentwater at the age of (probably) 26
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 128-129, "Derwentwater" (1 text, 1 tune)
ST StoR128 (Partial)
Roud #3158
CROSS_REFERENCES:
cf. "Lord Derwentwater" [Child 208] (subject)
cf. "Derwentwater's Farewell" (subject)
NOTES: The text of this ballad is not really sufficient to establish that the Derwentwater mentioned is "the" Derwentwater; it's at least theoretically possible that "good King James" was someone other than the Old Pretender. But a young, handsome Derwentwater campaigning for King James certainly sounds like the hero of "Lord Derwentwater." - RBW
File: StoR128
===
NAME: Derwentwater's Farewell
DESCRIPTION: "Farewell to pleasant Dilston Hall, my father's ancient seat, A stranger now must call thee his." The singer bids farewell to his friends, to Tyne, to his steed. He must die in London, but asks to be buried in Northumberland
AUTHOR: Robert Surtees
EARLIEST_DATE: 1819 (Hogg)
KEYWORDS: Jacobites execution burial farewell
HISTORICAL_REFERENCES: 1715 - the 1715 Jacobite rebellion
Sept. 1715 - Warrant issued for Derwentwater's arrest. He responds by openly going into revolt
Nov. 14, 1715 - Derwentwater and his comrades forced to surrender
Feb 24, 1716 - Execution of Derwentwater at the age of (probably) 26
FOUND_IN: Britain(England(North))
REFERENCES: (2 citations)
Stokoe/Reay, pp. 4-5, "Derwentwater's Farewell" (1 text, 1 tune)
DT 208, DRWNTFRW*
Roud #2616
CROSS_REFERENCES:
cf. "Lord Derwentwater" [Child 208] (subject)
cf. "Derwentwater" (subject)
NOTES: Stokoe reports that "there is more than a suspicion that it was the offspring of the facile pen of the late Robert Surtees of Mainsforth, although he presented it to his friend and correspondent, Sir Walter Scott, as a poem of the period to which it refers; and it was inserted, on Scott's recomendation, in James Hogg's _Jacobite Relics of Scotland_ in 1819."
For all that it is a false folksong, it's fairly effective as a lament for one slain far from home.
There is a certain tendency, which is quite understandable, to confuse this with "Lord Derwentwater," but the forms of the two pieces are clearly distinct. For historical background on Derwentwater, see the Child ballad. - RBW
File: Sto004
===
NAME: Dese Bones Gwine to Rise Again [Laws I18]
DESCRIPTION: A light retelling of the Biblical creation myth: God makes Adam, then Eve; Eve, tricked by the serpent, takes an "apron full" of fruit to Adam. God, spotting the peels, accuses Adam of stealing the fruit; Adam blames Eve; God throws them out of the garden
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: Bible humorous animal
FOUND_IN: US(SE)
REFERENCES: (6 citations)
Laws I18, "Dese Bones Gwine to Rise Again"
BrownIII 523, "Creation" (1 text plus a fragment)
Sandburg, pp. 470-471, "Dese Bones Gwine to Rise Again" (1 text, 1 tune)
Lomax-FSNA 249, "Dese Bones Gwine Rise Again" (1 text, 1 tune)
Lomax-ABFS, pp. 597-600, "Dese Bones Gwine to Rise Again" (1 text, 1 tune, composite)
DT 793, DESEBONE*
Roud #4184
RECORDINGS:
Frank & James McCravy "These Bones G'wina Rise Again" (Victor 20869, 1927) (Brunswick 3778, 1928 [as "De's Bones Gwine to Rise Again"])
Rutherford & Foster "These Bones G'wina Rise Again" (Conqueror 7276, 1929)
NOTES: The details here generally come from what scholars call the "J" or "second" account of the creation, found in Genesis 2:4b-3:24. The mention of bones rising again comes from Ezekiel's vision in Ezek. 37:1-14 - RBW
File: LI18
===
NAME: Deserted Husband, The
DESCRIPTION: On the day of their wedding, the singer's young wife went on a spree and flirted with the man next door. Three months later, his wife and the other man went off in the train. He is tired of life; he has land and stock, but no one to take care of them.
AUTHOR: unknown
EARLIEST_DATE: 1958 (recorded from Seamus Ennis)
LONG_DESCRIPTION: The singer has married a young woman, but she has left him. On the day of their wedding, she went on a spree and flirted with the young man next door. Three months later, the singer took her to town, but while he was having a drink his wife and the other man went off in the train, to his distraction. Now he is tired of life; he has an acre of land, and various livestock, but no one to take care of them. He advises men to keep an eye on their wives
KEYWORDS: grief loneliness infidelity marriage warning abandonment drink humorous husband lover wife 
FOUND_IN: Ireland
REFERENCES: (1 citation)
Kennedy 198, "The Deserted Husband" (1 text, 1 tune)
Roud #2130
CROSS_REFERENCES:
cf. "The Tramp's Story" (plot)
cf. "The Lehigh Valley" (plot)
cf. "Can I Sleep in Your Barn Tonight?" (theme)
NOTES: Kennedy also refers, cryptically, to a song called "The Deserted Wife," also collected from Ennis, but gives no further details. - PJS
Kennedy also claims that songs of wives deserting husbands are rare. I won't say they are common, but "Rocking the Cradle (and the Child Not His Own)," for instance, is very widespread; see also the songs in the cross-references. - RBW
File: K198
===
NAME: Deserter (I), The: see Kelly's Lamentation (The Deserter) (File: HHH223)
===
NAME: Deserter (II), The: see When the Battle it was Won (Young Jimmy and the Officer) [Laws J23] (File: LJ23)
===
NAME: Deserter (III), The: see The Deserter's Lamentation (File: OLcM087A)
===
NAME: Deserter from Kent, The
DESCRIPTION: A deserter comes to join the harvesting. He talks too freely to a man in the tavern, who informs on him. He is arrested, taken to jail, then marched through the streets as he is returned to his regiment. The singer curses all informers.
AUTHOR: unknown
EARLIEST_DATE: 1907
KEYWORDS: army desertion betrayal soldier curse
FOUND_IN: Britain(England(South))
REFERENCES: (3 citations)
Vaughan Williams/Lloyd, pp. 32-33, "The Deserter from Kent" (1 text, 1 tune)
MacSeegTrav 87, "The Deserter from Kent" (1 text, 1 tune)
DT, DESERTR
Roud #2510
CROSS_REFERENCES:
cf. "The Rambling Royal"
File: VWL032
===
NAME: Deserter's Lamentation, The
DESCRIPTION: Thinking about the past won't help so "let us be merry before we go" "Now hope all ending, And death befriending, His last ending, my cares are done ... My griefs are over -- my glass runs low"
AUTHOR: John Philpot Curran (1750-1817)
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: desertion death drink nonballad
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 87A, "The Deserter's Meditation" (1 text, 1 tune)
OBoyle, p. 27, "The Deserter's Meditation" (1 fragment)
ST OLcM087A (Full)
NOTES: John Philpot Curran was famous mostly as a defender of the rebel leaders of 1798, including Napper Tandy and Wolfe Tone (though he did not like it at all when his daughter took up with Robert Emmet). He also served in parliament.
His poetry is now mostly obscure. Except for this. _Granger's Index to Poetry_ lists four citations, under three different names ("The Deserter's Lamentation," "The Deserter," "Let Us Be Merry Before We Go"), and I observe that O Lochlainn has it under a fourth title. Clearly this particular poem was well-travelled. - RBW
File: OLcM087A
===
NAME: Deserter's Meditation, The: see The Deserter's Lamentation (File: OLcM087A)
===
NAME: Deserter's Song
DESCRIPTION: "I'd rather be on the Grandfather Mountain A-taking the snow and rain Than to be in Castle Thunder A-wearin' the ball and chain."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: prison prisoner Civilwar
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 384, "Deserter's Song" (1 fragment)
Roud #11752
NOTES: Castle Thunder was a Confederate prison, used to hold captured Northern civilians.
Given the fragmentary state of the Brown text, it's not clear if this is a song in its own right or if the mention of Castle Thunder is just a zipped in reference to the Civil War prison. - RBW
File: Br3384
===
NAME: Desolate Widow, The: see The Isle of Man Shore (The Quay of Dundocken; The Desolate Widow) [Laws K7] (File: LK07)
===
NAME: Desperado, The
DESCRIPTION: "There was a desperado from the wild and woolly West, He came into Chicago just to give the West a rest." He visits Coney Island to see "the girls all dressed in tights"; he gets so excited that he shoots out the lights. He ends up in prison
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: outlaw cowboy humorous prison police crime punishment
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 28, "The Desperado" (1 text)
DT, DESPRAD2*
NOTES: Cripple Creek, Colorado was a notoriously wide-open town in the late 1800s. - PJS
File: FSWB028
===
NAME: Dessur le Pont de Nantes (On Nantes Bridge)
DESCRIPTION: The police have the singer when we meet Marguerite. She dresses as a page boy and goes to jail to see her "master." They exchange clothes; he walks out. Sentenced to be hung, Margeurite reveals that she is a girl. Four other high class young ladies visit
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage love escape cross-dressing disguise mistress outlaw prisoner
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 331-332, "Dessur le Pont de Nantes" (1 text, 1 tune)
NOTES: Should this be "Dessous le Pont de Nantes" (Under Nantes Bridge)? What happened here?  What four young ladies? Does she hang? - BS
File: Pea331
===
NAME: Destroyer Life
DESCRIPTION: "The boys out in the trenches have got a lot to say Of the hardships and the sorrows... But we destroyer sailors would like their company On a couple of trips...." The sailors describe life on their small, uncomfortable ships that never cease rolling
AUTHOR: unknown
EARLIEST_DATE: 1929 ("Songs My Mother Never Taught Me")
KEYWORDS: ship navy
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-ABFS, pp. 514-517, "Destroyer Life" (1 text, 1 tune)
DT, DSTRYR
Roud #15542
NOTES: This song, with its references to submarine warfare, clearly comes out of World War I. At that time, the destroyer was the smallest naval ship that could possibly be called ocean-going (a typical destroyer of the time was about 300 feet long and had a displacement on the order of a thousand tons. It has nothing in common, except the name, with the much heavier modern destroyers).
The worst thing about destroyers was their long, narrow, low hulls. In bad seas, the waves could wash the entire deck, and waves could roll the ships through angles of 45 degrees or more. Crew quarters, moreover, were small and cramped. Only submarines had less space, and not even submaries were as subject to wind and wave. - RBW
File: LxA514
===
NAME: Det Hande Sig I Goteborg (It Happened in Gothenburg)
DESCRIPTION: Swedish/German shanty. A sailor is signed by a man named Peter. The ship is a good one, but conditions are bad. Peter sleeps all the time except when threatening the crew. Ch: Hey ho fallerallera (2x) Just for all soka hyra (just to find myself a ship)"
AUTHOR: unknown
EARLIEST_DATE: 1935
KEYWORDS: foreignlanguage shanty sailor work
FOUND_IN: Sweden Germany
REFERENCES: (1 citation)
Hugill, pp. 550-551, "Det Hande Sig I Goteborg" (2 texts -- Swedish and English, 1 tune)
ALTERNATE_TITLES:
Ja das geschah in Gotenborg
NOTES: Found both in Sternvall's _Sang under Segel_ (1935) and Baltzer's _Knurrhahn_ (1935). Hugill said this was popular around 1870. - SL
File: Hugi550
===
NAME: DeValera Election Song
DESCRIPTION: The coming election is between "a Castle servant" and DeValera. DeValera "fought in the Rebellion ... so don't forget to pay the debt." His opponent would send your sons "to fight the gallant German"
AUTHOR: unknown
EARLIEST_DATE: 1976 (IRClare01)
KEYWORDS: Ireland nonballad political
HISTORICAL_REFERENCES: 1917 - Eamon DeValera defeats Patrick Lynch in the East Clare MP bi-election (source: notes to IRClare01).
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #18470
RECORDINGS:
Nora Cleary, "DeValera Election Song" (on IRClare01)
CROSS_REFERENCES:
cf. "Green Flag of Erin" (subject)
NOTES: Notes to IRClare01: "The East Clare by-election of 1917 played a vital part in the movement towards Irish independence.... Newly released from prison and having narrowly avoided execution for his part in the Rebellion, Eamon DeValera easily took the seat." - BS
Not only was De Valera elected to the British parliament on July 11, 1917, but he was even elected to a seat that had formerly been held by the brother of John Redmond, the leader of the Irish Nationalist party (i.e. the moderate Irish faction); see Terry Golway, _For the Cause of Liberty_, p. 251. This was the third in a series of by-elections in which pro-Republic candidates defeated "Nationalist" (moderate) candidates (see Peter and Fiona Somerset fry, _A History of Ireland_, pp. 296-296).  It was one of the first major tokens of the shift in feeling in Ireland from a desire for Home Rule to a desire for something less dependent on the British government.
The "Castle" was Dublin Castle, which had long been the center of the Irish government and was still the symbolic center of Irish rule.
De Valera was one of the few high officers of the 1916 rebellion to survive; he lived mostly because he was born to an American family and the British didn't want an incident with the United States. - RBW
File: RcDevoES
===
NAME: Devil and Bailiff McGlynn, The
DESCRIPTION: A woman wishes the Devil take a piglet digging her potatoes and a boy stealing her piglet. He refuses because "it was only her lips that have said it." When she wishes the Devil take the bailiff , he does: "Twas straight from her heart that came surely"
AUTHOR: unknown
EARLIEST_DATE: 1952 (IRTunneyFamily01)
LONG_DESCRIPTION: The Devil and Bailiff McGlynn discuss business. Nearby a woman wishes the Devil take a piglet digging among her potatos but the Devil won't take it because "it was only her lips that have said it, and that's not sufficient for me." Then a boy runs off with the piglet and she wishes the Devil might take him, but the Devil doesn't because "it was only her lips that have said it, and that's not sufficient for me." When she sees the bailiff and wishes the Devil take him, it's done: says the Devil, "Twas straight from her heart that came surely"
KEYWORDS: curse farming humorous animal youth Devil
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 95, "The Devil and Bailiff McGlynn" (1 text)
Roud #5294
RECORDINGS:
Michael Gallagher, "The Devil and Bailiff Maglyn" (on IRTunneyFamily01)
NOTES: Tunney-StoneFiddle: "Even his [Uncle Mick's] songs of the Land War [roughly 1879-1885] and landlordism, with all its attendant evils, had a spark of humour in them. For example, listen to this little ditty describing the love and affection in which bailiffs were held in those stirring days." - BS
For background on the Land War, see e.g. "The Bold Tenant Farmer." - RBW
File: TSF095
===
NAME: Devil and the Farmer, The: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Devil and the Farmer's Wife: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Devil and the Ploughman, The: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Devil and the Schoolchild, The: see The Fause Knight Upon the Road [Child 3] (File: C003)
===
NAME: Devil Came to My Door, The
DESCRIPTION: "'Twas on one dusky evening When I was very poor, A story you may believe me, The Devil come to my door." The devil comes to claim "brother Mike," but sister Bets breaks his back with her wooden leg. Now the Devil is dead and the family can celebrate
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: humorous Devil death family
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 419, "The Devil Came to My Door" (1 text, 1 tune)
Roud #1696
CROSS_REFERENCES:
cf. "The Farmer's Curst Wife" [Child 278] (plot)
File: R419
===
NAME: Devil Winston [Laws I7]
DESCRIPTION: [George] "Devil" Winston (an unusually vile specimen even by murder ballad standards) sets out to confront his woman Vinie [Stubblefield]. He finds her, kills her after an argument, is taken, and is hanged
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: homicide execution
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws I7, "Devil Winston"
MWheeler, pp. 105-109, "Devil" (1 text, 1 tune)
DT 810,  DEVWINST*
ST LI07 (Full)
Roud #4176
NOTES: Wheeler does not give dates for the life of George "Devil" Winston, but notes that he "began life as a cabin boy on the Mississippi. He was later an Ohio River rouster... His career of reckless lawlessness culminated when he was thirty-two years old, in the vicious murder of Vinie Stubblefield, his sweetheart.
"The murdered Negress was said to have been half-witted and repulsive-looking. She have made several efforts to sever her relationship with Winston, and this was the indirect cause of her death: Devil was apparently a victim of helpless bondage where she was concerned.... When he was not on the river he was often serving time on the 'chain gang' for beating the woman, and the murder occurred just following his release from jail for this offense." - RBW
File: LI07
===
NAME: Devil's Courtship, The: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Devil's Mad and I Am Glad (II), The: see Free at Last (File: FSWB368A)
===
NAME: Devil's Nine Questions, The: see Riddles Wisely Expounded [Child 1] (File: C001)
===
NAME: Devil's Questions, The: see Riddles Wisely Expounded [Child 1] (File: C001)
===
NAME: Devil's Song, The: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Devilish Mary [Laws Q4]
DESCRIPTION: The singer meets a "pretty little girl" named Mary; they get married within days. She then starts taking over his life, wearing his pants, and abuses and torments him. At last he leaves. He vows to court only tall/short girls who can't wear his breeches
AUTHOR: unknown
EARLIEST_DATE: 1897
KEYWORDS: courting marriage cross-dressing abuse shrewishness
FOUND_IN: US(Ap,SE,So)
REFERENCES: (12 citations)
Laws Q4, "Devilish Mary"
Randolph 437, "Devilish Mary" (4 texts, 3 tunes)
Randolph/Cohen, pp. 331-333, "Devilish Mary" (1 text, 1 tune -- Randolph's 331)
Lomax-FSNA 93, "Devilish Mary" (1 text, 1 tune)
JHCoxIIA, #13A-C, pp. 57-60, "The Wife Wrapped in Wether's Skin," "Dandoo" (3 texts, 1 tune, but the "B" text omits the beating typical of Child #277 and has the husband run away; it appears to have mixed with this song or something like it)
SharpAp 149, "Devilish Mary" (2 texts, 2 tunes)
Chase, pp. 154-155, "Devilish Mary" (1 text, 1 tune)
Botkin-SoFolklr, p. 721, "Devilish Mary" (1 text, 1 tune)
PSeeger-AFB, p. 70, "Devilish Mary" (1 text, 1 tune)
Darling-NAS, pp. 145-149, "Devilish Mary" (1 text)
Silber-FSWB, p. 191, "Devilish Mary" (1 text)
DT 518, DEVLMARY*
Roud #1017
RECORDINGS:
Bob Atcher, "Devilish Mary" (Columbia 20483, 1948)
Horton Barker, "Devilish Mary" (on Barker01)
Bill Boyd & his Cowboy Ramblers, "Devilish Mary" (Bluebird B-7299, 1937; Montgomery Ward M-8417, 1940)
Glenn Neaves & band, "Devilish Mary" (on GraysonCarroll1)
Lee O'Daniel Hillbilly Boys, "Devlish Mary" (Vocalion 04102, 1938; rec. 1937)
Paul Rogers, "Devilish Mary" (AFS; on LC14)
Pete Seeger, "Devilish Mary" (on PeteSeeger02, PeteSeegerCD01)
Roba Stanley, "Develish Mary" (OKeh 40213, 1924)
Arthur Tanner, "Devlish Mary" (Silvertone 3514, 1926)
Gid Tanner and His Skillet Lickers, "Develish Mary" (Columbia 15589-D [as "Devlish Mary"], 1930; Columbia 15709-D, c. 1932; rec. 1928; on CrowTold02, GTanner01)
CROSS_REFERENCES:
cf. "Yankee Doodle" (tune)
cf. "The Wearing of the Britches" (subject, lyrics)
cf. "Old Carathee" (theme)
cf. "There's Bound to be a Row" (theme)
cf. "I'll Rise When the Rooster Crows" (floating lyrics)
NOTES: Cohen notes that "Laws... lists this as a ballad, but just as often it is performed as a fiddle or banjo tune with occasional lyrics." Cohen also notes that Laws's claim of a British Isles origin is unsubstantiated. The collection data confirm this, and the style is, in my opinion, very un-British. - RBW
File: LQ04
===
NAME: Dewy Dens of Darrow, The: see The Dowie Dens o Yarrow [Child 214] (File: C214)
===
NAME: Dey All Got a Mate But Me: see Fox and Hare (They've All Got a Mate But Me) (File: FlBr121)
===
NAME: Dialogue Between Orange and Croppy
DESCRIPTION: Orange proposes union. Orange is the source of all woe. The English do no more harm than the purple marksmen. Orange ask for union only after Billy Pitt's failure. The singer is neither Croppy nor Orange: "when your county's in danger, united be seen"
AUTHOR: William Sampson (source: Moylan)
EARLIEST_DATE: 1887 (Madden's _Literary Remains of the United Irishmen of 1798_, according to Moylan)
KEYWORDS: Ireland nonballad dialog patriotic political
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 149, "Dialogue Between Orange and Croppy" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Purple Boy" (subject)
NOTES: The last verse is by a third party asking for union in times of trouble. Throughout the rest of the dialogue Orange proposes union and croppie rejects it.
Zimmermann, p. 39, fn. 18, re "Croppy": In the 1790's those who admired the Jacobin ideas began to crop their hair short on the back of the head, in what was said to be the new French fashion; in 1798 this was considered as an evidence of 'disaffection'."
"The Loyal Orange Institution was founded after the Battle of the Diamond [at Diamond Crossroads] on September 21, 1795. The 'skirmish' was between the Roman Catholic Defenders and the Protestants of the area.... [For the Battle of the Diamond, see the notes to "The Battle of the Diamond," "Bold McDermott Roe," and "The Boys of Wexford"; also "The Grand Mystic Order." - RBW].At the beginning the membership was of the labouring and artisan classes.... In the Rebellion of 1798, the Orangemen were on the side of the Crown and had much to do with the defeat of the United Irishmen.... With the rebellion at an end the lodges were to be less fighting societies, and more political and fraternal clubs.... From 1815, the Institution had been seriously affected, by internal disputes. Many of them were about lodge ritual and the attempts to form higher orders." (source: _The Orange Institution - The Early Years_ at Grand Orange Lodge of Ireland site.)
"Following an affray at Loughgall in Co. Armagh in 1795 the Orange Order was founded, while the Yeomen were also established in June 1796. These were made up mainly of men from the Orange Lodges." (source: _The 1798 Rebellion_ on the Hogan Stand site)
The reference to "Purple Marksmen" is to one of the Master degree, above "Orange" and "Orange Marksman," of the Orange Institution (source: "The Formation of the Orange Order 21st September 1795" in the anti-Orange _Evangelical Truth_ at NIreland.com site). See Zimmermann's song references to "The Purple Marksman" [p. 315] and "The Purple Stream" [p. 303, fn. 39].
For more on "Billy Pitt" and the Union Act of 1801, see "Billy Pitt and the Union" and "The Shan Van Voght (1848)" - BS
One should note that this song was clearly composed with the benefit of hindsight -- I suspect very much hindsight; if the date is 1887, then we're getting toward the period of Home Rule and Ulster's opposition to changes in the Union. Of course, there had been Protestant and Catholic conflicts before that, but Protestants historically had been *more* nationalist than Catholics; it wasn't until it became clear that the Protestant Ascendency had to end that they finally turned Unionist. - RBW
File: Moyl149
===
NAME: Diamond Joe (I)
DESCRIPTION: Singer tells of ranch-owner Diamond Joe, who mistreats his workers, talks too much, and lies. Singer has tried to quit three times, but Joe has talked him out of it. When he dies, "Give my blankets to my buddies And give the fleas to Diamond Joe"
AUTHOR: unknown
EARLIEST_DATE: 1959 (recording, Cisco Houston)
KEYWORDS: lie work boss cowboy worker
FOUND_IN: US
REFERENCES: (1 citation)
DT, DIAMONJ2
RECORDINGS:
Cisco Houston, "Diamond Joe" (on CHouston01, CHoustonCD01, FMUSA)
CROSS_REFERENCES:
cf. "The State of Arkansas (The Arkansas Traveler II)" [Laws H1] (tune, lyrics)
NOTES: This should not be confused with "Diamond Joe (II)", a river shanty with the distinctive chorus, "Diamond Joe, better come and get me, Diamond Joe." "Diamond Joe (I)" has no chorus, although most verses end with the name of Diamond Joe. Some have speculated that Cisco Houston and/or Lee Hays adapted the song from "The State of Arkansas," but there is no evidence. - PJS
This is one of those really confusing things. There is a third "Diamond Joe" song, also about a ranch owner, for which see DIAMONJO in the Digital Tradition. It's not the same song as this one, to my mind (the singer doesn't like his work, but it's more because of loneliness) -- but it's a Lomax item, and who knows what the Lomaxes did to produce it? - RBW
File: RcDJoe1
===
NAME: Diamond Joe (II)
DESCRIPTION: Mostly floating verses with a hint of narrative; singer goes "up on the mountain, give my horn a blow...." "Ain't gonna work in the country, neither on (Parchman?) farm...." Chorus: "Diamond Joe, come-a get me, Diamond Joe"
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Georgia Crackers)
LONG_DESCRIPTION: Mostly floating verses with a hint of narrative; singer goes "up on the mountain, give my horn a blow/Thought I heard Miss Maybelle say, yonder comes my beau." "Ain't gonna work in the country, neither on (Parchman?) farm/I'm gonna stay till my Maybelle come, she gon' call-a me Tom." Chorus: "Diamond Joe, come-a get me, Diamond Joe"
KEYWORDS: love work floatingverses nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
DT, (DIAMONJ3 -- though this may be at least partly a parody)
Roud #3585
RECORDINGS:
Charlie Butler, "Diamond Joe" (AFS, 1941; on LCTreas, LC04)
Georgia Crackers [Cofer Bros.], "Diamond Joe" (OKeh 45098, 1927)
NOTES: This should not be confused with the cowboy complaint song "Diamond Joe (I)," an entirely separate song.
Art Thieme has suggested that the Diamond Joe referred to in this song is a steamboat rather than a person. - PJS
File: RcDiJoII
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NAME: Diamond, The: see The Bonnie Ship the Diamond (File: FSWB094)
===