NAME: Flat Bill Beaver Cap: see The Beaver Cap (File: R355)
===
NAME: Flat River Girl, The: see Jack Haggerty (The Flat River Girl) [Laws C25] (File: LC25)
===
NAME: Flat River Raftsman, The: see Jack Haggerty (The Flat River Girl) [Laws C25] (File: LC25)
===
NAME: Fleeing Servant, The: see The Miller's Daughter (The Fleeing Servant) (File: KinBB06)
===
NAME: Fleischmann's Yeast: see Uncle Joe and Aunty Mabel (File: EM374)
===
NAME: Flemings of Torbay, The [Laws D23]
DESCRIPTION: Two "fine young men" of Torbay are cast adrift for six days. They are unconscious by the time they are rescued by the coal ship "Jessie Maurice." Cared for by the captain, they are taken to Quebec 
AUTHOR: Johnny Burke
EARLIEST_DATE: 1920 (Greenleaf/Mansfield)
KEYWORDS: sea rescue fishing
HISTORICAL_REFERENCES: May, 1888 - Rescue of the two Torbay sailors
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (8 citations)
Laws D23, "The Flemings of Torbay"
Greenleaf/Mansfield 141, "The Fishermen of Newfoundland" (1 text, 1 tune)
Peacock, pp. 912-915, "The Flemings of Torbay" (2 texts, 2 tunes)
Leach-Labrador 76, "Flemings of Torbay" (1 text, 1 tune)
Creighton-NovaScotia 115, "The Flemmings of Torbay" (1 text, 1 tune)
Creighton-Maritime, pp. 202-203, "The Flemings of Torbay" (1 text, 1 tune)
Doyle2, pp. 50-51, "The Fishermen of Newfoundland; or, the Good Ship Jubilee" (1 text, 1 tune)
DT 322, FLMTORBY
Roud #1821
NOTES: Schooners left manned dories in different strategic places to fish. Getting lost from the schooner was almost a constant hazard. - SH
According to the notes in Creighton-Nova Scotia, the end of this story was not quite as happy as the song might imply; the two brothers both had their legs amputated. Creighton's informant said that Queen Victoria herself paid for artificial legs, but Creighton could not verify this; the Flemming brothers were dead and Johnny Burke no longer remembered the details. - RBW
File: LD23
===
NAME: Flemmings of Torbay, The: see The Flemings of Torbay [Laws D23] (File: LD23)
===
NAME: Flies Are On the Tummits, The
DESCRIPTION: Singer has been farming all his life but "the only thing that flourishes is the damnation weeds." Flies are on his turnips... his live stock "eat me up and never turn out right." "No matters what I sell is cheap, but what I buy is dear"
AUTHOR: unknown
EARLIEST_DATE: 1976 (recording, Ted Laurence)
KEYWORDS: farming hardtimes nonballad animal bug chickens horse sheep
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1376
RECORDINGS:
Ted Laurence, "The Flies Are On the Tummits" (on Voice20)
CROSS_REFERENCES:
cf. "Seven Cent Cotton and Forty Cent Meat" (theme of poor living for farmers)
cf. "The Turnip-Hoer" (them of a turnip farmer's life)
NOTES: Roud lumps this with "The Turnip-Hoer," with which it shares some lyrics, but Ben Schwartz and I both consider the general plots distinict enough to split them. "The Turnip-Hoer" is about the singer's employment history; "The Flies Are On the Tummits" about the hard life of a farmer.
Widespread growing of turnips, incidentally, was a relatively recent practice (turnips, after all, are bitter and rather unpleasant to eat); they are grown because they replenish the soil, and can be farmed on a field that would otherwise have to lie fallow (see Derek Beales, _From Catlereight to Gladstone: 1815-1885_, p. 36). - RBW
File: RcFAOtT
===
NAME: Flim-A-Lim-A-Lee: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Flodden Field [Child 168]
DESCRIPTION: King James vows to fight his way to London. Queen Margaret tries to prevent him, and Lord Thomas Howard supports her. James vows to punish them when he returns -- but he never returns; the English slay him and twelve thousand men at Flodden
AUTHOR: unknown
EARLIEST_DATE: 1633
KEYWORDS: war royalty family promise death
HISTORICAL_REFERENCES: Sep 9, 1513 - Battle of Flodden. James IV and the pride of Scotland's chivalry die in battle with the Earl of Surrey's English army
FOUND_IN: Britain
REFERENCES: (1 citation)
Child 168, "Flodden Field" (1 text plus long appendix)
Roud #2862
CROSS_REFERENCES:
cf. "The Flowers o' the Forest" (subject)
NOTES: King James IV was unusually long-lived for a Stewart king; he lived all the way to forty (1473-1513). But it wasn't for lack of trying; he twice went to war with England. The first attempt, in support of Perkin Warbeck, was in 1502, and accomplished nothing.
To cement the post-1502 peace, James IV married Margaret Tudor, the elder daughter of England's King Henry VII. (This was the marriage that eventually brought the Stewarts to the throne of England.) But that didn't prevent his warmongering. In 1513, the new English king Henry VIII was away in a sort of a mock campaign against France. James decided to go to war.
Unfortunately for James, the defense of the border was in the hands of Thomas Howard, then Earl of Surrey (1443-1524). Surrey was the son of John Howard, Richard III's Duke of Norfolk, and had fought for Richard III at Bosworth. But with Richard dead, Howard was given a partial pardon (being given the Surrey earldom though not the Norfolk dukedom). This may have been because, with Richard and the elder Howard dead, Surrey was the best soldier in England.
However that may be, Surrey gathered an army to meet the invading Scots. The two forces are believed to have been about equal in size, but Surrey outmaneuvered the Scots and inflicted a crushing defeat, killing James, the cream of his army, and about a third of his troops -- a defeat which came to be commemorated in the popular lament "The Flowers o' the forest.". Surrey lost perhaps 5%-10% of his own men.
Scotland -- as always when a new monarch came to the throne -- was plunged into chaos. The border was safe for many years. Surrey received the Norfolk dukedon, which has remained in the Howard family ever since. - RBW
File: C168
===
NAME: Flora: see The Lonesome (Stormy) Scenes of Winter [Laws H12] (File: LH12)
===
NAME: Flora MacDonald's Lament
DESCRIPTION: "Over hill and lofty mountains Where the valleys were covered with snow... There poor Flora sat lamenting... Crying, 'Charlie, constant Charlie, My kind, constant Charlie, dear.'" She hopes to meet him again, and repeats her refrain
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: Jacobites love separation beauty royalty
HISTORICAL_REFERENCES: 1720-1788 - Life of Charles Edward Stuart, "Bonnie Prince Charlie"
1722-1790 - Life of Flora MacDonald
1745-1746 - '45 Jacobite rebellion led by Bonnie Prince Charlie
Apr 16, 1746 - Battle of Culloden. The Jacobite rebellion is crushed, most of the Highlanders slain, and Charlie forced to flee for his life.
Jun 28-29, 1746 - Aided by Flora MacDonald, and dressed as her maidservant, Charles flees from North Uist to Skye in the Hebrides.
1774-1779 - period of Flora MacDonald's residence in North America
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 368, "Flora MacDonald's Lament" (1 text)
Roud #5776
CROSS_REFERENCES:
cf. "Twa Bonnie Maidens" (subject)
cf. "Skye Boat Song (Over the Sea to Skye)" (subject)
cf. "Flora's Lament for her Charlie" (theme)
cf. "So Dear Is My Charlie to Me (Prince Charlie)" (theme)
NOTES: This is one of those ironic little songs because it's so false-to-life. It is apparently not the same as James Hogg's poem of the same title, and the editors of Brown apparently think it was inspired by Flora MacDonald's brief and unhappy visit to what was in the process of becoming the United States.
The problems with this song include the fact that Bonnie Prince Charlie never showed any actual evidence of involvement with Flora MacDonald. The love of his life, if he had one, was Clementina Walkinshaw; his later marriage (in 1772) was a political match, and produced no children.
Flora MacDonald certainly did not spend her whole life mourning; in 1750 married another MacDonald (the son of MacDonald of Kingsburgh); they went to America in 1774. During the Revolutionary War, her husband was (ahem) a British loyalist, and was commissioned a brigadier. He was captured by the rebels in 1776. Flora, reduced to poverty and reportedly with two of her children dead, sold most of her valuables and returned to England in 1779; her husband was released and followed in 1781.
The song also reports that "Flora's beauty is surprising, like bright Venus in the morning"; this too seems to be a bit of romanticism. There is a portrait by Allan Ramsay (now in the Bodleian Library, and reproduced, e.g., facing page 216 of Clennell Wilkinson's _Bonnie Prince Charlie_ and on p. 180 of Fitzroy Maclean's _An Illustrated History of Scotland_ -- though that copy is too small and dark to be useful), and while she was not ugly, I doubt she would win a beauty contest. - RBW
File: Br3368
===
NAME: Flora, the Lily of the West: see The Lily of the West [Laws P29] (File: LP29)
===
NAME: Flora's Lament for her Charlie
DESCRIPTION: Flora and Charlie go "out for to gaze, On the bonny, bonny banks of Benlomond." Both are leaving and they will never meet again. She describes him. "My true love was taken by the arrows of death, And now Flora does lament for her Charlie"
AUTHOR: unknown
EARLIEST_DATE: c.1849 (broadside, NLScotland RB.m.168(178))
KEYWORDS: love separation Scotland nonballad Jacobites
FOUND_IN: Ireland
REFERENCES: (0 citations)
BROADSIDES:
Murray, Mu23-y3:013, "Flora's Lament For Her Charlie," R. McIntosh (Glasgow), 19C.
NLScotland, RB.m.168(178), "Flora's Lament for her Charlie," R. McIntosh (Glasgow), c.1849
CROSS_REFERENCES:
cf. "So Dear Is My Charlie to Me (Prince Charlie)" (subject)
cf. "Loch Lomond" (verses) and references there
cf. "Flora MacDonald's Lament" (theme)
NOTES: Broadside NLScotland RB.m.168(178) is the basis for the description.
The first two verses are very close to "Loch Lomond," as described in the notes to that song.
The commentary to broadside NLScotland, RB.m.168(178) notes that, after her involvement in Charles's escape, Flora "was tracked and was imprisoned by the Hanoverians and she spent a year in the tower of London. She was eventually released in 1747 and died in 1790." Charlie is Charles Edward (1720-1788), grandson of James II. - BS
There are several of these "Flora's Lament" type songs, some of which may in fact be the same. (This looks rather like "Flora MacDonald's Lament with a "Loch Lomond" preface tacked on.) This one gets one thing mostly right: Charles Stuart and Flora MacDonald never did meet again. But it was hardly along-sundered love; Flora married as early as 1750. For details, see "Flora MacDonald's Lament,"- RBW
File: BdFLfhC
===
NAME: Florence C. McGee, The
DESCRIPTION: The singer calls hearers to learn of the Florence C. McGee. The ship sets out from Tampa in 1894, heading up the Atlantic coast, when a storm strikes. She runs aground and is wrecked. The owners come to observe their loss
AUTHOR: Llewelyn Murphy?
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: ship storm wreck
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 286, "The Florence C. McGee" (1 text)
Roud #6639
File: BrII286
===
NAME: Florizel, The: see The Wreck of the Steamship Florizel (File: Doy31)
===
NAME: Floro: see Sheepcrook and Black Dog (File: HHH030a)
===
NAME: Flow Gently Sweet Afton
DESCRIPTION: "Flow gently, sweet Afton, among thy green braes, Flow gently, I'll sing thee a song in thy praise. My Mary's asleep by thy murmuring stream." The singer praises the river, and bids it not to disturb Mary's sleep
AUTHOR: Words: Robert Burns
EARLIEST_DATE: 1793 (The Scots Musical Museum)
KEYWORDS: river love
FOUND_IN: 
REFERENCES: (3 citations)
Silber-FSWB, p. 253, "Flow Gently Sweet Afton" (1 text)
Fuld-WFM, p. 228, "Flow Gently Sweet Afton"
DT, FLOWAFTN*
CROSS_REFERENCES:
cf. "Away in a Manger" (tune)
NOTES: Burns obviously had a tune for this, but the common melody was copyrighted in 1838 by Jonathan Edwards Spilman.
Available records do not seem to indicate whether Burns wrote this song before or after the death of his beloved Mary Campbell. - RBW
File: FSWB253A
===
NAME: Flower Carol, The (Spring Has Now Unwrapped the Flowers)
DESCRIPTION: "Spring has now unwrapped the flowers, Day is fast reviving, Light in all her growing powers Towards the light is striving." Hearers are urged to praise God, who brings flowers to life in the spring -- and also resurrects humanity
AUTHOR: (translation claimed by the authors of the Oxford Book of Carols)
EARLIEST_DATE: 1928 (OBC; tune from Piae Cantiones, 1582)
KEYWORDS: religious nonballad flowers
FOUND_IN: 
REFERENCES: (2 citations)
OBC 99, "Flower Carol" (1 text, 1 tune)
Ritchie-Southern, p. 59, "The Flower Carol" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Good King Wenceslas" (tune)
NOTES: Properly this does not belong in the Index at all, since it is not  folk song. Its inclusion is based on a curious mistake by Jean Ritchie. She and her family grew up singing "Good King Wenceslas," presumably for its tune. She wanted to include it in her songbook. But she had read the critique of J. M. Neale's "Wenceslas" text (see the notes to that song; I for one would consider them dead-on). So, instead of including "Wenceslas" in her book, which at least had the virtue of being traditional in her family, she included this text from the _Oxford Book_.
The irony is that the "Spring Has Now Unwrapped the Flowers" is no more original than "Good King Wenceslas" (since it's a translation), and it's also quite feeble -- and, apparently, it is even more recent than Wenceslas!
Just like "Good King Wenceslas," however, the tune (one of many great tunes from the Piae Cantiones) has carried "The Flower Carol" far: checking my small collection of pre-1960 hymnals, none contain it, but it seems to be, um, popping up in many newer hymnals. - RBW
File: RitS059
===
NAME: Flower o' Northumberland, The: see The Fair Flower of Northumberland [Child 9] (File: C009)
===
NAME: Flower of Benbrada, The
DESCRIPTION: "One evening fair, to take the air, By Curraghlane I chanced to stray." He sees a beautiful woman, comparing her to goddesses. "This lovely fair beyond compare, She now intends to go away." He will not tell her name, but hopes he has praised her truly
AUTHOR: Francey Heaney
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: beauty emigration
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H537, p. 239-240, "The Flower of Benbrada" (1 text, 1 tune)
Roud #9476
NOTES: Although the author refuses to give the name of the emigrating beauty, Sam Henry says she was one Lizzie Donarghy, who went to America at an uncertain date.
The references to the classic goddesses in this song are unusual. The reference to Flora, who makes things blossom, is not rare, but I don't recall ever seeing a song referring to Hebe, the daughter of Zeus and Hera who symbolized youth and was a cup-bearer to the Olympians. I can't remember mention of Proserpine, either.
The mix of names is itself interesting -- Flora was a Roman goddess with no Greek counterpart; Hebe is a Greek name (Latin Juventas); Proserpina is the Latin name of Greek Persephone. - RBW
File: HHH537
===
NAME: Flower of Corby Mill, The
DESCRIPTION: The singer sets out to praise the Flower of Corby Mill. He describes meeting her on his was to Butler's Fair. At the fair, he and his friends drink deep and toast the girl. He refuses to name her lest her parents be angry, but she is a mill worker.
AUTHOR: William Brownlee (source: Tunney-SongsThunder)
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: beauty drink
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H612, pp. 242-243, "The Flower of Corby Mill" (1 text, 1 tune)
Tunney-SongsThunder, pp. 176-178, "The Flower of Corby Mill" (1 text)
McBride 30, "The Flower of Corby's Mill" (1 text, 1 tune)
Morton-Maguire 26, pp. 67-68,114,167, "The Maid of Colehill" (1 text, 1 tune)
Roud #2928
NOTES: Tunney-SongsThunder: "Corby Mill was almost certainly situated on the Clough River and was built in 1789 by Ben Shaw."
While the place names are changed Morton-Maguire notes "this song is obviously a close relation to that given the title of 'The Flower of Corby Mill." In the last verse of Morton-Maguire "she says herself she'll marry me."
Other hidden name songs include "The Flower of Benbrada," "The Lovely Banks of Mourne," "The Santa Fe Trail," "Ar Eirinn Ni Neosfainn Ce hi (For Ireland I Will Not Tell Whom She Is)," "The Pride of Kilkee" and "Drihaureen O Mo Chree (Little Brother of My Heart)" - BS
File: HHH612
===
NAME: Flower of Corby's Mill, The: see The Flower of Corby Mill (File: HHH612)
===
NAME: Flower of Craiganee, The: see Craiganee (File: HHH749)
===
NAME: Flower of Dunaff Hill, The: see The Flower of Sweet Dunmull (File: HHH001)
===
NAME: Flower of France and England, O, The
DESCRIPTION: "As I was on my rambled, I came from Dover to Carlisle..." The singer goes to "The Grapes" to lodge. One of the serving girls is very pretty -- "the flower of France and England,O"; they are much attracted to each other and before long are married
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: beauty courting marriage travel
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 188-190, "The Flower of France and England, O" (1 text)
Roud #5532
NOTES: Most scholars believe that the reference in the third line of the song to the town being "full of rebels" refers to the Jacobite Rising of 1745 (and Prince Charles's army did indeed spend time in Carlisle). But there is no other hint of this, and indeed, there were earlier conflicts (going back to the Wars of the Roses and even before) which might cause the singer to find "rebels" (i.e. people who disagreed with his politics) in Carlisle. - RBW
File: Ord188
===
NAME: Flower of Glenleary, The
DESCRIPTION: "Oh, Crossgar's sunny hills are bespangled with flowers," but the singer yearns for Mary, the flower of Glenleary. He describes her beauty, and asks, "Fair maid of my dreams, did we meet here to sever?" He prays that she will be his
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: love courting rejection
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H22a, pp. 232-233, "The Flower of Glenleary" (1 text, 1 tune)
Roud #7986
CROSS_REFERENCES:
cf. "The Braes of Balquhidder" (tune)
File: HHH022a
===
NAME: Flower of Gortade, The
DESCRIPTION: The singer calls upon the muses to describe the Flower of Gortade. He compares her to many classical queens and beauties. The girl, Margaret O'Kane, must leave for America, and hopes Ireland will someday welcome her back
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: beauty emigration
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H178, pp. 233-234, "The Flower of Gortade" (1 text, 1 tune)
Tunney-StoneFiddle, pp. 120-121, "The Flower of Gortade" (1 text, 1 tune)
Roud #2740
NOTES: This is a strange piece in many ways. Sam Henry credits it to "[the] local blind poet Kane, in honor of his sister," but his text seems composite: four eight-line stanzas of classical allusions in praise of the woman, and then two first-person stanzas in which she prepares to depart.
In addition, the classical allusions are rather a mess. Homer is called a great poet, but one who "sang of Athenians and Spartans so bold." Spartans are certainly mentioned in the Iliad -- Helen of Troy was properly Helen of Sparta, and Menelaus became King of Sparta as her husband. Mentions of the Athenians and Athens are few, however. Menestheus King of Athens brought fifty ships to Troy, but was so obscure a figure that the Greeks couldn't even agree if he died there.
In the next few lines, the poet commits the common abomination of referring to Greek goddesses by their Latin names.
Hector is described as having "consorts" (plural), but he had only one wife, Andromache.
The story then shifts to the story of Susanna, which is Biblical/Apocryhal (one of the Additions to Daniel). And so it goes. - RBW
File: HHH178
===
NAME: Flower of Magherally, The
DESCRIPTION: "'Twas on a summer's morning, The flowers were a-blooming-0, Nature all adoning... I met my love near Banbridge town, My charming blue-eyed Sally-o." The singer describes her beauty, wishes he could offer her wealth, and hopes to marry her even without it
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: love courting beauty
FOUND_IN: Ireland
REFERENCES: (3 citations)
SHenry H220, pp. 243-244, "The Flower of Magherally, O!" (1 text, 1 tune)
OLochlainn 59, "The Flowers of Magherally" (1 text, 1 tune)
OBoyle 11, "The Flower of Magherally" (1 text, 1 tune)
Roud #3009
NOTES: This instantly made me think of "Sally in Our Alley." The metrical form is quite close, and there are a few similar phrases in the tune, but there really doesn't appear to be kinship. - RBW
File: HHH220
===
NAME: Flower of Sweet Dunmull, The
DESCRIPTION: The singer says he dwells in Ireland, and describes the beautiful scenes from the hill of Dunmull. From there he can see the ship to take him away. He could survive leaving it all, but how can he part from Nancy? He hopes someday to return
AUTHOR: unknown
EARLIEST_DATE: 1923 (Sam Henry collection)
KEYWORDS: emigration separation farewell home
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H1, p. 191, "The Flower of Sweet Dunmull" (1 text, 1 tune)
McBride 31, "The Flower of Dunaff Hill" (1 text, 1 tune)
Roud #2744
File: HHH001
===
NAME: Flower of Sweet Erin the Green, The
DESCRIPTION: Singer supposes her true love is "far from sweet Erin the green." He "vowed to be constant and true." She denied him and now blames herself for their separation. She warns maids "never your true love despise." She sees no peace but "yon dark silent grave"
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: love sex separation Ireland nonballad
FOUND_IN: Ireland
REFERENCES: (3 citations)
Tunney-SongsThunder, pp. 144-145, "The Flower of Sweet Erin the Green" (1 text)
Morton-Ulster 22, "Erin the Green" (1 text, 1 tune)
Morton-Maguire 42, pp. 131-132,172, "Erin the Green" (1 text, 1 tune)
Roud #2790
File: TST144
===
NAME: Flower of Sweet Strabane, The
DESCRIPTION: (The singer recalls meeting "Martha, the Flower of Sweet Strabane.") If he were King of Ireland, he would wish nothing better than her hand; she is the fairest girl he has seen. But she rejects him; he sails to America to start a new life
AUTHOR: unknown
EARLIEST_DATE: 1911 (Grieg); the notes in IRMBarry-Fairs says it was published in a Derry newspaper in 1909
KEYWORDS: love courting rejection emigration beauty
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H224a, pp. 390-391, "The Flower of Sweet Strabane" (1 text, 1 tune)
Tunney-SongsThunder, pp. 58-59, "Martha, the Flower of Sweet Strabane" (1 text)
DT, FLWRSTRB*
ADDITIONAL: Richard Hayward, Ireland Calling (Glasgow,n.d.), p. 9, "The Flower of Sweet Strabane" (text, music and reference to Decca F-3374 recorded Dec 31, 1932)
Roud #2745
RECORDINGS:
Margaret Barry, "The Flower of Sweet Strabane" (on IRMBarry-Fairs)
McBride 32, "The Flower of Street Strabane" (1 text, 1 tune)
NOTES: According to Sam Henry, this was composed in the 1840s -- it could hardly be much earlier given its current contents. Henry was of the opinion that it fell into two families, the first including the introductory verse about meeting Martha, the second beginning with the stanza about being King of Ireland. - RBW
McBride: "[John] McGettigan would have been responsible for its popularity as he recorded it on a record and was therefore taken back from America by returned emigrants in the 1930's and 40's."
The date and master id (GB-5416-1/2) for Hayward's record is provided by Bill Dean-Myatt, MPhil. compiler of the Scottish National Discography. - BS
File: HHH224a
===
NAME: Flowers o' the Forest, The
DESCRIPTION: Based on a pipe tune lamenting the battle of Flodden: "I've heard them lilting, At the yowes milking, Lasses a-lilting... Noo they are moanin On ilka green loaning. The flowers o' the forest are a' wede away." The song grieves for the men lost
AUTHOR: Words: Jane [Jean] Elliot (1727-1805)/Music: Traditional
EARLIEST_DATE: 1803 (tune probably dates to the sixteenth century)
KEYWORDS: battle death mourning separation Scotland
HISTORICAL_REFERENCES: Sep 9, 1513 - Battle of Flodden. James IV and the pride of Scotland's chivalry die in battle with the Earl of Surrey's English army
FOUND_IN: 
REFERENCES: (2 citations)
DT, FLWRSFOR*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #197, "The Flowers of the Forest" (1 text)
Roud #3812
RECORDINGS:
Helen Blain, "Flowers o' the Forest" (Pathe 20017, 1916)
CROSS_REFERENCES:
cf. "Flodden Field [Child 168]" (subject)
ALTERNATE_TITLES:
Lament for Flodden
File: BdFlOTF
===
NAME: Flowers of Fochabers, The
DESCRIPTION: "It was on the bonnie banks o' Spey To muse I sat me down." The singer sees a beautiful girl, the flower of Fochabers. He asks her to take pity on him. She turns him down. He declares that, when he dies, it will be for Petty Clapperton
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: beauty love rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 204, "The Flower of Fochabers" (1 text)
Roud #5538
File: Ord204A
===
NAME: Flowers of Magherally, The: see The Flower of Magherally (File: HHH220)
===
NAME: Flowery Garden: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: Flowery Nolan
DESCRIPTION: At seventy one, Flowery Nolan, "a terror to all men," decides to marry. He marries the only acceptable candidate. When he tells his wife they would not sleep together -- "you are only but my serving maid" -- she goes home to her father's house.
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: age marriage sex rejection husband wife
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #16693
RECORDINGS:
Mikeen McCarthy, "Flowery Nolan" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "Arranged or 'made' marriages were very much an accepted part of rural life in Ireland up to comparatively recent times... Women from poor house-holds which were unable to support the whole family would readily marry older farmers looking for a housekeeper, or maybe widowers with young children to care for."
IRTravellers01: Mikeen McCarthy tells, on the record, that Flowery Nolan was an old bachelor who only talked about getting married until he was 71. Then he advertised for a wife and the song tells how it went. The moral: "Never marry an old man Till you're fed up of your life, Or then you'll be coming home again Like Flowery Nolan's wife." - BS
File: RcFlowNo
===
NAME: Floyd Collins [Laws G22]
DESCRIPTION: Floyd Collins is trapped in a cave from which a rescue party cannot free him. He tells his parents that he had dreamt this would happen. At last, still trapped, he dies
AUTHOR: Andrew Jenkins
EARLIEST_DATE: 1925 (copyright)
KEYWORDS: disaster dream death family
HISTORICAL_REFERENCES: Jan 30, 1925 - Floyd Collins is trapped in a "sandhole" cave near Mammoth Cave, Kentucky, where he is caught by a landslide. He was discovered by his brother the next day, but attempts to rescue him failed
Feb 16, 1925 - Collins is found to be dead
FOUND_IN: US(Ap,MW,Ro,SE)
REFERENCES: (7 citations)
Laws G22, "Floyd Collins"
BrownII 212, "Floyd Collins" (1 text plus 2 excerpts)
Gardner/Chickering 125, "Floyd Collins" (2 texts)
MHenry-Appalachians, pp. 82-83, "Floyd Collins" (1 text)
Thomas-Makin', pp. 110-111, "The Doom of Floyd Collins" (1 text)
Darling-NAS, pp. 223-224, "Floyd Collins" (1 text)
DT 769, FLOYDCOL
Roud #1940
RECORDINGS:
Fiddlin' John Carson, "The Death of Floyd Collins" (Okeh 40363, 1925)
Vernon Dalhart, "Death of Floyd Collins" (Victor 19821, 1925)(Columbia 15031-D [as Al Craver or Dalhart Texas Panhandlers], 1925) (Banner 1613, 1925; Conqueror 7068, 1928) (Edison 51609 [as Vernon Dalhart & Co.], 1925) (Gennett 3197Champion 15048, 1926; Challenge 160/Challenge 315, 1927; rec. 1925)  (Bell 364, 1925) (CYL: Edison [BA] 5049 [as Vernon Dalhart & Co.], prob. 1925) (Regal 9916, 1925)
Vernon Dalhart, "Floyd Collins Waltz" (Victor 19997, 1926) [a bizarre recasting of 'Death of Floyd Collins' in waltz time, with truncated verses]
Charlie Oaks, "The Death of Floyd Collins" (Vocalion 15099, 1925; Vocalion 5069, c. 1927)
Harry Smith, "The Death of Floyd Collins" (OKeh 45260, 1928)
NOTES: As the dates of the recordings show, this is really a popular song. But the number of versions collected show that it did become a folk song.
There are various claims about the authorship of this song. Brown quotes Thomas to the effect that it was written by one Adam Crisp. Laws, following Wilgus, accepts the attribution to Andrew Jenkins, who wrote other songs which became traditional. The attribution to Jenkins seems certain, however. Paul Stamler cites the statement of OKeh records A&R man Polk Brockman, who commissioned the song from Jenkins. - RBW
File: LG22
===
NAME: Floyd Frazier (Ellen Flannery) [Laws F19]
DESCRIPTION: Floyd Frazier kills Ellen Flannery and hides her body. A search is started after her orphaned children are found crying. Her body is discovered, and Floyd is arrested. He confesses to the crime; the singer hopes he will be hanged
AUTHOR: unknown
EARLIEST_DATE: 1909
KEYWORDS: homicide children orphan
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws F19, "Floyd Frazier (Ellen Flannery)"
Combs/Wilgus 68, pp. 155-157, "Floyd Frazier" (1 text)
DT 735, FLOYFRAZ
Roud #695
File: LF19
===
NAME: Flunky Jim (Gopher Tails)
DESCRIPTION: Jim, the son and "flunky" of the farm, has shabby clothes, but intends to get a new ones with money from gopher tails. His father says his clothes are too small, but he has almost enough tails to buy new clothes, after which he will hand down his old ones
AUTHOR: Words: Dan Ferguson
EARLIEST_DATE: 1963 (recording, Mel Bowker)
KEYWORDS: poverty clothes farming hunting hardtimes family father animal
FOUND_IN: Canada
REFERENCES: (0 citations)
Roud #4555
RECORDINGS:
Mel Bowker, "Flunky Jim", also listed as "I Am the Flunky of the Yard (Gopher Tails)" (on Saskatch01)
CROSS_REFERENCES:
cf. "The Wearing of the Green (I)" (tune) and references there
NOTES: During the Depression of the 1930s, the Canadian government offered a bounty on gopher tails to encourage trapping them. Mel Bowker, who recorded this song, was the grandson of Dan Ferguson. - PJS
File: RcFluJim
===
NAME: Fly and the Bumblebee, The (Fiddle-Dee-Dee)
DESCRIPTION: "Fiddle-dee-dee, fiddle-dee-dee, The fly has married the bumblebee, Says the fly, says he, 'Will you marry me, and live with me, sweet Bumblebee?'" The fly promises not to sting the larger insect. Parson Beetle marries the two. All ends happily
AUTHOR: unknown
EARLIEST_DATE: 1740 (Wiltshire MS, according to Opie-Oxford2)
KEYWORDS: bug marriage clergy courting
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Linscott, pp. 196-198, "Fiddle Dee Dee" (1 text, 1 tune)
Opie-Oxford2 88, "A cat came fiddling out of a barn" (2 texts); 168, "Fiddle-de-dee, fiddle-de-dee" (2 texts)
Baring-Gould-MotherGoose #179, pp. 128-129, "(A cat came fiddling out of a barn)"; #276, p. 164, "(Fiddle-dee-dee, fiddle-dee-dee)"
Roud #3731
CROSS_REFERENCES:
cf. "Frog Went A-Courting" (theme)
NOTES: In the Mother Goose "cat came fiddling" texts, it is not a fly but a mouse that marries the bumblebee. It's not clear which combination is more original -- the wedding of two insects is less utterly illogical, so it might be an improvement, but the mouse might also come in by way of confusion with "Frog Went A-Courting" or the like. - RBW
File: Lins196
===
NAME: Fly Around My Blue-Eyed Gal: see Fly Around, My Pretty Little Miss (File: CSW066)
===
NAME: Fly Around, My Pretty Little Miss
DESCRIPTION: Dance tune: "Fly around my pretty little miss/Fly around my daisy/Fly around my pretty little miss/You almost drive me crazy." Floating verses: "The higher up the cherry tree/The riper grow the cherries..." "Going to get some weevily wheat..."
AUTHOR: unknown
EARLIEST_DATE: 1917 (collected by Cecil Sharp, but some of the floating verses also show up in SharpAp 88, "Betty Anne," which he collected in 1916)
KEYWORDS: love dancing nonballad floatingverses dancetune
FOUND_IN: US(Ap,SE)
REFERENCES: (7 citations)
Cohen/Seeger/Wood, p. 66, "Fly Around, My Pretty Little Miss" (1 text, 1 tune)
BrownIII 286, "Fly Around, My Blue-Eyed Girl" (4 texts, but the "D" text is mostly "Shady Grove"); also 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 145, p. 293, [no title] (1 fragment, the single stanza "The higher up the cherry tree")
SharpAp 268, "The Higher Up the Cherry Tree" (1 text, 1 tune); also 88, "Betty Anne" (1 text, 1 tune, with lyrics from "Shady Grove," "Fly Around, My Pretty Little Miss" and "Going Across the Sea")
Darling-NAS, p. 254, "Fly Around My Pretty Little Miss" (1 text)
Silber-FSWB, p. 39, "Fly Around My Blue-Eyed Gal" (1 text)
DT, BLUEYEGL*
Roud #5720
RECORDINGS:
Frank Blevins & his Tar Heel Rattlers, "Fly Around My Pretty Little Miss" (Columbia 15210-D, 1927; on TimesAint01, LostProv1)
Frank Bode, "Susanna Gal" (on FBode1)
Samantha Bumgarner, "Fly Around My Pretty Little Miss" (Columbia 146-D, 1924)
The Hillbillies, "Blue Eyed Girl" (Vocalion 5017, c. 1926)
Clint Howard et al, "Pretty Little Pink" (on Ashley02, WatsonAshley01)
Buell Kazee, "Dance Around My Pretty Little Miss" [fragment] (on Kazee01)
Bradley Kincaid, "Pretty Little Pink" (Brunswick 464, 1930) (Supertone 9666, 1930) (one of these is on CrowTold01, but we don't know which)
New Lost City Ramblers, "Fly Around, My Pretty Little Miss" (on NLCR03, NLCR11, NLCRCD1)
Lee Sexton, "Fly Around, My Pretty Little Miss" (on MMOKCD)
Hobart Smith, "Fly Around, My Blue-Eyed Girl" (on LomaxCD1702)
Gid Tanner and His Skillet Lickers, "Fly Around My Pretty Little Miss" (Columbia 15709-D, c. 1931; rec. 1928)
CROSS_REFERENCES:
cf. "Weevily Wheat" (floating lyrics)
cf. "Coffee Grows (Four in the Middle)" (floating lyrics)
cf. "Up and Down the Railroad Track" (floating lyrics)
cf. "Missus in the Big House" (meter)
cf. "Seventeen Come Sunday" [Laws O17] (floating lyrics, some tunes)
ALTERNATE_TITLES:
Blue-Eyed Girl
NOTES: My guess is that this is a modified version of "Weevily Wheat." But Paul Stamler thinks it's separate, and certainly it's picked up a lot of floating material. So we classify the two separately.
This should not be confused with Laws P18, "Pretty Little Miss." - RBW
File: CSW066
===
NAME: Flyin' U Twister, The: see Bad Brahma Bull (The Bull Rider Song) (File: FCW68B)
===
NAME: Flying Cloud, The [Laws K28]
DESCRIPTION: Singer Edward (Hollohan) abandons the cooper's trade to be a sailor. At length he falls in with Captain Moore, a brutal slaver. Moore later turns pirate. When his ship is finally taken, the remaining sailors are sentenced to death
AUTHOR: unknown
EARLIEST_DATE: 1894 (Wehman)
KEYWORDS: sailor slavery pirate execution gallows-confession
FOUND_IN: US(MA,MW,NE,So) Canada(Mar,Newf,Ont)
REFERENCES: (24 citations)
Laws K28, "The Flying Cloud"
Belden, pp. 128-131, "The Flying Cloud" (1 text, 1 tune)
Doerflinger, pp. 135-139, "The Flying Cloud" (2 texts, 2 tunes)
Greenleaf/Mansfield 173, "The Flying Cloud" (1 text, 1 tune)
Creighton/Senior, pp. 223-225, "The Flying Cloud" (1 text plus 1 fragment)
Creighton-NovaScotia 62, "Flying Cloud" (1 text, 1 tune)
Peacock, pp. 842-845, "The Flying Cloud" (1 text, 2 tunes)
Leach-Labrador 58, "The Flying Cloud" (1 text, 1 tune)
Mackenzie 111, "The Flying Cloud" (1 text)
Ives-DullCare, pp. 223-226,245, "The Flying Cloud" (1 text, 1 tune)
Colcord, pp. 145-147, "The Flying Cloud" (1 text, 1 tune)
Hugill, p. 586, "The Flying Cloud" (1 tune, included in Hugill's entry on "Dixie Brown"; he states that it has been used for several forebitters, "Arthur Hollander" [i.e. "The Flying Cloud"], "Girls of Cape Horn" ["Rounding the Horn"], "The Sailor's Way," and "Go To Sea Once More" ["Dixie Brown"])
Rickaby 41, "The Flying Cloud" (1 text, 1 tune)
Dean, pp. 1-2, "The Flying Cloud" (1 text)
Leach, pp. 778-781, "The Flying Cloud" (1 text)
Friedman, p. 411, "The Flying Cloud" (1 text, 1 tune)
Warner 2, "The Flying Cloud" (1 text, 1 tune)
FSCatskills 115, "The 'Flying Cloud'" (1 text, 1 tune)
Fowke/MacMillan 9, "The Flying Cloud" (1 text, 1 tune)
Shay-SeaSongs, pp. 183-186, "The Flying Cloud" (1 text, 1 tune)
Lomax-ABFS, pp. 504-507, "The Flying Cloud" (1 text, 1 tune)
Botkin-AmFolklr, pp. 845-847, "The Flying Cloud" (1 text, 1 tune)
Darling-NAS, pp. 98-100, "The Flying Cloud" (1 text)
DT 409, FLYCLOUD*
Roud #1802
RECORDINGS:
Warde Ford, "The Flying cloud" [fragment] (AFS 4202 B1, 1938; tr.; in AMMEM/Cowell)
Clifford Wedge, "The Flying Cloud" (on MREIves01)
NOTES: Doerflinger notes that there is no pirate ship known to have carried the name "The Flying Cloud." He suggests that the story is based on the book _The Dying Declaration of Nicholas Fernandez_, based loosely on the life of one of Benito de Soto's pirate crew (Fernandez was executed in 1829). Doerflinger shows the title page of the book on p. 336.
Laws and others, though, note that most of these elements are commonplace.
Belden lists various other ships called by the name, but they were all legitimate vessels, including the clipper mentioned below that set the record, anchor to anchor, sailing from New York to San Francisco.
I wonder if the pirate's name "Moore" might have been inspired by the Moors, since the Barbary pirates were sometimes called (not very correctly) Moors.
The song feels fairly old, but the impression may be false. Most of the earliest references seem to be from about 1890,  as if the song were composed in the 1880s or so.
Jonathan Lighter speculated, "My impression is that the song very possibly originated in the 1880s or a bit earlier, perhapsÊin a dime novel as no early broadside has ever been discovered. The evocative name 'Flying Cloud' may have been chosen because the fame of the real ship had long been forgotten by the general public."
If so, then the ship name was inspired by the clipper _Flying Cloud_, built 1851, which twice set records for the New York-to-San Francisco run in the 1850s. Though to call a slaver by that name hardly seems a fitting tribute.
(Horace Beck explains this by positing that the slaving verses are not integral to the piece; he speculates that the whole thing is a composite of two songs.) - RBW
File: LK28
===
NAME: Flying Colonel, The
DESCRIPTION: "With a shit-eating grin on his face," the terrified pilot of a stricken bomber brings his plane home while other crew members bail out.
AUTHOR: unknown
EARLIEST_DATE: Probably World War II vintage
KEYWORDS: bawdy war desertion technology flying
FOUND_IN: US
REFERENCES: (1 citation)
Cray, pp. 404-406, "The Flying Colonel" (1 text, 1 tune)
Roud #10401
CROSS_REFERENCES:
cf. "The Ship that Never Returned" [Laws D27] (tune & meter) and references there
cf. "The Wreck of Old 97" [Laws G2] (tune)
NOTES: Internal references would date this to the WW II saturation bombing campaign upon Germany. This seems to be one of the few air force songs to have achieved oral currency apart from mimeographed or Xeroxed songbooks. - EC
File: EM404
===
NAME: Flying Dutchman, The (Vanderdecken) [Laws K23]
DESCRIPTION: The crew has just escaped a harsh wind on a dark night when the Flying Dutchman appears. The fearful captain orders the crew to take in the sail. The Dutchman fails, as always, in its attempt to enter Table Bay. The sailors pity doomed Vanderdecken
AUTHOR: unknown
EARLIEST_DATE: 1881
KEYWORDS: storm ghost ship supernatural
FOUND_IN: US(MA) Ireland
REFERENCES: (4 citations)
Laws K23, "The Flying Dutchman (Vanderdecken)"
Doerflinger, pp. 148-149, "The Flying Dutchman" (1 text, 1 tune)
Ranson, p. 45, "The Flying Dutchman" (1 text)
DT 406, FLYDUTCH*
Roud #1897
BROADSIDES:
Bodleian, Firth c.13(92), "The Flying Dutchman", H. Such (London), 1863-1885; Harding B 11(963) [last verse illegible], "The Flying Dutchman"; Firth c.26(130), "The Flying Dutchman!"
File: LK23
===
NAME: Flying Trapeze, The
DESCRIPTION: "Once I was happy, but now I'm forlorn, Like an old coat that is tatter'd and torn." The singer's young girlfriend has left him for a trapeze artist. This man, who "flies through the air with the greatest of ease," induced her to run away and join his act
AUTHOR: George Leybourne and/or Alfred Lee
EARLIEST_DATE: 1868
KEYWORDS: love abandonment sports betrayal
FOUND_IN: US(MA,So)
REFERENCES: (7 citations)
RJackson-19CPop, pp. 69-72, "The Flying Trapeze" (1 text, 1 tune)
Randolph 748, "Once I Was Happy" (1 text plus a fragment, 1 tune)
Spaeth-ReadWeep, pp.  63-65, "The Man on the Flying Trapeze" (1 text, 1 tune)
Lomax-ABFS, pp. 338-340, "The Man on the Flying Trapeze" (1 text, 1 tune)
Silber-FSWB, p. 270, "The Man On The Flying Trapeze" (1 text)
Fuld-WFM, p. 230, "The Flying Trapeze"
DT, FLYTRAP2* (FLYTRAPZ*)
Roud #5286
RECORDINGS:
Aaron Campbell's Mountaineers, "Man on the Flying Trapeze" (Chamption 45038, 91935)
Harry "Mac" McClintock, "The Man on the Flying Trapeze" (Victor 21567, 1928)
Walter O'Keefe, "The Man on the Flying Trapeze" (Victor 24172, 1932)
BROADSIDES:
NLScotland, L.C.Fol.70(124a), "Flying Trapeze," Poet's Box (Glasgow), 1874
NOTES: Credited to George Leybourne (for whom see the notes on "Champagne Charlie"), but this song, like that one, may be mostly the work of the "arranger," Alfred Lee. Or the tune may be borrowed; at least, Johann Strauss used it as an "English Folk Melody" in 1869. - RBW
File: RJ19069
===
NAME: Fod
DESCRIPTION: "As I went down to the mowin' field Hu-ri tu-ri fod-a-link-a-di-do, As I went down... Fod! As I went down... A big black snake got me by the heel." The injured singer sits down and watches a woodchuck fight a skunk (and complains about the smell)
AUTHOR: unknown
EARLIEST_DATE: 1941 (recording, Henry King & family)
KEYWORDS: animal nonsense humorous injury dancing fight
FOUND_IN: US(SW,So)
REFERENCES: (3 citations)
Lomax-FSNA 213, "Fod" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 222, "Fod" (1 text, 1 tune)
Fuson, p. 159, "A Mighty Maulin'" (twelfth of 12 single-stanza jigs) (1 text, perhaps from this though it's just a loose verse)
ST LoF213 (Full)
Roud #431
RECORDINGS:
Henry King, "Fod!" (AAFS 8)
Henry King & family, "Fod" (AFS 5141 B2, 1941; on LC02)
CROSS_REFERENCES:
cf. "(I Can't Be) Satisfied" (words)
cf. "Springfield Mountain" (words)
NOTES: Roud catalogs this as a version of Springfield Mountain. Oy.
I stuck Fuson's single stanza  ("As I went down to my old field, I heard a mighty maulin'; The seed-ticks was a-splittin' rails, The chiggers was a-haulin'") here because it sounds like it might be a loose verse of something similar, and because there is nothing else much like it. Round gives it its own number, 16395, but it's probably a floating verse from something. - RBW
File: LoF213
===
NAME: Fogan MacAleer
DESCRIPTION: "There lived in bonny Scotland a man named MacAleer ... he had the queerest notions ... don't you know what I mean?" He asks the blacksmith's help to buy Lauchlan Ban's mare. The blacksmith tricks MacAleer so that he marries Ban's daughter Mary instead.
AUTHOR: Lawrence Doyle
EARLIEST_DATE: 1965 (Ives-DullCare)
KEYWORDS: marriage bargaining trick humorous horse father derivative
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 156-159, 245, "Fogan MacAleer" (1 text, 1 tune)
Roud #13989
RECORDINGS:
Joseph Walsh, "Fogan MacAleer" (on MREIves01)
CROSS_REFERENCES:
cf. "The Jolly Barber Lad" (see Notes)
NOTES: Ives-DullCare refers to "the Scottish custom of having a go-between approach the prospective bride's father to arrange for a marriage." Ives finds a manuscript of "a song called 'The Jolly Barber' which was clearly Doyle's model for this song." The key fragment here is "don't you know what I mean?"; the song is apparently indexed here as "The Jolly Barber Lad."- BS
File: IvDC156
===
NAME: Foggy Dew (II), The
DESCRIPTION: The singer goes out one morning and spies a beautiful girl. He asks her to marry. At first she hints of another lover, but when he approaches her again, she agrees to marry "if I know that you'll be true."
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: love courting
FOUND_IN: US(MA) Canada(Newf)
REFERENCES: (3 citations)
FSCatskills 76, "The Foggy Dew" (1 text, 1 tune)
Peacock, pp. 520-521, "Foggy Dew" (1 text, 1 tune)
Silber-FSWB, p. 147, "The Foggy Dew" (1 text)
ST FSC76 (Partial)
Roud #973
CROSS_REFERENCES:
cf."The Foggy Dew (III)" (tune)
NOTES: Although there are occasional similarities of both text and tune, this piece is not to be confused with Laws O3, "The Foggy Dew (The Bugaboo)." - RBW
File: FSC76
===
NAME: Foggy Dew (III), The
DESCRIPTION: "As down the glen one Easter morn" the singer is passed by a silent army who raise the green flag over Dublin. The Irishmen who died fighting for others had better died fighting for Ireland. "But the bravest fell ... who died at Eastertide"
AUTHOR: Canon Charles O'Neill (1919) (source: "The Foggy Dew" in _Wars & Conflict 1916 Easter Rising Rebel Songs_ by Franke Harte on the BBC site)
EARLIEST_DATE: 1959 (IRClancyMakem03)
KEYWORDS: battle rebellion Easter Ireland patriotic derivative
HISTORICAL_REFERENCES: Apr 24, 1916 (Easter Monday) - beginning of the Easter Rebellion
FOUND_IN: Ireland
REFERENCES: (2 citations)
DT, FOGGDEW4*
ADDITIONAL: Frank Harte _Songs of Dublin_, second edition, Ossian, 1993, pp. 70-71, "The Foggy Dew" (1 text, 1 tune)
Roud #973
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Foggy Dew" (on IRClancyMakem03)
Liam Clancy, "The Foggy Dew" (on IRLClancy01)
CROSS_REFERENCES:
cf. "The Foggy Dew" (II) (tune)
cf. "The Boys from County Cork" (subject)
NOTES: By the time of World War I, most of the people of Ireland were basically loyal to the British crown; they wanted Home Rule, but as part of the British Empire (see, e.g., "Home Rule for Ireland"). Very many of them volunteered for the British army, and very many of them died in the trenches of Flanders.
A relative handful of the Irish wanted complete independence; naturally none of them volunteered. A handful of that handful, led by Padraig Pearse, planned rebellion (see the notes, e.g., to "The Boys from County Cork").
On Easter Monday, April 24, 1916, a small force (probably between a thousand and 1500 men) attacked Dublin. The center of the rebellion was the General Post Office, where Pearse read the proclamation of independence (which, since he read it in Irish, was mostly ignored by the Anglophone population). Over the building rose two flags: One, the harp on a green background, the traditional Irish flag; the other was the new tricolor whose orange and green bands stood ironically for a united Ireland.
The whole thing was a fiasco. The rebels surrendered April 29. At first, the people cursed and spat at them -- after all, they had ruined Dublin and killed about 250 civilians. Had the British left bad enough alone, imprisoning the rebels but no more, all might have been well. But they started court-martialling the commanders on the spot; three leaders including Pearce were executed May 3, and twelve more in the next nine days. Gradually public opinion began to change: the fool rebels became martyrs for Ireland, and when the next rising came, after the war, Britain could not brush it aside.
It says something about Irish politics that this song is allowed to be a slur on the memory of the Irishmen who fought for Britain in World War I. Unlike the Dublin rebels, the loyal Irish killed no civilians. Their casualty rates were higher (the Easter Rebellion saw 64 killed and 12 executed, meaning the casualties were somewhere between 4% and 8%; roughly 11% of the soldiers in the British Army died during World Was I), and the wounds more frightful. And they spent years in trenches and mud, and died of gas and shrapnel and hanging on barbed wire rather than clean deaths by bullet. The British loyalists did not intrigue with the authoritarian regime of Wilhelm II. This is clearly the song of a man who had not been a soldier and had never been to Flanders.
Which just shows how hard it is to be objective. As an American, I can't see that it would have mattered whether Ireland was independent or the Irish still part of Great Britain, as long as they enjoyed the same rights as British citizens. (Which, admittedly, they never had.) But the Irish *do* see a difference. But Harte wtires, "At this present time one hears the revisionists of Irish history express doubts as to whether the Easter Rising was really necessary or whether the men who fought and died might not have done so for the highest motives[;] this song tolerates no ambivalence but gives the full praise due to those men who gave their lives for our freedom." This of course does not change the fact that the song is unfair -- but it shows how important these events are to Ireland.
(To give Harte his due, in the notes to the next song, the un-traditional "When Margaret Was Eleven," he says, "There was a certain sadness about the soldiers of the 1914-1918 war[;] they never quite got the glory they felt they deserved for their exploits on behalf of the crown. Their glory was overshadowed by the action of the men who stayed at home and fought for the freedom of their own country.")
The two men mentioned in the song are, of course, Padraig Pearse, the organizer of the rebellion, and Eamon de Valera, a lesser leader who survived because he was an American citizen; he would eventually become the primary leader of the hard-line anti-English faction, helping lead Ireland to its Civil War but also guiding its destiny for many decades thereafter. For the stories of both men, see again the notes to "The Boys from County Cork." - RBW
File: RcTFDIII
===
NAME: Foggy Dew, The (The Bugaboo) [Laws O3]
DESCRIPTION: The singer courts the girl and takes her to bed "to keep her from the foggy dew." In the morning they go their separate ways. In due time the girl bears a son. The further course of the song varies; in some texts he marries her, in some she dies
AUTHOR: unknown
EARLIEST_DATE: 1815
KEYWORDS: courting seduction weaving pregnancy bastard
FOUND_IN: US(Ap,MA,MW,Ro,SE,So,SW) Britain(England) Canada(Newf,Ont) Australia
REFERENCES: (20 citations)
Laws O3, "The Foggy Dew (The Bugaboo)"
Randolph 105, "The Foggy Dew" (4 texts plus a fragment, 2 tunes)
Randolph/Cohen, pp. 99-101, "The Foggy Dew" (1 text, 1 tune -- Randolph's 105A)
Randolph-Legman I, pp. 257-263, "The Foggy Foggy Dew" (1 text, 1 tune)
Cray, pp. 61-64, "The Foggy Foggy Dew" (1 text, 1 tune)
Logsdon 38, pp. 203-206, "The Boogaboo" (1 text, 1 tune)
SharpAp 137, "The Foggy Dew" (1 text, 1 tune)
Cambiaire, pp. 57-58, "A Gentleman's Meeting (Down by Yon Riverside" (1 text, which starts out as "Pretty Little Miss" [Laws P18] but ends with 'The Foggy Dew (The Bugaboo)" [Laws O3]; Roud lists it as a version of Laws P18, but it appears that the larger part of the text is O3 -- though the material in the middle could be from either)
Sandburg, pp. 14-15, "Foggy, Foggy Dew"; 460-461, "The Weaver" (2 texts, 2 tunes)
Combs/Wilgus 107, pp. 183-184, "The Bugaboo" (1 text)
Kennedy 174, "The Foggy Foggy Dew" (1 text, 1 tune)
Lomax-FSNA 43, "The Foggy Dew-I"; 44, "The Foggy Dew-II" (2 texts, 2 tunes)
Meredith/Covell/Brown, pp. 123-125, "The Foggy Dew" (1 text, 1 tune)
Peacock, pp. 518-519, "Foggy Dew" (1 text, 1 tune)
Arnett, pp. 37-38, "Foggy, Foggy Dew" (1 text, 1 tune)
PBB 83, "The Foggy Dew" (1 text)
Darling-NAS, pp. 126-137, "The Foggy Dew" (1 text)
Silber-FSWB, p. 159, "The Foggy, Foggy Dew" (1 text)
BBI, ZN2840, "When first I began to court" (?)
DT 333, FOGGYDEW* FOGGDEW2 FOGGDEW5 BOGLEBO*
Roud #558
RECORDINGS:
Bob Atcher, "Foggy, Foggy Dew" (Columbia 20538, 1949)
Phil Hammond, "The Foggy Dew" (on FSB2, FSB2CD)
Bradley Kincaid, "The Foggy Dew" (Decca 12024, n.d.)
A. L. Lloyd, "The Foggy Dew" (on Lloyd3, Lloyd5)
Pete Seeger, "Foggy Dew" (on PeteSeeger32)
Doug Wallin, "The Foggy Dew" (on Wallins1)
CROSS_REFERENCES:
cf. "Sligo Town" (theme, floating lyrics)
NOTES: This ballad should be [called] "The Foggy, Foggy Dew" to distinguish it from the Irish lyric love song "The Foggy Dew."
The original of this ballad is traced to a broadside ballad dating to 1815 in the collection of the antiquarian bookseller John Bell of Newcastle now in the King's College Library. See A.L. Lloyd, Folk Song in England (London, 1967). - EC
It will be observed, however, that the item ZN2840 in the Broadside Index dates to 1689. I have not been able to verify whether this is actually "The Foggy, Foggy Dew" itself or something similar. - RBW
File: LO03
===
NAME: Foggy Mountain Top
DESCRIPTION: Floating fragments: "If I was on some foggy mountain top/I'd sail away to the west...." "If I'd listened to what my mama said/I would not have been here today/Lying around this old jail cell/Just a-weeping my poor life away"
AUTHOR: unknown
EARLIEST_DATE: 1916 (Cecil Sharp collection)
KEYWORDS: love prison floatingverses nonballad
FOUND_IN: US(Ap,SE)
REFERENCES: (6 citations)
[Randolph 799, "If I Was On Some Foggy Mountain Top" -- deleted in the second printing]
BrownIII 365, "The Foggy Mountain Top" (1 text)
SharpAp 112, "The Rocky Mountain Top" (2 texts, 2 tunes)
Cohen/Seeger/Wood, pp. 42-43, "Foggy Mountain Top" (1 text, 1 tune)
Silber-FSWB, p. 66, "Foggy Mountain Top" (1 text)
DT, FGGYMTTP
Roud #11735
RECORDINGS:
Carter Family, "The Foggy Mountain Top" (Victor V-40058, 1929)
Carter Sisters & Mother Maybelle, "Foggy Mountain Top" (Columbia 20920, 1952)
Monroe Bros., "On Some Foggy Mountain Top" (Montgomery Ward M-4749/Bluebird B-6607, 1936)
New Lost City Ramblers, "On Some Foggy Mountain Top" (on NLCREP1, NLCRCD1) (NLCR16)
Ola Belle & Bud Reed, "Foggy Mountain Top" (on Reeds01)
NOTES: Some versions of this never-entirely-coherent song seem to have mixed with "The False Young Man, (The Rose in the Garden, As I Walked Out)" to yield mixed forms such as "White Oak Mountain." It can be hard to tell, with shorter versions, which is which. - RBW
File: CSW042
===
NAME: Foggy, Foggy Dew: see The Foggy Dew (The Bugaboo) [Laws O3] (File: LO03)
===
NAME: Folkestone Murder, The
DESCRIPTION: (Switzerland John) asks Caroline to walk with him. Her mother tells her she should take her sister Maria along. He stabs both girls and cuts their names into the turf. The murderer is taken and sentenced to death; in the last verse he bids farewell
AUTHOR: unknown
EARLIEST_DATE: 1905 (Gardiner ms.)
LONG_DESCRIPTION: (Switzerland John) asks Caroline of Dover to walk with him to Shorncliffe Camp; she agrees, but her mother tells her it's not fit for them to walk alone, and that she should take her sister Maria along. They go, but before they reach Folkestone he stabs both girls to death despite their entreaties for mercy and cuts their names into the turf. Their parents grieve; the murderer is taken and sentenced to death; in the last verse he bids farewell, tells others to take warning, and hopes to meet Caroline in heaven
KEYWORDS: grief courting violence warning crime execution homicide punishment death gallows-confession family
HISTORICAL_REFERENCES: August 3, 1856 - Caroline and Maria Beck murdered in Folkestone
January 1, 1857 - Tedea (Dedea?) Redanies hanged for the crime
FOUND_IN: Britain(England(South)) Canada(Newf)
REFERENCES: (3 citations)
Kennedy 320, "The Folkestone Murder" (1 text, 1 tune)
Greenleaf/Mansfield 61, "Maria and Caroline" (1 text)
Leach-Labrador 11, "Mary and Sweet Caroline" (1 text, 1 tune)
Roud #897
NOTES: Although the song is not properly a gallows-confession, the last verse is (it seems tacked on, and is similar to the warnings found at the end of many songs of this type). - PJS
File: K320
===
NAME: Folks on t'Other Side the Wave, The
DESCRIPTION: "The folks on t'other side the wave Have beef as well as you, sirs." The listener (clearly England) is reminded that the Americans are much like them, but will resist attacks on them -- and can hold off the English simply by running away
AUTHOR: unknown
EARLIEST_DATE: 1776
KEYWORDS: political warning rebellion
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Scott-BoA, pp. 62-63, "The Folks on t'Other Side the Wave" (1 text, 1 tune)
NOTES: Published as a broadside in 1777, this piece was a highly accurate portrayal of the situation in the American Revolutionary War. Most of the colonists were actually loyal to Britain, but would fight if their rights were threatened. What is more, the colonists could win the war simply by not giving up.
This latter assessment was a good prediction of the way the war was fought. The British won the majority of the battles of the war -- but the fact that they were fighting thousands of miles from their bases meant that the Americans needed to win only ONE decisive battle. It took the colonials six years, but they finally did win such a battle -- at Yorktown. - RBW
File: SBoA063
===
NAME: Foller de Drinkin' Gou'd: see Follow the Drinking Gourd (File: Arn062)
===
NAME: Follom Brown-Red, The
DESCRIPTION: "Oh it's of a noted brown-red cock in Follom he did walk." Tom Kelly takes his cock to Lurgan to fight. It wins. The owners and trainers are named.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: fight gambling moniker chickens
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 11, pp. 25-26,104,159-160, "The Follom Brown-Red" (1 text, 1 tune)
Roud #2922
CROSS_REFERENCES:
cf. "The Cock-Fight" (theme)
cf. "The Kildallan Brown Red" (theme)
File: MoMa011
===
NAME: Follow Me Up to Carlow
DESCRIPTION: "Lift, Mac Cahir Oge, your face... Curse and swear, Lord Kildare! Feagh will do what Feagh will dare -- Now, FitzWilliam, have a care...." The singer hails the Irish rebels and their victory over FitzWilliam
AUTHOR: Words: P. J. McCall
EARLIEST_DATE: 1962
KEYWORDS: Ireland rebellion battle bragging
HISTORICAL_REFERENCES: 1569-1573 - First "Desmond Rebellion"
1579-1583 - Second "Desmond Rebellion"
1580 - Feagh MacHugh defeats Lord Grey of Wilton at Glen Malure
FOUND_IN: Ireland
REFERENCES: (2 citations)
PGalvin, pp. 90-91, "Follow Me up to Carlow" (1 text, 1 tune)
DT, FLLWCRLO
NOTES: The rebellions of the sixteenth century occurred at a time when English rule in Ireland was still very weak and incomplete, and began not as battles between Irish and English but as civil wars between Irish chieftains. The English, to preserve their power, often interfered with these quarrels.
An example was the conflict between the Earl of Ormond and the Earl of Desmond. Both were summoned to London, but Ormond was soon freed, while Desmond (Gerald Fitzgerald) and his cousin, James FitzMaurice Fitzgerald, spent time in English prisons.
The flashpoint came in 1569, when the Englishman Sir Peter Carew claimed certain of the holdings of Fitzgeralds and the Butlers in Carlow. The problem was made worse when, in 1570, the Pope excommunicated Elizabeth of England. FitzMaurice started a rebellion (quashed in 1573), though Desmond himself, crippled and irresolute, took no part.
Desmond spent some time in a sort of protective custody, but eventually escaped and was briefly frightened from his lethargy. He tried to create a strong position, and Elizabeth's new deputy, William FitzWilliam, did not at that time have the strength to oppose him.
FitzMaurice fled Ireland in 1575, having been set aside by his cousin Desmond. But he returned in 1579 with foreign aid (though only about 300 soldiers reached Ireland; the remaining 3000 men he had been promised had been frittered away before FitzMaurice set sail). FitzMaurice was soon killed, but the Europeans continued to meddle, and new forces landed. Desmond was finally forced into rebellion, and the English forced to send reinforcements, but the rebellion was put down by 1583.
The battle of Glen Malure was an extremely minor by-blow of the second rebellion, and led to nothing. It was, however, one of the few Irish triumphs of the campaign. The story is that the tune was composed on the spot; whether true or not, P. J. McCall added the words to commemorate the event. - RBW
File: PGa090
===
NAME: Follow the Drinking Gourd
DESCRIPTION: A guide to slaves fleeing to freedom. Various landmarks are described, and the listeners are reminded, "For the old man is a-waiting for to carry you to freedom." Above all, they are reminded to "follow the drinking gourd." 
AUTHOR: unknown
EARLIEST_DATE: 1928 (Texas Folklore Society)
KEYWORDS: slave freedom
FOUND_IN: US
REFERENCES: (4 citations)
Lomax-ABFS, pp. 227-228, "Foller de Drinkin' Gou'd" (1 text, 1 tune)
Arnett, p. 62, "Follow the Drinkin' Gourd" (1 text, 1 tune)
Greenway-AFP, pp. 99-100, "The Drinking Gourd" (1 text, 1 tune)
DT, FOLGOURD
Roud #15532
RECORDINGS:
Pete Seeger, "Follow the Drinking Gourd" (on PeteSeeger46)
NOTES: The "Drinking Gourd" is, of course, the Big Dipper, pointing north to the Ohio River, New England, Canada, and freedom. - RBW
File: Arn062
===
NAME: Fond Affection, A: see Dear Companion (The Broken Heart; Go and Leave Me If You Wish To, Fond Affection) (File: R755)
===
NAME: Fond of Chewing Gum
DESCRIPTION: The singer "fell in love with a pretty little girl" who was "fond of chewing gum." He describes their courting, always recalling the gum. When they are to be wed, she cannot say "I do" because her mouth was full of gum. Now he avoids gum-chewers
AUTHOR: unknown
EARLIEST_DATE: 1915 (Pound)
KEYWORDS: courting love marriage separation food humorous
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Randolph 368, "Fond of Chewing Gum" (2 texts, 2 tunes)
Randolph/Cohen, pp. 297-299, "Fond of Chewing Gum" (1 text, 1 tune -- Randolph's 368A)
Cohen/Seeger/Wood, p. 158, "Chewing Gum" (1 text, 1 tune)
Silber-FSWB, p. 239, "Chewing Gum" (1 text)
Roud #3714
RECORDINGS:
Carter Family, "Chewing Gum" (Victor 21517, 1928)
Lake Howard, "Chewing Chewing Gum" (Perfect 13128/Melotone M-13355/Oriole 8449, 1935; on CrowTold02)
New Lost City Ramblers, "Chewing Gum" (on NLCR10) (on NLCR12)
CROSS_REFERENCES:
cf. "A Railroader for Me (Soldier Boy for Me)" (floating verses)
NOTES: The Carter Family version of this song includes a number of floating verses ("I wouldn't have a lawyer/Now here's the reason why/Every time he opens his mouth/He tells a great big lie"; "Mama don't 'low me to whistle/Papa don't 'low me to sing/They don't want me to marry/I'll marry just the same"). Their absence in the Randolph text implies that they are intrusions. - RBW, (PJS)
File: R368
===
NAME: Fooba-Wooba John: see Martin Said To His Man (File: WB022)
===
NAME: Foolish Boy, The: see The Swapping Boy (File: E093)
===
NAME: Foolish Frog, The: see May Irwin's Frog Song (The Foolish Frog, Way Down Yonder) (File: Br3189)
===
NAME: Foolish Shepherd, The: see The Baffled Knight [Child 112] (File: C112)
===
NAME: Fools of '49, The: see The Fools of Forty-Nine (File: San107A)
===
NAME: Fools of Forty-Nine, The
DESCRIPTION: Crowds head for California and the gold fields. En route they suffer poverty, hunger, and disaster -- and few find gold. "Then they thought of what they had been told, When they started after gold: That they never, in this world, would make their pile."
AUTHOR: unknown
EARLIEST_DATE: 1855 (Put's Original California Songster)
KEYWORDS: poverty hardtimes gold mining
FOUND_IN: US(SW)
REFERENCES: (3 citations)
Sandburg, p. 107, "(The Fools of '49)" (1 text found under "Sweet Betsy from Pike")
Scott-BoA, pp. 184-185, "The Fools of Forty-Nine" (1 text, 1 tune)
DT, FOOLS49
Roud #8058
CROSS_REFERENCES:
cf. "That Is Even So" (plot)
File: San107A
===
NAME: Foot and Mouth Disease, The
DESCRIPTION: An Englishman plunders a girl's father's land, leaving only the sheep he thinks have "foot and mouth" disease. If the singer marries her they can "save the herds and my father's life." The diseases "from England Were the cloven hoof and the dirty tongue"
AUTHOR: Joseph Plunkett (per OLochlainn)
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: marriage farming hardtimes England Ireland patriotic sheep father disease
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 8A, "The Foot and Mouth Disease" (1 text, 1 tune)
Roud #3069
CROSS_REFERENCES:
cf. "Youghal Harbour" (tune)
File: OLoc008A
===
NAME: Foot of the Mountain Bow, The: see The Foot of the Mountain Brow (The Maid of the Mountain Brow) [Laws P7] (File: LP07)
===
NAME: Foot of the Mountain Brow, The (The Maid of the Mountain Brow) [Laws P7]
DESCRIPTION: Jimmy woos Polly with a promise to work hard. He offers her crops, horses, and servants. She says he spends too much time and money at the inn. He observes that the money is his and he will do with it as he will. He leaves her; she regrets her words
AUTHOR: unknown
EARLIEST_DATE: 1913 (OLochlainn); c.1867 (broadside, Bodleian 2806 b.9(179))
KEYWORDS: courting money rejection
FOUND_IN: US(MA,MW) Canada(Mar,Newf) Ireland
REFERENCES: (13 citations)
Laws P7, "The Foot of the Mountain Brow (The Maid of the Mountain Brow)"
Dean, pp. 83-84, "The Maid of the Logan Bough" (1 text)
Gardner/Chickering 39, "The Foot of the Mountain Bow" (1 text)
FSCatskills 27, "The Maid on the Mountain Brow" (1 text, 1 tune)
Greenleaf/Mansfield 74, "At the Foot of the Mountain Brow" (1 text, 1 tune)
Leach-Labrador 45, "Maid of the Mountain Brow" (1 text, 1 tune)
Mackenzie 42, "The Maid of the Mountain Brow" (1 text)
SHenry H84+H688, p. 364, "The Maid of the Sweet Brown Knowe" (1 text, 1 tune)
OLochlainn 19, "The Maid of the Sweet Brown Knowe" (1 text, 1 tune)
Hayward-Ulster, pp. 85-86, "The Maid of the Sweet Brown Knowe" (1 text)
MacSeegTrav 52, "The Maid of the Sweet Brown Knowe" (1 text, 1 tune)
DT 494, BRNKNOWE
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 282-283, "The Maid of the Sweet Brown Knowe" (1 text)
Roud #562
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Maid of the Sweet Brown Knowe" (on IRClancyMakem01)
BROADSIDES:
Bodleian, 2806 b.9(179), "The Maid of the Sweet Brown Howe," P. Brereton (Dublin), c.1867; also 2806 c.8(236), 2806 c.8(294), "The Maid of Sweet Brown Howe"
CROSS_REFERENCES:
cf. "The Largy Line" (tune)
cf. "Roll Me From the Wall" (tune)
SAME_TUNE:
The Largy Line (File: HHH781)
File: LP07
===
NAME: Footboy, The
DESCRIPTION: A father learns his daughter loves a servant. He dismisses the servant, plants a ring on him, and has him arrested for robbery and hanged. The daughter climbs onto the gallows with him, stabs herself, and asks that they be buried in the same grave.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Fowke/MacMillan)
KEYWORDS: love ring robbery execution death betrayal trick suicide servant
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke/MacMillan 80, "The Footboy" (1 text, 1 tune)
Roud #3580
RECORDINGS:
cf. "Mary Acklin (The Squire's Young Daughter) [Laws M16]" (ring plot)
cf. "William Riley's Courtship" [Laws M9] (plot)
cf. "Henry Connors" [Laws M5] (plot)
cf. "Jock Scott" (plot)
NOTES: [A] similar story line to "William Riley," "Henry Connors," and "Mary Acklin" except that in none of those songs is the young man executed or does the girl kill herself.
According to Fowke/MacMillan, [this] song uses a metre and type of repetition more often found in older ballads. The fact that the servant is hanged suggests that it dates from an earlier periods than those in which the man is transported. The term "footboy" for a young manservant has a medieval flavour: it was in common use at the time of Shakespeare but had largely disappeared by the nineteenth century. - SL
File: FowM080
===
NAME: Footprints in the Snow
DESCRIPTION: Singer goes to visit his girlfriend, but she's gone out for a walk. He follows her footprints in the snow, finds her, and proposes. She accepts, and he says he'll never "forget the day/When Mary (Lily) lost her way/I found her footprints in the snow"
AUTHOR: unknown
EARLIEST_DATE: 1876 (sheet music -- probably not the original)
KEYWORDS: courting love marriage
FOUND_IN: US(MW)
REFERENCES: (1 citation)
DT, FTPRINTS
Roud #2660
RECORDINGS:
Big Slim Aliff, "Footprints in the Snow"  (Decca 5316, 1937; rec. 1936)
Buckley & Skidmore "Footprints in the Snow" (Continental 8030, n.d.)
Cliff Carlisle, "Footprints in the Snow" (Decca 5720, n.d.; Decca 46105, 1947; rec. 1939)
Dusty Ellison & his Saddle Dusters, "Footprints in the Snow" (4-Star 1155, n.d. but post-World War II)
Rambling Red Foley, "I Traced Her Little Footprints in the Snow" (Conqueror 8304, 1934)
Bogue Ford, "Footprints in the snow" (AFS 4209 B1, 1939; in AMMEM/Cowell)
Clint Howard et al, "Footprints in the Snow" (on Ashley02, WatsonAshley01)
Bradley Kincaid, "Footprints in the Snow" (Varsity 8038, 1939) (Majestic 6011, 1947)
Bill Monroe and his Bluegrass Boys, "Footprints in the Snow" (Columbia 37151 1946; Columbia 20080, n.d.,; rec. 1945) (Decca 28416, 1952)
BROADSIDES:
Bodleian, Johnson Ballads 2837, "Footprints in the Snow" ("Some lovers like the summer time, when they can stroll about"), unknown, n.d.; also Harding B 11(1660), Harding B 11(1661), "I Traced Her Little Footmarks in the Snow"
NOTES: This has become a bluegrass standard, and I suspect it was composed by one of the "brother acts" of the 1930s, possibly the Monroe Bros.? - PJS
Touched up, perhaps. But it's older, as the sundry recordings show (and that's not a complete list -- Vernon Dalhart also recorded the piece). - RBW
Broadside Bodleian Harding B 11(1660) states "This song is the sole Copyright of Mr. Geo. Lewis....,29,Quay Street, Manchester.
_Country Music Sources_ by Guthrie T Meade Jr with Dick Spottswood and Douglas S. Meade (Chapel Hill, 2002), p. 214 states "Harry Wright, w&m[words and music],1880s/Geo. Russell Jackson, wds, C.W.Bennett,m,1886; Ref: (1)WCS[Wehman's Collection of Songs(NYC:Henry J. Wehman,1884-94),42 issues](July, 1891);....." Steve Roud, in a BALLAD-L note: "A copy of the sheet music obviously came up on Amazon at some point in the past.... in fact it's there twice, as 1876 and 1878 [for Harry Wright]." In fact it's there [http://babynames.tk/cgi-bin/amazon_products_feed.cgi?mode=books_uk&page_num=1&search_type=AuthorSearch&input_string=Harry+Wright&locale=uk] three times: as "I traced her little footmarks in the snow. [Song, begins: 'Some lovers like'.]" in 1876, and as "Footmarks in the Snow ... for the Pianoforte" and as "I traced her little footmarks in the snow. [Song.]" in 1878.
Incidentally, the 1931 record by Bernice (Si) Coleman and the West Virginia Ramblers ("Footprints in the Snow" on _West Virginia Hills_ Old Homestead OHCS-141) uses words much closer to the broadsides than those on the later records I have heard by Bill Monroe (and, consequently, by Flatt and Scruggs).- BS
File: DTftprin
===
NAME: Footprints on the Dashboard
DESCRIPTION: A father asks if the singer was the one who did the pushin', and left footprints on the dashboard upside down. The singer replies it was he, and now he has trouble passing water, "so I guess we're even all around."
AUTHOR: unknown (music by Antonin Dvorak)
EARLIEST_DATE: 1964  (music published 1894)
KEYWORDS: bawdy humorous disease sex
FOUND_IN: Australia US(MA,So,SW)
REFERENCES: (3 citations)
Cray, pp. 239-240, "Footprints on the Dashboard" (1 text, tune cited)
Randolph-Legman II, pp. 702-703, "Footprints on the Dashboard" (4 texts)
DT, HUMORESQ*
CROSS_REFERENCES:
cf. "The Fire Ship" (plot) and references there
cf. "Humoresque" (tune)
NOTES: This is sometimes incorporated bodily into "Humoresque." - EC (As see, e.g., the Digital Tradition version - RBW)
File: EM239
===
NAME: For A' That and A' That (I)
DESCRIPTION: "Be gude to me as lang's I'm here, I'll maybe win away' yet, He's bonnie coming o'er the hills That will tak' me frae ye a' yet, For a' that and a' that, And thrice as muckle's a' that...." She describes her love, and hopes he will make her well-to-do
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 196, "For A' That and A' That" (1 text)
Roud #5536
CROSS_REFERENCES:
cf. "A Man's A Man For A' That" (lyrics, stanza form)
NOTES: Ord thinks this Burns's model for "A Man's a Man for A' That." Certainly the form of the verses, and the "For a' that and a' that" chorus in line five of each verse reveal kinship. In addition, the Burns song is reported to be based on an item "The Jolly Beggars." Plus, this is a rare piece; so it's possible that the relationship goes the other way --  i.e. this might be a rewrite of the Burns song designed to be less political. Or, rather, less *overtly* political, perhaps reminding listeners of the other version.... - RBW
File: Ord196
===
NAME: For A' That And A' That (II): see A Man's A Man For A' That (File: FSWB297A)
===
NAME: For He's a Jolly Good Fellow
DESCRIPTION: "For he's a jolly good fellow (x3), Which nobody can deny." (Other verses, if any, come from the other versions of this song)
AUTHOR: unknown
EARLIEST_DATE: 1870 (tune dates to 1783 or earlier)
KEYWORDS: drink nonballad floatingverses
FOUND_IN: US
REFERENCES: (3 citations)
Silber-FSWB, p. 250, "For He's a Jolly Good Fellow" (1 text, with verses from all parts of the "Malbrouck" family)
Fuld-WFM, pp. 231-233, "For He's a Jolly Good Fellow -- (Malbrouk -- We Won't Go Home till Morning! -- The Bear Went over the Mountain)
DT, JOLLGOOD*
CROSS_REFERENCES:
cf. "We Won't Go Home Until Morning" (tune) and references there
NOTES: For the history of this tune, see the entry on "We Won't Go Home Until Morning." - RBW
File: FSWB250
===
NAME: For Seven Long Years I've Been Married
DESCRIPTION: "For seven long years I've been married, I wish I had lived an old maid... My husband won't work at his trade." She complains about how hard her life is; her husband has broken his promises and wasted her wealth on drink
AUTHOR: unknown
EARLIEST_DATE: 1916 (Gardner/Chickering)
KEYWORDS: husband wife drink poverty hardtimes marriage warning technology
FOUND_IN: US(MW,SE)
REFERENCES: (2 citations)
Gardner/Chickering 44, "Seven Long Years" (1 text)
BrownIII 29, "Seven Long Years I've Been Married" (2 texts)
Roud #724
RECORDINGS:
Kelly Harrell, "For Seven Long Years I've Been Married" (Victor 21069, 1927; on KHarrell02)
CROSS_REFERENCES:
cf. "Single Girl, Married Girl"
cf. "Sorry the Day I Was Married"
cf. "I Wish I Were a Single Girl Again" (theme)
cf. "I Wish I Were Single Again (II - Female)" (theme)
cf. "Do You Love an Apple?" (theme, floating lyrics)
cf. "When I Was Young (II)" (theme)
NOTES: Kelly Harrell's version of this song appears to be modernized (it mentions automobiles and their failings), and the whole thing may be an update of one or another of the songs in the cross-rederences -- but it doesn't follow the standard pattern of any that I recognize, so I am forced to file it separately.
The notes in Brown say that this piece is found in Randolph's _Ozark Folksongs_, II 417. It's not in the second edition, however. It is true that a song on that page has been deleted -- but the deleted song is "Beautiful Brown Eyes." - RBW
File: RcFSLYBM
===
NAME: For Six Days Do All That Thou Art Able: see Six Days Shalt Thou Labor (File: Br3228)
===
NAME: For the Day Is A-Breakin' In My Soul: see Bright Morning Stars (For the Day Is A-Breakin' In My Soul) (File: Shel089)
===
NAME: For the Fish We Must Prepare
DESCRIPTION: Summer is near. "For the fish we must prepare." Fix traps, trawls, lines, clothes, yoke goats and fix fences so goats don't eat the catch, spay hens, catch and freeze bait, get government seed for the garden.
AUTHOR: Chris Cobb
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: fishing nonballad work gardening animal
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 130-131, "For the Fish We Must Prepare" (1 text, 1 tune)
Roud #9963
File: Pea130
===
NAME: For the Victory at Agincourt: see The Agincourt Carol (File: MEL51)
===
NAME: Foreign Lander
DESCRIPTION: "I've been a foreign lander full seven long years and more...." The singer has "conquered all my enemies," but is defeated by his love's beauty. He offers illustrations of how faithful he is, and would give anything to marry her
AUTHOR: unknown
EARLIEST_DATE: 1955 (Ritchie)
KEYWORDS: love courting separation travel soldier
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Ritchie-SingFam, pp. 64-66, "[I've Been a Foreign Lander]" (1 text, 1 tune)
Roud #5711
RECORDINGS:
Martha Hall, "Foreign Lander" (on MMOK, MMOKCD)
NOTES: The Ritchie versions of this song mention a "Queen Ellen." England never had a "Queen Ellen"; in fact, I know of no Queen Ellen of any nation.
England did, however, have three Queens Eleanor: Eleanor of Aquitaine (wife of Henry II), Eleanor of Provence (wife of Henry III), and Eleanor of Castile (first wife of Edward I). - RBW
File: JRSF064
===
NAME: Foreman, Well Known Jerry Ryan, The: see Jerry Ryan (File: Doyl3068)
===
NAME: Forfar Sodger, The
DESCRIPTION: The singer grows up in Forfar, where he is rather a cut-up. After many adventures, he joins the army. He loses a leg in the Peninsular War, but it does not bother him; "Snug in Forfar now I sit, And thrive upon a pension."
AUTHOR: David Shaw
EARLIEST_DATE: 1904 (Ford); author Shaw died 1856
KEYWORDS: soldier injury money
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ford-Vagabond, pp. 163-166, "The Farfar Soldier" (1 text, 1 tune); cf. pp. 166-168, "The Perthshire Pensioner" (1 text, a Crimean War item adapted from the above and probably not a folk song in its own right)
DT, FORFARSL*
Roud #2857
SAME_TUNE:
The Perthshire Pensioner (Ford-Vagabond, pp. 166-168)
ALTERNATE_TITLES:
The Forfar Soldier
NOTES: It will be obvious that the author of this song did not in fact have to live off the sort of pension paid by the British government in the early nineteenth century....
At least some versions of the song mention the singer being taught the "rule of three." This is a statement about proportions -- in effect, "if a is to b as c is to d, what is d?" (an equation in three known and one unknown term, hence the name). In modern fractional notation, we would say that a/b=c/d, and that the rule tells us that d=bc/a. A trivial calculation today, but it let minimally educated people calculate such things as the price of a fraction of a pound when the price for a whole pound was known. - RBW
File: FVS163
===
NAME: Forget You I Never May
DESCRIPTION: "Fare thee well, for once I loved you Even more than tongue can tell, Little did I think you'd leave me, Now I bid you all farewell." The singer tells how (s)he loved him, asks why he is unkind, and ends, "I'll forgive you, But forget you I never may."
AUTHOR: unknown
EARLIEST_DATE: 1909 (Brown)
KEYWORDS: love betrayal farewell
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 737, "Forget You I Never May" (1 text)
BrownII 154, "You Are False, But I'll Forgive You" (3 texts)
Roud #460
RECORDINGS:
Buell Kazee, "You Are False But I'll Forgive you" (Brunswick 217, 1928/Supertone S-2047, 1930)
CROSS_REFERENCES:
cf. "I Can Forgive But Not Forget (Sweetheart, Farewell)"
ALTERNATE_TITLES:
You Were False
Fare Thee Well
NOTES: Roud links this with a large number of other lost-but-not-forgotten love songs. In most cases, however, the link seems more thematic than textual. - RBW
To me this reeks of a Victorian parlor-song origin. I expect the sheet music to turn up any day now. - PJS
File: R737
===
NAME: Forglen (Forglen You Know, Strichen's Plantins)
DESCRIPTION: The singer comes across young lovers who are preparing to part. The man wishes he did not have to go, but he has no choice. He praises her in many lyric ways, some not obviously complimentary: "Your love is like the moon That wanders up and down."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love separation parting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 79-80, "Forglen You Know" (1 text)
Roud #6286
CROSS_REFERENCES:
cf. "The Curragh of Kildare" (lyrics, form)
NOTES: Versions of this take whole stanzas from the "Curragh of Kildare/Winter It Is Past" family; whether there is dependence I don't know.
The reference to David and his family being banished probably refers to 1 Samuel 22:3-4; although David himself had fled Saul three chapters earlier, this is the first reference to his family going into exile (in Moab).
The reference to Lazarus appears to be the Lazarus of Luke (16:19-31), not the Lazarus of John, even though Luke's Lazarus is simply the subject of a parable, not a real person; this is not the only instance in traditional song of this Lazarus being treated as real. - RBW
File: Ord079
===
NAME: Forsaken Lover, A: see On Top of Old Smokey (File: BSoF740)
===
NAME: Forsaken Mother and Child, The: see The Fatal Snowstorm [Laws P20] (File: LP20)
===
NAME: Fort Thomas Murder, The: see Pearl Bryan (III) [Laws F3] AND Pearl Bryan (IV) (File: LF03)
===
NAME: Fortification of New Ross, The: see The Entrenchment of Ross (File: CrPS262)
===
NAME: Fortune My Foe (Aim Not Too High)
DESCRIPTION: "Fortune my foe, why dost thou frown on me? And will thy favour never better be?" The singer laments the sad fortune that has stolen his love away, and hopes for ease. Notable primarily for the tune, often cited under the title "Aim Not Too High"
AUTHOR: unknown
EARLIEST_DATE: 1610 (W. Corkine's Instruction Book for the Lute)
KEYWORDS: love separation nonballad
FOUND_IN: Britain
REFERENCES: (3 citations)
Chappell/Wooldridge I, pp. 76-79, "Fortune" (1 tune, with partial texts of "Fortune My Foe" and "Aim Not Too High")
BBI ZN912, "Fortune my foe, why dost thou frown on me"
DT, FORTFOE*
ST ChWI076 (Full)
SAME_TUNE:
A Caveat for Young-men/Give ear to me you youngmen whilst I write (BBI ZN963)
The Great Assize../Here is presented to the eye (BBI ZN1135)
The Disturbed Ghost/Good Christain people all pray lend an ear (BBI ZN992)
A Looking- Glass for Traytors [executed Dec. 3, 1678]/Let all bold Traytors here come take a view (BBI ZN1614)
The true manner of the Kings Tryal/King Charles was once a Prince of great state (BBI ZN1578)
A Pill against Popery/Kind countrymen give ear unto these lines (BBI ZN1565)
A Godly Guide of Directions/Good people all I pray you understand (BBI ZN1034)
Newes from Hereford..Earthquake [Oct. 1, 1661]/Old England of thy sins in time repent (BBI ZN2135)
The Godly Mans Instruction/Good people all I pray hear what I read (BBI ZN1031)
Sad News from Salisbury. Dreadful Frost and Snow.. 23d. of December, 1684/Good Christians all that live both far & near (BBI ZN999)
Dying Tears [death of Henry, son of K. Chas. I, 13 Sept., 1660]/Great are the wonders that our God has done (BBI ZN1072)
The Bloody- minded Husband... John Chamber/Good people all I pray attend, and mind (BBI ZN1025)
The Bloody Murtherer..James Selbee/All you that come to see my fatal end (BBI ZN115)
The Gunpowder Plot/True Protestants I pray you to draw near (BBI ZN2674) [cf. in this Index "Guy Fawkes"]
The Downfall of Pride/In London liv'd a wealthy merchants wife (BBI ZN1439)
The Distressed Gentlewoman/Good people all, I pray you now draw near (BBI ZN1032)
The Royal Court in Mourning.. Death.. King William/England, thy Sun have shined many years (BBI ZN828)
The Young-Mans A. B. C./Accept dear Love, these shadows of my grief (BBI ZN6)
..Strange and Wonderful Storm of Hail.. 18th of May 1680../Good Christians all attend unto my ditty (BBI ZN997)
Criminals Cruelty.. Tho. Wise.. murdered Elizabeth Fairbank.. executed.. Oct. 1684/Oh! this would make a stout heart lament (BBI ZN2048)
Englands Miseries..preserving ..Royal Brother.. last horrid Plot/Old England now rise up with one accord (BBI ZN2134)
Looking- glass for a Christian Family/All you that fear the Lord that rules the sky (BBI ZN133)
Looking-Glass for all true Christians/O hark, O hark, methinks I hear a voice (BBI ZN2012)
The Despairing Lover/Break heart and dye, I can no longer live (BBI ZN449)
The Young Man's Counsellor/All you that to begin the world intend (BBI ZN149)
[Title lost. Naval Warfare of 1692]/To God alone, let us all Glory give (BBI ZN2641); C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 114
The Kentish Wonder/You faithful Christians, whereso'er you be (BBI ZN3008)
The Young- Mans Repentance/You that have spent your time in wickedness (BBI ZN3127)
Dying Christians friendly Advice/You mortal men who vainly spend your youth (BBI ZN3073)
Truth brought to Light/Amongst those wonders which on earth are shown (BBI ZN178)
A Lamentable List.. Prodigious signs.. 1618.. 1638/You who would be inform'd of forraine news (BBI ZN3147)
A Warning for Swearers/All you that do desire to hear and know (BBI ZN124)
A True Relation of the Great Floods/Oh, England, England! 'tis high time to repent (BBI ZN2002)
[missing title, Fire on London bridge]/It grieves my heart to write such heavy news (BBI ZN1510)
The Hartford-shires Murder/All melting hearts come here and.. (BBI ZN93)
A wonderfull wonder/Look downe, O Lord, upon this sinful land (BBI ZN1715)
Death's loud Allarum/Lament your sinnes, good people all, lament (BBI ZN1599)
You that the Lord have blessed with riches (BBI ZN3134)
Now to discourse of man I take in hand/A discourse of Man's life (BBI ZN1982)
What woeful times we have now in our land/A Looking- Glass for all true Protestants (BBI  ZN2812)
Behold, O Lord, a Sinner in distresse/A Godly Song, entituled, A Farewell to the world (BBI ZN400)
Give thanks, rejoyce all, you that are secure/A Sad and True Relation of a great fire or two (BBI ZN972)
Brave Windham late/Iohn Flodder and his Wife,... burning Town of Windham. .xi day of June 1615 (BBI ZN448)
Who please to heare such news as are most true/The lamentable burning..Corke..1621 (BBI ZN2912(
All Christian men give ear a while to me/The Judgement of God..John Faustus (BBI ZN59)
Aim not to high in things above thy reach/An excellent song..consolation for a troubled mind  (BBI ZN37)
As I lay slumbering in my bed one night/St. Bernard's Vision  (BBI ZN224)
Ay me, vile wretch, that ever I was born/complaint and lamentation of Mistresse Arden of Feuversham in Kent (BBI ZN369)
Listen a while dear friends I do you pray/sad judgement..Dorothy Mattley.. 1660 (BBI ZN1698)
You disobedient children mark my fall/Save a Thief from the Gallows (BBI ZN3006)
Kind countreymen, and our acquaintances all/The lamentation of Edward Bruton [Mar. 18, 1633] (BBI ZN1563)
Now, like the swan, before my death I sing/.. lamentation of..John Stevens..[executed Mar. 7, 1632 (old style)] (BBI ZN1933)
England, give prayse unto the Lord thy God/A joyfull new ballad..Victory obtained by my Lord Mount-joy.. 2 of December last [1601] to [Jan. 9, 1602] (BBI ZN825)
I pray give ear unto my tale of woe/..cruel murder.. upon..Abraham Gearsy (BBI ZN1320)
Great God that sees all things that here are don/Anne Wallens Lamentation,. murthering ..husband...22 June 1616 (BBI ZN1077)
Vnhappy she whom fortune hath forlorne/Lamentation ..Master Pages Wife of Plymouth [1609?] (BBI ZN2697)
Titus Andronicus's Complaint/You noble minds, and famous martial wights (Percy/Wheately I, pp. 224-229; BBI ZN3085)
NOTES: As a song, this is of no particular note, but the tune was immensely popular, and sustained numbers of broadsides (see the Same Tune list; these more often list the tune as "Aim Not Too High," but many give both titles; in any case, it's the same melody). This popularity, rather than the not-demonstrably-traditional and quite banal text, explain the song's inclusion here.
Chappell claims that Shakespeare alludes to this song in The Merry Wives of Windsor, Act II, Scene iii. I can't find anything that strikes *me* as an allusion to the song, though. - RBW
File: ChWI076
===
NAME: Forty Years Ago: see Twenty Years Ago (Forty Years Ago) (File: R869)
===
NAME: Forward, Boys, Hurrah!: see These Temperance Folks (File: R323)
===
NAME: Foundling Child, The: see The Basket of Eggs (File: VWL018)
===
NAME: Four and Twenty Tailors
DESCRIPTION: Four-and-twenty tailors chase a snail (ending in defeat); depending on the version, four-and-twenty others (blind men, young maids, auld wives) have equally unlikely adventures
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammar Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: humorous talltale fight animal
FOUND_IN: Britain(Scotland)
REFERENCES: (6 citations)
Kinloch-BBook XIII, pp. 48-49, (no title) (1 text)
Ford-Vagabond, pp. 271-272, "Neerie Norrie" (1 text)
Opie-Oxford2 495, "Four and twenty tailors" (1 text)
Baring-Gould-MotherGoose #90, p. 86, "(Four and twenty tailors)"
Montgomerie-ScottishNR 143, "(Four-and-twenty Highlandmen)" (1 text)
DT, TAILOR4
Roud #1036
CROSS_REFERENCES:
cf. "Hey the Mantle!" (style)
NOTES: This is a very amorphous piece; the Digital Tradition version has very little in common with Kinloch's except the initial reference to the Hunting of the Snail, and the meters are different. There seems to be a whole genre of Improbable Scots Songs, many of which are not traditional. But there are so many references in the DT text that I imagine the piece belongs in the Index.
It is perhaps significant that the "heroes" of this alleged "adventure" are tailors, since tailors were regarded as the most feeble of all workers; see, e.g., the notes to "Benjamin Bowmaneer." - RBW
File: KinBB13
===
NAME: Four Brothers, The: see I Gave My Love a Cherry
 (File: R123)
===
NAME: Four Drunken Maidens: see Drunken Maidens (File: Log240)
===
NAME: Four Horses
DESCRIPTION: "There was a young fellow who first drove a team" of four horses, which he kept well. He drove them to a fair, paid his bills. He and his team had a good reputation. He drove them home and left them to rest, thinking "Straight way is the best"
AUTHOR: unknown
EARLIEST_DATE: 1962 (recording, Hockey Feltwell)
KEYWORDS: work virtue horse
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #12929
RECORDINGS:
Hockey Feltwell, "Four Horses" (on Voice05)
CROSS_REFERENCES:
cf. "Vilikens and his Dinah (William and Dinah)" [Laws M31A/B] (tune) and references there
File: Rc4Horse
===
NAME: Four in the Middle: see Coffee Grows (Four in the Middle) (File: R524)
===
NAME: Four Jolly Fellows: see When Jones's Ale Was New (File: Doe168)
===
NAME: Four Little Johnny Cakes
DESCRIPTION: "Hurrah for the Lachlan, come join me in my cheer, For that' the place to make a cheque At the end of every year." When not working as a shearer, the singer enjoys "Camping in the bend" with the cakes he has cooked and the books and such he has "shook"
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson's _Old Bush Songs_)
KEYWORDS: sheep food work
FOUND_IN: Australia
REFERENCES: (2 citations)
Paterson/Fahey/Seal, pp. 276-279, "Four Little Johnny Cakes" (1 text)
DT, FOURJOHN*
ALTERNATE_TITLES:
Camping in the Bend
The Shearer's Song
File: PFS276
===
NAME: Four Maries (Marys), The: see Mary Hamilton [Child 173] (File: C173)
===
NAME: Four Nights Drunk [Child 274]
DESCRIPTION: Our goodman comes home drunk for several nights. Each night he observes an oddity -- another man's horse, boots, sword, etc. Each time his wife says it is something else. Finally he sees a man's head; she explains that, too -- but the head has a beard
AUTHOR: unknown
EARLIEST_DATE: 1776 [Herd]
KEYWORDS: humorous trick adultery drink bawdy dialog disguise husband wife
FOUND_IN: Australia Canada(Ont,Mar) Britain(England(Lond,West),Scotland(Aber,Bord)) Ireland US(All) Bahamas
REFERENCES: (37 citations)
Child 274, "Our Goodman" (3 texts)
Bronson 274, "Our Goodman" (58 versions)
BarryEckstormSmyth pp. 315-317, "Our Goodman" (2 texts, 1 tune) {Bronson's #5}
Linscott, pp. 259-262, "Our Goodman" (1 text, 1 tune)
Flanders-Ancient4, pp. 63-71, "Our Goodman" (5 texts plus 2 fragments)
Belden, pp. 89-91, "Our Goodman" (2 texts)
Randolph 33, "I Went Home One Night" (2 texts, 2 tunes) {Bronson's #19, #46}
Randolph/Cohen, pp. 60-63, "i Went Home One Night" (1 text, 1 tune -- Randolph's 33B) {Bronson's #46}
Randolph-Legman I, pp. 53-57, "Four Nights Drunk" (5 texts, 1 tune)
Eddy 25, "Our Goodman" (1 text)
Davis-Ballads 43, "Our Goodman" (6 text, one of which is in an appendix because of dialect; 5 tunes entitled "Hobble and Bobble," "The Old Man," "Home Comes the Old Man," "Down Came the Old Man") {Bronson's #8, #39, #6, #7, #56}
Davis-More 38, pp. 299-304, "Our Goodman" (2 texts, 2 tunes)
BrownII 42, "Our Goodman" (2 texts plus mention of 2 more)
Chappell-FSRA 19, "Our Goodman" (1 text)
MHenry-Appalachians, pp. 14-16, "Four Nights (Our Goodman)" (1 text)
Hudson 22, pp. 122-123, "Our Goodman" (1 short text)
Scarborough-SongCatcher, pp. 231-236, "Our Goodman" (4 texts, with local titles "Three Nights of Experience," Three Nights of Experience," "I Called To My Loving Wife," "Parson Jones"; 3 tunes on pp. 417-418) {Bronson's #29, #54, #50}
Brewster 22, "Our Goodman" (1 fragment)
Creighton/Senior, pp. 91-92, "Our Goodman" (1 text, 1 tune) {Bronson's #44}
Leach, pp. 653-657, "Our Goodman" (1 text)
McNeil-SFB2, pp. 35-39, "Four Night Drunk or The Cabbage Head Song" ; "Ole Lady" (2 texts, 2 tunes)
Friedman, p. 445, "Our Goodman" (2 texts)
Cray, pp. 11-23, "Four Nights Drunk" (4 texts, 3 tunes)
Niles 57, "Our Goodman" (1 text, 1 tune)
SharpAp 38, "Our Goodman" (4 texts plus 1 fragment, 5 tunes) {Bronson's #55, #53, #15, #58, #30}
Sharp/Karpeles-80E 26, "Our Goodman" (1 text, 1 tune -- a composite version) {Bronson's #30}
Chase, pp. 118-119, "Home Came the Old Man" (1 text, 1 tune)
DBuchan 61, "Our Goodman" (1 text)
JHCox 28, "Our Goodman" (3 texts)
SHenry H21ab, p. 508, "The Blin' Auld Man/The Covered Cavalier" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 255-258, "Shickered As he Could Be" (1 text, told in the third person ("This bloke I know") rather than first person)
TBB 38, "Our Goodman" (1 text, 1 tune)
Abrahams/Foss, pp. 108-110, "Our Goodman" (1 text, 1 tune) {Bronson's #36}
Darling-NAS, pp. 78-80, "Three Nights Drunk"; "Our Goodman" (2 texts)
PSeeger-AFB, p. 22, "Four Nights Drunk" (1 text, 1 tune)
Silber-FSWB, p. 233, "Four Nights Drunk" (1 text)
DT 274, DRUNK5NT GOODMAN2* GOODMAN3
Roud #114
RECORDINGS:
Jo Jo Adams, "Cabbage Head, Parts 1 & 2" (Aristocrat 803, rec. 1948)
Anonymous singer, "The Merry Cuckold" (on Unexp1)
Thomas C[larence] Ashley, "Four Night's Experience" (Gennett 6404, 1928; Challenge 405 [as Tom Hutchinson], c. 1928)
Emmett Bankston & Red Henderson, "Six Nights Drunk, pt. 1/pt. 2" (OKeh 45292, 1929; rec. 1928) {Bronson's #32}
Harry Cox, Mary Connors, Colin Keane [composite] "The Cuckold's Song (Our Goodman)" (on FSB5, FSBBAL2)
Jack Elliott, "The Blind Fool" (on Elliotts01)
John B. Evans, "Three Nights Experience" (Brunswick 237, 1928)
Blind Lemon Jefferson, "Laboring Man Away from Home" (Paramount, unissued, rec. 1927)
Earl Johnson & his Dixie Entertainers, "Three Nights Experience" (OKeh 45092, 1927)
Coley Jones, "Drunkard's Special" (Columbia 14489, 1929; on AAFM1, BefBlues3) {Bronson's #33}
Colon Keel, "The Three Nights Experience" (AFS 2709 B1, 1939)
Lena & Sylvester Kimbrough, "Cabbage Head Blues" (Meritt 2201, 1926)
A. L. Lloyd, "Shickered As He Could Be" (on Lloyd2)
J. E. Mainer & Band, "Three Nights Drunk" (on LomaxCD1701) {Bronson's #38}
Wade Mainer, "Three Nights in a Barroom" (Blue Ridge 109, n.d.)
Mustard and Gravy, "Five Nights' Experience" (Bluebird B-7905, 1938)
Chris Powell & the Five Blue Flames, "Last Saturday Night" (Columbia 30162, 1949)
Orrin Rice, "Our Goodman" (AFS; on LC12) {Bronson's #31}
Pete Seeger, "My Good Man" (on PeteSeeger24)
George Spicer, "Coming Home Late" (on Voice13)
Will Starks, "Our Good Man" (AFS 6652 A1, 1942)
Gid Tanner & his Skillet Lickers, "Three Nights Drunk" (Bluebird B-5748, 1934)
Gordon Tanner & Smokey Joe Miller, "Four Nights' Experience" (on DownYonder)
Tony Wales, "Our Goodman" (on TWales1)
Sonny Boy Williamson [pseud. for Rice Miller] "Wake Up Baby" (Checker 894, 1958)
CROSS_REFERENCES:
cf. "Eleven More Months and Ten More Day" (lyrics)
ALTERNATE_TITLES:
Five Nights Drunk
Seven Nights Drunk
Home (Hame) Drunk Came I
The Jealous Hearted Husband
The Old Man Came Home One Night
When I Came Home Last Saturday Night
The Good Old Man
Arrow Goodman
Kind Wife
Parson Jones
NOTES: According to Joseph Hickerson, archivist at the Archive of American Folk Culture, Library of Congress, who has studied the ballad, this is the most commonly recovered Child ballad, surpassing even "Barbara Allen" (Child 84). - EC
I have to note that alcohol consumption inhibits sexual performance (even while making men think they are capable of more than they are). Maybe, if Our Goodman came home sober more often, he wouldn't have to worry so much about what his wife was doing while he was in his cups. - RBW
File: C274
===
NAME: Four O'Clock
DESCRIPTION: "Baby, I can't sleep, and neither can I eat; Round your bedside I'm gwine to creep. Four o'clock, baby, four o'clock, I'll make it in about four o'clock."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: courting nightvisit
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 274, "Four O'Clock" (1 short text, 1 tune)
NOTES: A "creeper" song -- that, according to Scarborough, being the southern name for a night visitor. - RBW
File: ScNF274A
===
NAME: Four Old Whores
DESCRIPTION: Two, three, or four whores, sometimes from Baltimore, Winnipeg, or Mexico, compare the size of their vaginas with extravagant boasts.
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: bawdy bragging contest humorous lie nonballad whore
FOUND_IN: Australia Canada Britain(England,Scotland) US(MA,MW,NE,NW,So,SE,SW)
REFERENCES: (4 citations)
Cray, pp. 6-11, "Four Old Whores" (2 texts, 1 tune)
Randolph-Legman I, pp. 121-123, "Four Old Whores" (3 texts, 1 tune)
Logsdon 28, pp. 167-168, "All Night Long" (1 text, 1 tune)
DT, OLDWHORE OLDWHOR2*
Roud #5666
ALTERNATE_TITLES:
Three Old Whores
Three Old Whores from Mexico
Three Old Whores from Winnepeg
NOTES: Technically, this is not a ballad in that it tells no story. The women merely top each other's boast. - EC
Legman, in _The Horn Book_ (pp. 414-415) connects this with "A Talk of Ten Wives on their Husbands' Ware," which occurs in the Porkington manuscript of about 1460 and waas pubished by Furnivall in 1871. on this basis he regards this as "the oldest surviving erotic folksong in English." But the only verse Legman quites is clearly modern, so the identification must be considered unproved. - RBW
File: EM006
===
NAME: Four Pence a Day
DESCRIPTION: "The ore is waiting in the tubs, the snow's upon the fell." The washer lads must be at work early in the day. The singer's poor parents could not send him to school, so he must work for four pence a day. He hopes his boss will develop a conscience
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Ewan MacColl)
KEYWORDS: work worker poverty boss hardtimes mining
FOUND_IN: Britain(England(North))
REFERENCES: (3 citations)
MacColl-Shuttle, p. 6, "Fourpence a Day" (1 text, 1 tune)
Silber-FSWB, p. 130, "Four Pence a Day" (1 text)
DT, FOURPENC*
Roud #2586
RECORDINGS:
Ewan MacColl, "Four Pence a Day" (on Lomax41, LomaxCD1741)
Pete Seeger, "The Washer Lad" (on PeteSeeger23, AmHist1)
NOTES: Although printed in at least five different collections, it appears that the only source for this is John Gowland of Yorkshire. And it appears no other songs were collected from him. Could he possibly be the author? - RBW
File: FSWB130A
===
NAME: Four Seasons of the Year, The
DESCRIPTION: "The spring is the quarter, the first that I'll mention, The fields and the meadows are covered with green." The singer catalogs the seasons: Spring (and Valentine's day), the busy summer, the hunting season of autumn, the chill winter, and repeat
AUTHOR: unknown
EARLIEST_DATE: 1905 (Leather)
KEYWORDS: nonballad
FOUND_IN: Britain(England(West))
REFERENCES: (1 citation)
Leather, pp. 207-208, "Four Seasons of the Year" (1 text, 1 tune)
ST Leath207 (Partial)
File: Leath207
===
NAME: Four-Leaved Shamrock, The
DESCRIPTION: "I'll seek a four-leaved shamrock In all the fairy dells" and use its magic to cure the world of tears and aching hearts, mend estrangement between friends and see that "vanished dreams of love" return.
AUTHOR: Samuel Lover
EARLIEST_DATE: before 1846 (broadside, Bodleian 2806 c.16(203))
KEYWORDS: magic healing nonballad
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, pp. 137-138, "The Four-Leaved Shamrock" (1 text)
BROADSIDES:
Bodleian, 2806 c.16(203), "The Four Leaved Shamrock", J. Paul and Co (London), 1838-1845; also Harding B 11(3888), Johnson Ballads 562, Harding B 11(1250), Firth b.25(599), Johnson Ballads 417, Harding B 11(1249), "The Four Leaved Shamrock"
LOCSinging, sb10120b, "The Four-Leaved Shamrock", H. De Marsan (New York), 1864-1878; also as104540, as104080, as201070, "[The] Four-Leaved Shamrock"
NLScotland, RB.m.143(139), "The Four-Leaved Shamrock", Poet's Box (Glasgow), c.1880
NOTES: Broadside NLScotland RB.m.143(139): The text includes the statement that "This is supposed to be one of Sheilds' productions." The commentary states "It is not clear who Shields is, but this piece was in fact written by the Irish songwriter, painter and novelist, Samuel Lover (1797-1868)." That agrees with the O'Conor attribution.
Broadside LOCSinging sb10130a: 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: OCon137
===
NAME: Four-Loom Weaver, The
DESCRIPTION: Singer, a weaver, laments hard times --  his clothes are worn out, his furniture repossessed, his family starved and keeping alive by eating boiled nettles. His wife states that if she had clothes to wear she would go to London and confront the wealthy
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Ewan MacColl)
KEYWORDS: poverty unemployment weaving hardtimes starvation wife worker
FOUND_IN: Britain(England(North))
REFERENCES: (2 citations)
MacColl-Shuttle, pp. 4-5, "The Four Loom Weaver" (1 text, 1 tune)
DT, FOURLOOM*
Roud #937
RECORDINGS:
A. L. Lloyd, "The Poor Cotton Wayver" (on IronMuse1)
Ewan MacColl, "The Four Loom Weaver" (on Lomax41, LomaxCD1700, LomaxCD1741) (on IronMuse2)
NOTES: The period 1819-1820, following the Napoleonic Wars, brought unemployment and starvation to much of the English working class. - PJS
According to MacColl-Shuttle, this is attributed to "John o' Greenfield." - RBW
File: DTfourlo
===
NAME: Fourpence a Day: see Four Pence a Day (File: FSWB130A)
===
NAME: Fourth Day of July, The: see The Cuckoo (File: R049)
===
NAME: Fox and Goose, The: see The Fox (File: R103)
===
NAME: Fox and Hare (They've All Got a Mate But Me)
DESCRIPTION: The singer laments, "Six wives I've had and they're all dead," noting "Oh, the fox and the hare, the badger and the bear And the birds in the greenwood tree And the pretty little rabbits engaging in their habits Have all got a mate but me."
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: animal love wife shrewishness marriage fight
FOUND_IN: US(NE,SE)
REFERENCES: (4 citations)
Flanders/Brown, p. 121, "Fox and Hare" (1 fragment, 1 tune)
Scarborough-NegroFS, p. 205, "Dey All Got a Mate But Me" (1 fragment, 1 tune, probably this though it consists of little more than the "they've all got a mate but me" lines)
BrownIII 172, "The Weasel and the Rat" (1 fragment, so similar in form that I file it here though it omits the mention of a mate: "Weasel and the rat, Mosquito and the cat, Chicken and the bumble-bee; The old baboon, the fuzzy little coon; They all went wild but me.")
SharpAp 239, "The Tottenham Toad" (1 text, 1 tune)
ST FlBr121 (Full)
Roud #1140 and 3624
NOTES: Flanders and Brown claim this is from the romance of Reynard the Fox. If so, it's evolved a bit in the course of half a millennium.
The versions in fact are very diverse, and probably include material inherited from multiple sources. The key line is the one about "They all have a wife/mate but me." Mentions of six wives or six weeks of quarrelling with a single wife are also common. - RBW
File: FlBr121
===
NAME: Fox and His Wife, The: see The Fox (File: R103)
===
NAME: Fox and the Goose, The: see The Fox (File: R103)
===
NAME: Fox and the Grapes, The
DESCRIPTION: "A hungry fox one day did spy Some rich ripe grapes that hung so high And to him they seemed to say, 'If you can get us down, you may.'" After an hour of trying, the fox admits failure, "Then he went away, and he swore that the grapes were sour."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders/Brown)
KEYWORDS: food animal
FOUND_IN: US(NE) Canada(Ont,West)
REFERENCES: (2 citations)
Flanders/Brown, p. 247, "The Fox and the Grapes" (1 text)
cf. Gardner/Chickering, p. 479, "The Fox and the Grapes" (source notes only)
ST GC479a (Full)
Roud #3713
RECORDINGS:
Wellington Thompson, "A Hungry Fox" (on Saskatch01)
NOTES: This is, of course, a retelling of Aesop's fable, "The Fox and the Grapes"; Cass-Beggs also refers to Maria Edgeworth's 1833 book of instructive stories for children, although she isn't clear about whether this story is there. She notes that [Welllington] Thompson reported learning the song as a small boy in Ontario (he was born in 1866). - PJS
File: GC479a
===
NAME: Fox and the Lawyer, The
DESCRIPTION: "The fox and the lawyer was different in kind... The lawyer loved done meat because it was easy to chaw, The fox... would take his blood raw." The fox goes out to take a hen. Pursued to his den, he says the fight is not fair; the hunter doesn't care
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal lawyer hunting
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 70, (no title) (1 text)
ST ScaNF070 (Partial)
NOTES: Scarborough's informant claimed this was sung by slaves. This strikes me as unlikely; while they often told stories about foxes and chickens, the first verse about lawyers strikes me as a graft -- and why would slaves preserve it? - RBW
File: ScaNF070
===
NAME: Fox Chase, A: see The Duke of Buckingham's Hounds (File: Br3218)
===
NAME: Fox Hunt, The: see Bold Reynard the Fox (Tallyho! Hark! Away!) (File: DTReynrd)
===
NAME: Fox River Line, The (The Rock Island Line) [Laws C28]
DESCRIPTION: The singer (and men of many nations) work in George Allan's camp without earning any money. He decides to get another job
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: logger poverty boss work
FOUND_IN: US(MA) Canada(Mar,Ont,Que)
REFERENCES: (7 citations)
Laws C28, "The Fox River Line (The Rock Island Line)"
FSCatskills 93, "The Rock Island Line" (1 text, 1 tune)
Creighton-NovaScotia 116, "Fox River Line" (1 text, 1 tune)
Fowke-Lumbering #11, "The Rock Island Line" (2 texts, tune referenced)
Ives-NewBrunswick, pp. 119-123, "The Scantling Line" (1 text, 1 tune)
Manny/Wilson 41, "The Scantaling Line" (1 text, 1 tune)
DT 655, ROCKISL
Roud #643
CROSS_REFERENCES:
cf. "The New Limit Line" (tune)
ALTERNATE_TITLES:
The Margineau Line
The Keith and Hiles Line
NOTES: Manny/Wilson: "Mr Brown [the singer] credits this song to Larry Gorman, but Sandy Ives, who should know, says he does not believe Larry wrote it. Still it seems to have some Gorman touches. Similar songs are sung in all parts of the Northeast, with names altered to suit." - BS
Not to be confused with "The Rock Island Line" as sung by Lead Belly. - RBW
File: LC28
===
NAME: Fox Walked Out, The: see The Fox (File: R103)
===
NAME: Fox Went Out on a Starry Night, A: see The Fox (File: R103)
===
NAME: Fox, The
DESCRIPTION: Fox goes hunting on a (chilly) night. It goes to the farmer's yard and takes a goose. The farmer and wife are aroused; the farmer sets out after the fox. Fox escapes home with its kill; the fox family celebrates with a fine dinner
AUTHOR: unknown
EARLIEST_DATE: 1810 (Gammer Gurton's Garland)
KEYWORDS: animal food hunting
FOUND_IN: US(Ap,MW,NE,SE,So) Britain(England(Lond,South)) Ireland Canada(Mar,Newf)
REFERENCES: (24 citations)
Randolph 103, "The Fox Walked Out" (4 texts, 2 tunes)
Randolph/Cohen, pp. 135-137, "The Fox Walked Out" (1 text, 1 tune -- Randolph's 103A)
Eddy 91, "The Fox" (1 text, 1 tune)
Gardner/Chickering 192, "The Fox and the Goose" (1 text)
BrownIII 129, "The Fox and the Goose" (4 texts plus mention of 1 more)
Brewster 77, "The Fox" (1 fragment)
Creighton/Senior, pp. 248-250, "The Fox" (2 texts plus 1 fragment, 1 tune)
Peacock, pp. 12-13, "The Fox and the Goose" (1 text, 1 tune)
Flanders/Brown, pp. 119-120, "Fox and Goose" (1 text)
Linscott, pp. 202-204, "A Fox Went Out on a Starry Night" (1 text, 1 tune)
Fuson, pp. 181-182, "Old Man Fox" (1 text)
SharpAp 226, "The Old Black Duck" (2 texts, 2 tunes)
Logan, pp. 291-293, "The Fox" (1 text)
Kennedy 301, "Old Daddy Fox" (1 text, 1 tune)
Leach, p. 749, "The Fox" (1 text)
SHenry H38, p. 29, "The Fox and His Wife" (1 text, 1 tune)
JHCox 163, "The Fox" (1 text, 1 tune)
JHCoxIIB, #21, pp. 172-173, "The Fox" (1 text, 1 tune)
Opie-Oxford2 171, "A fox jumped up one winter's night" (2 texts)
Baring-Gould-MotherGoose #116, p. 96, "(Old Mother Widdle Waddle jumpt out of bed)"
PSeeger-AFB, p. 80, "The Fox" (1 text, 1 tune)
Silber-FSWB, p. 400, "The Fox" (1 text)
DT, FOXOUT
ADDITIONAL: Brown/Robbins, _Index of Middle English Verse_, #1622, 3328
ST R103 (Full)
Roud #131
RECORDINGS:
Blue Ridge Highballers, "Darneo" (Columbia 15132-D, 1927)
Harry Burgess, "The Hungry Fox" (on Voice18)
Cyril Biddick with chorus, "Old Daddy Fox" (on Lomax41, LomaxCD1741)
Pete Seeger, "The Fox" (on PeteSeeger09, PeteSeegerCD02) (on PeteSeeger18)
ALTERNATE_TITLES:
Daddy Fox
Old Mother Hippletoe
The Fox and the Grey Goose
NOTES: The earliest version of this piece appears to have been a Middle English poem found in British Museum MS. Royal 19.B.iv, and is thought to date from the fifteenth century. About as old is a strange version in Cambridge MS. Ee.1.12 with an extended prologue about the fox's raids but with lyrics closer to most modern versions. It is reasonable to assume that this, and perhaps even the British Museum text, are rewritings of documents still older.
It should perhaps be noted that foxes are asocial animals; the males do not take part in raising the young. - RBW
File: R103
===
NAME: Foxes, The: see Bold Ranger, The (File: R076)
===
NAME: Frances Silvers: see Frankie Silvers [Laws E13] (File: LE13)
===
NAME: Frank Dupree [Laws E24]
DESCRIPTION: Frank Dupree, the singer, gets in trouble when he steals a diamond from an Atlanta jewelry store. As he leaves, he shoots a policeman and drives off. He is arrested and sentenced to death when he returns to his sweetheart Betty
AUTHOR: Probably Andrew Jenkins
EARLIEST_DATE: 1925 (recording, Blind Andy [Jenkins], Rosa Lee Carson)
KEYWORDS: robbery homicide love prison execution
HISTORICAL_REFERENCES: Dec 15, 1921 - Frank Dupree robs an Atlanta jewelry store
Sept. 1, 1922 - Dupree hanged
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Laws E24, "Frank Dupree"
BrownII 247, "Frank Dupree" (1 text)
Friedman, p. 396, "Dupree" (2 texts, but only the first is E24; Laws considers the second to be I11)
DT 794, DUPREE1 DUPREE2
Roud #2253
RECORDINGS:
Blind Andy [Jenkins], "Frank Dupree" (OKeh 40446, 1925)
Rosa Lee Carson, "Frank Du Pree" (OKeh 40446, 1925)
Vernon Dalhart, "Frank Dupree" (Columbia 15042-D, 1925)
CROSS_REFERENCES:
cf. "Dupree" [Laws I11] (plot)
File: LE24
===
NAME: Frank Fidd
DESCRIPTION: Frank Fidd was as gallant a tar As ever took reef in a sail ... One night off the Cape of Good Hope" a rope catches Frank by the heels and his head is bashed. His dying words are "Safe moored in Felicity Bay I'll ride by the Cape of Delight"
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: death sailor injury
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Mackenzie 94, "Frank Fidd" (1 text, 1 tune)
Roud #3281
CROSS_REFERENCES:
cf. "Tom Bowling" (theme)
NOTES: Mackenzie: "The same phraseological method that is employed [in the song of Tom Bowling] is used in narrating 'The Life and Death of Frank Fidd.'" Mackenzie includes Frank Fidd among "that brave group of sailors" including Tom Bowling. You can see and hear "Tom Bowling" by Charles Dibdin (1745-1814) at the Lesley Nelson-Burns site Folk Music of England Scotland Ireland, Wales & America collection site. - BS
File: Mack094
===
NAME: Frank Gardiner
DESCRIPTION: "Frank Gardiner he is caught at last; he lies in Sydney jail...." The song details the deeds of this daring bushranger, then tells how he was taken after the death of fellow bushrangers Ben Hall and Gilbert
AUTHOR: unknown
EARLIEST_DATE: 1954 (collected by Meredith from Ina Popplewell); fragments are reportedly found in Bradhsaw's _The Only True Account of Frank Gardiner, Ben Hall and Gang_ from before 1900
KEYWORDS: outlaw prison
HISTORICAL_REFERENCES: 1830 - Birth of Francis Christie in New South Wales. He later took the name Frank Gardiner, and was known as "the Darkie" for his part-Aborigine ancestry
FOUND_IN: Australia
REFERENCES: (5 citations)
Meredith/Anderson, p. 30, "Frank Gardiner" (1 text, 1 tune, with a confused ending)
Fahey-Eureka, pp. 86-87, "Frank Gardiner" (1 text, 1 tune)
Manifold-PASB, pp. 58-59, "Frank Gardiner" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 84-86, "Frank Gardiner He Is Caught at Last" (1 text)
DT,FRNKGARD*
Roud #9117
NOTES: According to Harry Nunn, in _Bushrangers: A Pictorial History_ (Ure Smith Press, 1979, 1992), p.113, Frankie Gardiner was "the illegitimate son of a Scottish free settler and an Irish-Aboriginal servant girl, Born Frank Christie at Goulburn in 1830, he was befriended by an old man from whom he took the name Gardiner." He turned to crime in his teens, was caught, was sentenced to five year in Pentridge in 1850, escaped, was caught again, and was sentenced to seven years of hard labor. According to George Boxall, _The Story of the Australian Bushrangers_, Swan Sonnenschein & Co, 1899 (I use the 1974 Penguin facsimile edition), p. 193, he served half the sentence, was given a ticket-of-leave, and once again fled.
According to Fahey, he also claimed higher morals than most bushrangers; an 1862 newspaper published a letter in which he claimed never to have taken the last of a poor man's money, and to have discharged those from his gang who did such things! The letter was signed,
Fearing nothing, I remain, Prince of Tobymen,
Francis Gardner, The Highwayman.
(Boxall, p. 201, prints the whole letter and notes the misspelling of Gardiner's name but believes it an error made by the paper.)
Ben Hall (d. 1865; for whom see "The Death of Ben Hall" and "Ben Hall"), who also disdained violence, was associated with the Gardiner gang. Other members included Johnny Dunn (d. 1866), Johnny O'Meally (d. 1863), and John Gilbert (d. 1866). These were among the leaders of the gang that committed one of the most famous crimes in Australian history, the Eugowra Rocks robbery of 1862.
Despite the implication in some versions of the song that Gardiner would be executed, he was condemned to prison. (The confusion may arise from the fact that many versions are reconstructed from fragments.) Having served 10 years of a 32 year sentence, he was released in 1874 (known as the "year of clemency"; Nunn, p. 117). He went into voluntary exile in America (he is said to have opened a saloon in San Francisco).
Gardiner himself was much longer-lived than most of his gang; legend says that he died in a poker game in Colorado in 1903. - RBW
File: MA030
===
NAME: Frank Gardiner He Is Caught at Last: see Frank Gardiner (File: MA030)
===
NAME: Frank James, the Burglar: see The Boston Burglar [LawsL16] (File: LL16)
===
NAME: Frankie: see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Frankie and Albert [Laws I3]
DESCRIPTION: Frankie discovers her husband (Albert/Johnnie) involved with another woman. She shoots him. Depending on the version, she may be imprisoned or allowed to go free
AUTHOR: unknown
EARLIEST_DATE: 1904 (Copyright as "He Done Me Wrong" by Hughie Cannon)
KEYWORDS: infidelity homicide bawdy betrayal execution jealousy judge prison trial
FOUND_IN: US(Ap,MA,MW,SE,So,SW) Australia
REFERENCES: (34 citations)
Laws I3, "Frankie and Albert"
Belden, pp. 330-333, "Frankie and Albert" (1 text, composite)
Randolph 159, "Frankie and Johnny" (6 texts, 2 tunes)
Randolph/Cohen, pp. 166-170, "Frankie and Johnny" (1 text, 1 tune -- Randolph's 159A)
Randolph-Legman I, pp. 477-484, "Frankie and Johnny" (5 texts, 1 tune)
Eddy 108, "Maggie Was a Lady" (3 texts, 3 tunes)
BrownII 251, "Frankie and Albert" (3 texts plus 2 excerpts and mention of 4 more; 4 of these were called "Frankie Baker" by the informants, but none of the texts appear to use that name in the body of the song)
Chappell-FSRA 111, "Frankie and Johnny" (1 text, 1 tune)
Hudson 65, pp. 189-191, "Frankie" (1 text)
Scarborough-NegroFS, pp. 80-84, "Frankie and Albert" (4 texts plus 2 excerpts, 2 tunes)
Cambiaire, pp. 5-8, "Frankie Baker" (1 text)
Leach, pp. 761-765, "Frankie and Albert (Johnnie)" (2 texts)
Friedman, p. 211, "Frankie and Albert (Frankie and Johnny)" (2 texts)
Cray, pp. 137-149, "Frankie and Johnnie" (4 texts, 1 tune)
PBB 113, "Frankie and Albert" (1 text)
Sandburg, pp. 76-77, "Frankie and Albert"; 77-81, "Frankie and Johnny"; 82-82, "Frankie Blues"; 84-85, "Josie"; 86, "Sadie" (5 texts, 6 tunes)
Lomax-FSUSA 88, "Frankie and Albert" (1 text, 1 tune)
Lomax-FSNA 305, "Frankie" (1 text, 1 tune)
Lomax-ABFS, pp. 103-110, "Frankie and Albert" (2 texts, 2 tunes)
Asch/Dunson/Raim, p. 58 "Frankie" (1 text, 1 tune)
Arnett, pp. 148-149, "Frankie and Johnny" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 31-36, "Frankie and Johnnie" (1 text with variant stanzas, 2 tunes)
JHJohnson, pp. 33-38, "Frankie and Johnnie" (1 text)
Courlander-NFM, pp. 182-184, "(Frankie and Albert)" (1 text)
JHCox 46, "Maggie Was a Lady" (2 texts)
PSeeger-AFB, p. 64, "Frankie And Johnny" (1 text, 1 tune)
Silber-FSWB, p. 177, "Frankie And Johnny" (1 text)
Fuld-WFM, pp. 233-235, "Frankie and Johnny"
DT 316, FRANJOHN* FRANJON2
~~~~~
Versions of "Leaving Home," the Charlie Poole song:
Cohen/Seeger/Wood, pp. 144-145, "Leaving Home" (1 text, 1 tune)
Rorrer, p. 72, "Leaving Home" (1 text)
DT 316, FRANJON3*
Roud #254
RECORDINGS:
Gene Autry, "Frankie and Johnny" (OKeh 45417, 1930) (Velvet Tone 7063-V/Clarion 5026-C, 1930)
Emry Arthur, "Frankie Baker, pts. 1 & 2" (Vocalion 5340, 1929)
Al Bernard, "Frankie and Johnny" (Brunswick 2107, 1921)
James Burke, "Frankie and Johnnie" (Superior 2590, 1931)
Frank Crumit, "Frankie and Johnnie" (Victor 20715, 1927)
[Tom] Darby & [Jimmy] Tarlton, "Frankie Dean" (Columbia 15701-D, c. 1931; rec. 1930)
Slim Dusty, "Frankie and Johnny" (Regal Zonophone [Australia] G25403, n.d.)
Dykes Magic City Trio, "Frankie" (Brunswick 127/Vocalion 5143, 1927; on RoughWays1)
Louise Foreacre, "Frankie was a Good Girl" (on Stonemans01)
Roscoe Holcomb, "Frankie and Johnny" (on Holcomb2)
Mississippi John Hurt, "Frankie" (OKeh 8560, 1928; on AAFM1, RoughWays2)
Billy Jones, "Frankie and Johnny" (Edison 52284, 1928)
Frankie Marvin, "Frankie and Johnny" (Brunswick 400/Crown 3076, 1930)
McMichen's Melody Men, "Frankie and Johnny" (Decca 5418, 1937)
Nick Nichols, "Frankie and Johnny (The Shooting Scene) Part 1"/"Frankie and Johnny (The Courtroom Scene) Part 2" (Columbia 2071-D, 1929)
Luther Ossenbrink: "Frankie and Albert" (Conqueror 7879 [as Arkansas
Woodchopper], 1931); "Frankie and Johnny" (Champion 15852 [as West Virginia
Rail Splitter]/Supertone 9569 [as Arkansas Woodchopper], 1929; Champion
45058 [as West Virginia Rail Splitter], 1935) (Supertone S-2590 [as Arkansas
Woodchopper], 1931)
Charley Patton, "Frankie and Albert" (Paramount 13110, 1931; rec. 1929)
Riley Puckett, "Frankie and Johnny" (Columbia 15505-D, 1930; rec. 1929) (Bluebird B-8277, 1939)
Carson Robison, "Frankie and Johnny" (QRS 1014, c. 1929)
Jimmie Rodgers, "Frankie and Johnny" (Victor 22143, 1929; Montgomery Ward M-4309/Bluebird B-5223, 1933; Montgomery Ward M-4721, c. 1935)
Mike Seeger, "Frankie" (on MSeeger01)
Pete Seeger, "Frankie and Johnny" (on PeteSeeger17)
Bessie Smith, "Frankie Blues" (Columbia 14023-D, 1924)
Mamie Smith & her Jazz Hounds, "Frankie Blues" (OKeh 4856, 1923)
Leo Soileau & his Aces "Frankie and Johnny" (Decca 5133, 1935)
Leonard Stokes, "Frankie and Johnny" (Montgomery Ward M-4309, 1933)
Ernest Thompson, "Frankie Baker" (Columbia 168-D, 1924)
Welby Toomey, "Frankie's Gamblin' Man" (Gennett 3195, 1926/Challenge 232, 1927)
Edith Wilson w. Johnny Dunn's Original Jazz Hounds, "Frankie" (Columbia A3506, 1921)
~~~~~
Versions of "Leaving Home," the Charlie Poole song:
New Lost City Ramblers, "Leaving Home" (on NLCR02, NLCRCD1)
Charlie Poole and the North Carolina Ramblers, "Leaving Home" (Columbia 15116-D, 1926; on CPoole01, CPoole05)
Swing Billies, "Leavin' Home" (Bluebird B-7121, 1937)
CROSS_REFERENCES:
cf. "The Boll Weevil" [Laws I17] (tune)
cf. "Dark Was the Night, Cold Was the Ground" (lyrics)
SAME_TUNE:
Billy Vest, "Frankie & Johnny - No. 2" (Banner 32762, 1933); "Frankie and Johnny No. 2" (Melotone M-12691, 1933)
NOTES: Various theories have been proposed to explain the origin of this ballad. One theory connects it with the story of Frankie Silvers [Laws E13]. Another links it to the murder of Allen Britt ("Al Britt"= "Albert") by Frankie Baker in St. Louis, MO, on Oct. 15, 1899 (she was jealous of his relationship with Alice Pryor). (This murder was documented in the October 19, 1899 edition of the St. Louis Post-Dispatch.) Versions have shown a tendency to take on local color and even be connected with local events. - RBW, EC
Legman offers extensive documentation for the ballad in Randolph-Legman I. - EC
Researcher Rusty David, of St. Louis, suggests that while the details of the current ballad support the Frankie Baker/Allen Britt story, in fact the ballad predates this murder, and describes a killing that took place in the same red-light district of St. Louis sometime around 1865-70. When the Baker/Britt killing took place, according to David, the earlier ballad was modified to fit the new events. He bases this suggestion on having found traces of the ballad before 1899. -PJS
Belden catalogs scholars who date the origins of the song before 1899, listing:
* Thomas Beer (who offers a date before 1863, and cites a date in the 1840s for the original murder). Belden finds no authority for these claims
* Sandburg (claims widespread currency by 1888)
* Niles (claims it predates 1830, but without evidence)
* Orrick Johns (early 1890s)
* Tyrrel Williams (pre-Civil War), but Cohen says his evidence for this is "very weak"
* George Milburn ("long before 1899," using names other than Frankie and Albert)
Fuld, however, lists the first occurrence of the tune as 1904 (with documentation), and notes that the "Frankie and Johnny were lovers" version first appears in 1925.
The song "Leaving Home," recorded by Charlie Poole and others (and properly called "Frankie and Johnny"), is not actually a "Frankie and Johnny" text; it was written by the Leighton Brothers and Ren Shields and copyrighted in 1912. If it entered oral tradition, it is as a result of the Poole recording or some such similar source. It is, however, included under this entry because it is based on "Frankie and Johnnie" and often treated as a variant of that song.
Adding all this up, the verifiable facts appear to be as follows:
Whatever the earlier history, it seems certain that a canonical Frankie and Albert emerged from the Frankie Baker (1876-1952) and Al Britt (1882/3-1899) affair. The Leighton/Shields song supplied the names "Frankie and Johnny," which are now well-established. It is possible that "The Boll Weevil," or one of its musical relatives, contributed a tune at some point; not all "Frankie and Albert" texts are to this melody, but the usual "Frankie" tune sung today is close to "Boll Weevil." (Thanks to Paul J. Stamler for pointing this out.)
Frankie Baker, in her trial, claimed that Al Britt threatened her with a knife, and she shot him in self-defence. She was acquitted, but later left the area to try to find peace, and worked odd jobs for the rest of her life. She eventually sued Hollywood because of their treatments of the Frankie legend. - RBW
File: LI03
===
NAME: Frankie and Johnnie: see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Frankie and Johnny: see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Frankie Baker: see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Frankie Blues: see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Frankie Silvers [Laws E13]
DESCRIPTION: The singer, Frankie Silvers, has been condemned to die for murdering her husband. She describes the deed and its consequences with horror: "This dreadful, dark, and dismal day Has swept all my glories away." "But oh! that dreadful judge I fear...."
AUTHOR: unknown
EARLIEST_DATE: 1886 (Lenoir Topic, quoting the "Morganton paper")
KEYWORDS: homicide husband wife punishment execution
HISTORICAL_REFERENCES: Dec 22, 1831 - Frankie Silver(s) murders her husband Charles Silvers in North Carolina
July 12, 1833 - Frankie Silver(s) is hanged
FOUND_IN: US(Ap,SE,So)
REFERENCES: (6 citations)
Laws E13, "Frankie Silvers"
Randolph 158, "Frankie Silver" (1 short text, 1 tune)
BrownII 301, "Frankie Silver" (1 text)
MHenry-Appalachians, pp. 48-50, "Frances Silvers" (1 text)
Burt, pp. 17-18, (no title) (1 text)
DT 776, FRANSILV
Roud #783
RECORDINGS:
[Clarence] Ashley & [Gwen] Foster, "Frankie Silvers" (Vocalion 02647, 1934?)
Clarence Ashley & Tex Isley, "Frankie Silvers" (on Ashley01)
Byrd Moore & his Hot Shots, "Frankie Silvers" (Columbia 15536-D, 1930; rec. 1929); "Frankie Silver's Confession" (Gennett, unissued, 1930)
New Lost City Ramblers, "Frankie Silver" (on NLCR04)
NOTES: This incident has frequently been reported as the inspiration for "Frankie and Albert" also; see the notes to that song.
Brown has extensive background notes on this murder, without clear conclusions as to why Frankie Silvers murdered her husband, noting that the jury apparently believed the motive was jealousy.
In Brown's and Randolph's texts, the judge who convicted Frankie Silvers is called "Judge Daniels," but Randolph reports that he was actually named John R. Donnell.
A recent book, _The Untold Story of Frankie Silver_ by Perry Deane Young, puts the whole thing in a rather different light. Lyle Lofgren gives me the following facts from the book; I cannot vouch for the accuracy of Young's information:
Frances Stewart married Charles Silver in 1829, when both were 17; they lived near Toe River (Kona), North Carolina. They had a daugher Nancy in 1830. Charlie apparently was fond of drink and other women. On December 22, 1831, they quarreled. Charlie went for a gun; Frankie killed him with an ax.
Had Frankie simply notified the authorities at that point, all might have been well. But she burned his body and hid the remains, claiming that he had gone hunting and never come back. When the physical evidence was found, she was charged with murder. Having denied the crime, she couldn't plead self-defence, and her request for clemency were denied. She was executed on the date listed. - RBW
File: LE13
===
NAME: Franklin: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Franklin and His Bold Crew: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Franklin D. Roosevelt
DESCRIPTION: "Franklin Roosevelt took his seat About one year ago; He cannot please the world, That we all well know." "I esteem our worthy President." "He has given work to laboring men." "We're on the verge of better times." The singer encourages unions, religion
AUTHOR: James W. Day ("Jilson Setters")
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: political nonballad
HISTORICAL_REFERENCES: 1929-1933 - Presidency of Herbert Hoover
1933-1945 - Presidency of Franklin D. Roosevelt
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 245-246, (no title) (1 text)
NOTES: This is presumably the song recorded by Setters on Library of Congress recording 1010B1, but I haven't heard it. - RBW
File: ThBa245
===
NAME: Franklin D. Roosevelt's Back Again
DESCRIPTION: "Just hand me my old Martin, for soon I will be startin... Since Roosevelt's been re-elected, we'll not be neglected." Singer praises Roosevelt's re-election, celebrates legal liquor and the end of moonshine, and returning prosperity. 
AUTHOR: Bill Cox
EARLIEST_DATE: 1936 (recording, Bill Cox and Cliff Hobbs)
KEYWORDS: drink hardtimes nonballad political
HISTORICAL_REFERENCES: 1933-1945 - Presidency of Franklin D. Roosevelt
FOUND_IN: 
REFERENCES: (3 citations)
Cohen/Seeger/Wood, pp. 230-231, "Franklin D. Roosevelt's Back Again" (1 text, 1 tune)
Silber-FSWB, p. 287, "Franklin D. Roosevelt's Back Again" (1 text)
DT, FDRBACK*
RECORDINGS:
Bill Cox, "Franklin D. Roosevelt's Back Again" (Melotone 07-02-61/Oriole 07-02-61, 1937; OKeh 05896 [as Bill Cox & Cliff Hobbs], 1940; 1940; rec. 1936)
New Lost City Ramblers, "Franklin Roosevelt's Back Again" (on NCLR09, AmHist2, NLCRCD1)
CROSS_REFERENCES:
cf. "The Democratic Donkey is Back In His Stall" (subject matter)
ALTERNATE_TITLES:
We've Got Franklin Delano Roosevelt Back Again
NOTES: Franklin Delano Roosevelt, an anti-Prohibition Democrat, was elected to his second of four terms in 1936, carrying all but two states. - PJS
As poetry, this is about as bad as a song can get. But as a reflection of the attitude of its time, it is obviously highly accurate. - RBW
"As poetry, this is about as bad as a song can get." Oh yeah? Ever listen to "MacArthur Park"? - PJS
No, I haven't. Sounds like I should be glad.... - RBW
File: CSW230
===
NAME: Franklin Expedition, The: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Franklin In Search of the North-West Passage: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Franklin Slaughter Ranch: see The Wandering Cowboy [Laws B7] (File: LB07)
===
NAME: Franklin the Brave: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Franklin's Crew: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Fred Sargent's Shanty Song
DESCRIPTION: "In eighteen hundred and seventy-one, To swamp for a go-devil I begun, 'Twas on the banks of the Eau Claire, We landed there when the ground was bare. Tra-la-la-la...." The loggers get up, get dressed, go to work; the singer toasts the boss
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: logger work drink
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Rickaby 21, "Fred Sargent's Shanty Song" (1 text, 1 tune)
ST Rick092 (Partial)
NOTES: This is probably a particularization of some other shanty song. But with only three verses (the introductory formula, the verse about getting up in the morning, and the conclusion toasting Fred Sargent), what remains is almost all the particularized parts, and so cannot really be identified. - RBW
File: Rick092
===
NAME: Free a Little Bird: see Free Little Bird (File: FSWB391A)
===
NAME: Free America
DESCRIPTION: "The seat of science, Athens, And earth's proud mistress Rome, Where now are all their glories?" The writer advises Americans to "guard their rights" and fight back against European tyranny.
AUTHOR: words: Joseph Warren?
EARLIEST_DATE: 
KEYWORDS: political patriotic freedom derivative
FOUND_IN: US
REFERENCES: (6 citations)
Arnett, pp. 14-15, "Free America" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 14-16, "Free America" (1 text, 1 tune)
Botkin-NEFolklr, pp. 537-538, "Free America" (1 text, 1 tune)
Darling-NAS, pp. 337-338, "Free America(y)" (1 text)
Silber-FSWB, p. 284, "Free America" (1 text)
DT, FREEAMER*
CROSS_REFERENCES:
cf. "The British Grenadiers" (tune) and references there
File: Arn014
===
NAME: Free Americay: see Free America (File: Arn014)
===
NAME: Free At Last
DESCRIPTION: "Free at last! Free at last! Thank God a'mighty, I'm free at last!" "One of these mornings bright and fair, I'm gonna put on my wings and try the air." "Old Satan's mad because we're glad...." "I wonder what old Satan's grumblin' bout...."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: religious freedom nonballad floatingverses Devil
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
BrownIII 624, "Old Satan's Mad" (5 text, of which the short "A" text is probably "Free at Last"; "B" is a variation on "Down By the Riverside (Study War No More)"; "C" has the "Old Satan's Mad" stanza but a "climbing Zion's walls" chorus; D" is an unidentifiable fragment perhaps related to "I Belong to that Band; and "E" is also a fragment, perhaps of "Free At Last")
Randolph 302, "The Devil's Mad and I Am Glad" (1 fragment, possibly this one)
Silber-FSWB, p. 368, "Free At Last" (1 text)
Roud #10974
RECORDINGS:
Dock Reed & Vera Hall Ward, "Free At Last" (on NFMAla2) (on Babylon)
CROSS_REFERENCES:
cf. "All My Sins Been Taken Away" (lyrics)
cf. "Hand Me Down My Walkin' Cane" (lyrics)
NOTES: The versions of this all seem rather fragmentary, and some may be floating bits of other songs. The line "Satan is mad and I am glad" seems to be about as characteristic of this song as anyrhing, but it also floats. - RBW
File: FSWB368A
===
NAME: Free Little Bird
DESCRIPTION: "I'm as free little bird as I can be (x2), I'm as free at my age as a bird in a cage, I'm as free little bird...." "Take me home, little birdie, take me home...." "Oh, I won't build my nest on the ground...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Dykes Magic City Trio)
KEYWORDS: nonballad courting bird home
FOUND_IN: US(Ap,SE)
REFERENCES: (4 citations)
Fuson, p. 130, "Free Little Bird" (1 text)
Shellans, p. 24, "Pretty Little Bird" (1 text, 1 tune)
Darling-NAS, pp. 268-269, "Free a Little Bird" (1 text)
Silber-FSWB, p. 391, "Free Little Bird" (1 text)
Roud #7690
RECORDINGS:
Allen Brothers, "Free a Little Bird" (Victor V-40266, 1930; Bluebird B-5668, 1934; rec. 1928)
Clarence Ashley, Clint Howard et al: "Free Little Bird" (on Ashley03, WatsonAshley01)
Cousin Emmy [Cynthia May Carver], "Free Little Bird" (Decca 24216, 1947)
Dykes Magic City Trio, "Free Little Bird" (Brunswick 129, 1927; on CrowTold01)
John Hammond, "Free A Little Bird As I Can Be" (Challenge 332 [as William Price], 1927)
Austin Harmon, "Free Little Bird" (AAFS 2887 A1)
Roscoe Holcomb, "I'm a Free Little Bird" (on Holcomb1, HolcombCD1)
Bascom Lamar Lunsford, "Free Little Bird" (AAFS 1778 B2) (AAFS 3244 A2)
Clayton McMichen's Wildcats, "I'm Free a Little Bird as I Can Be" (Decca 5574, 1938)
Ridgel's Fountain Citians, "Free Little Bird" (Vocalion 5389, 1930; rec. 1929)
[Leonard] Rutherford & [John] Foster, "I'm As Free a Little Birdie As Can Be" (Gennett 6746, 1929; on KMM)
CROSS_REFERENCES:
cf. "I'm Alone, All Alone (I)" (lyrics)
SAME_TUNE:
Clayton McMichen's Georgia Wildcats, "Free a Little Bird As I Can Be No. 2" (Decca 5701, 1939)
Roane County Ramblers, "Free a Little Bird - 1930 Model" (Columbia 15498-D, 1930; rec. 1929)
File: FSWB391A
===
NAME: Free Mason Song
DESCRIPTION: "Come all ye free masons ... And wear a badge of innocence." Noah's ark, the binding of Isaac, Moses on Mt Zion are recounted. St Peter keeps heaven's door "and there's no one to enter in exceptin' they are pure"
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(29))
KEYWORDS: nonballad religious
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 63, "Free Mason Song" (1 text, 1 tune)
ST LLab063 (Partial)
Roud #1179
BROADSIDES:
Bodleian, Harding B 28(29), "Freemason's Song" ("Come all you Freemasons that dwell around the globe"), W. Armstrong (Liverpool), 1820-1824; also Harding B 11(1116), Harding B 25(1232), "A Mason's Song"; Harding B 28(270), Firth b.26(469), "[The] Masonic Hymn"; Harding B 28(139), Harding B 28(10), "A Celebrated Masonic Hymn"; Harding B 11(1638), Harding B 11(563), "The Celebrated Masonic Hymn"; Harding B 25(689), "The Freemason's Hymn"; Harding B 28(240), "The Free Masons Song"; Firth b.25(81), "Free-Mason's Anthem"; Harding B 17(99a), "Freemasons"; Harding B 11(3590), Firth c.21(35)[some illegible words], 2806 c.16(253), Johnson Ballads 2512, Johnson Ballads 2022, 2806 c.17(137), Harding B 15(113b), "Freemason's Song"; Firth b.27(495), "Freemasons' Song"; Harding B 25(1038)[mostly illegible], "Knights Templars of Malta"
CROSS_REFERENCES:
cf. "The Bible Story" (themes, lyrics)
cf. "Freemason's Song (II)" (subject, themes)
NOTES: The story of Noah's flood is found in Genesis 6-8; Abraham's near-sacrifice of Isaac is in Genesis 22:1-14. Moses never climbed Mount Zion, which is of course *inside* Israel; the reference is to Deuteronomy 34:1-5, where Moses went up Mount Nebo, saw the which the Israelites would possess, and died. - RBW
File: LLab063
===
NAME: Free Salvation (The Resurrection)
DESCRIPTION: The expulsion from Eden is briefly told: "Man at his first creation / In Eden God did place... But by the subtle serpent / Beguiled he was and fell / And by his disobedience / Was doomed to death and Hell." The rest of the song tells of Jesus's passion
AUTHOR: unknown
EARLIEST_DATE: 1842 (Wesleyan Psalmist)
KEYWORDS: Bible religious Jesus death
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 79, "The Resurrection" (1 text plus an excerpt from the Wesleyan Psalmist version, 1 tune)
ST FSC079 (Partial)
Roud #4608
NOTES: Most of this song is paraphrased directly from the Bible:
* The "subtle serpent": Gen. 3:1
* "by his disobedience was doomed": Rom. 5:19
* "was doomed to death": cf. Gen. 2:17, 3:2
* "rugged thorns": Mark 15:17, etc., John 19:1
* "sepulchre, as being near at hand": John 19:41-42
* "to Mary he appeared": John 20:11f. (the other gospels are less explicit)
* "go tell them I am risen... I'm going to my Father's": John 20:17 (in Mark 16:6-7 it is an angel that announces Jesus's resurrection; Jesus never appears on stage)
* "Go preach to all the nations": Matt. 28:19
* "Begin this in Jerusalem": Luke 24:47
* "I will be with you...": Matt. 28:20 - RBW
File: FSC079
===
NAME: Free Silver
DESCRIPTION: "Laboring men please all attend While I relate my history, Money it is very scarce...." "The farmer is the cornerstone, though he is cruelly treated. Bryan is the poor man's friend...." "We'll arise, defend free silver's cause...."
AUTHOR: James W. Day ("Jilson Setters")
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: money political nonballad
HISTORICAL_REFERENCES: July 7, 1896 - William Jennings Bryan gives his "Cross of Gold" speech calling for a silver currency
1896, 1900, 1908 - Bryan's three runs for the presidency
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 191-192, (no title) (1 text)
NOTES: William Jennings Bryan (1860-1925) was a curious mix of genius and fool. A genuine peacemaker and friend of the poor, and a brilliant speaker, he had neither economic nor scientific sense (as he demonstrated by serving as prosecutor in the Scopes trial).
By the 1890s, farmers oppressed by debt were begging for a loosening of the money supply, and their proposed solution was free coinage of silver. That they needed relief is beyond question; that free silver was the answer is unlikely.
But Bryan adopted the cause, and his famous "Cross of gold" speech ("you shall not press down upon the brown of labor this crown of thorns, you shall not crucify mankind upon a cross of gold") swept the 1896 Democratic convention and made Bryan the youngest serious presidential candidate in history.
But while Bryan inspired fervent devotion in certain circles, the country was basically conservative, and he lost in 1896 -- and by wider margins in 1900 and 1908. - RBW
File: ThBa191
===
NAME: Free Slave, The
DESCRIPTION: "I stand as a free man beside the northern banks Of old Erie, the freshwater sea, And it cheers my very soul to behold the billows roll And to think, like the waves, I am free." The slave recalls the abuse he suffered, but he is safe under British laws
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, E. R. Nance Singers)
KEYWORDS: slavery freedom
HISTORICAL_REFERENCES: 1793 - Sale of slaves outlawed in Canada
1833 - Slavery abolished in the British Empire
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 96-98, "The Free Slave" (1 text, 1 tune)
Roud #4520
RECORDINGS:
E. R. Nance Singers [or Traphill Twins], "Sweet Freedom" (Brunswick 565/Supertone S-2813, 1931)
CROSS_REFERENCES:
cf. "O Freedom"
NOTES: This may be a version of "O Freedom"; at least, Ed Trickett sings a version of "O Freedom" with many of the same words. But this text is highly detailed, whereas "O Freedom" is usually rather vague. - RBW
File: FMB
===
NAME: Freedom Is a Constant Struggle
DESCRIPTION: "They say that freedom is a constant struggle (x3) Oh Lord, we've struggled so long, We must be free, we must be free." Similarly, "They say that freedom is a constant crying..." "constant sorrow..." "constant moaning..." "constant dying..."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: freedom nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Silber-FSWB, p. 298, "Freedom Is a Constant Struggle" (1 text)
File: FSWB298
===
NAME: Freedom on the Wallaby
DESCRIPTION: The singer sees freedom in the Australian outback, and recalls how Australia was settled by freedom-loving British citizens. Having built homes, they find the government trying to control them. He calls on citizens to rebel
AUTHOR: Words: Henry Lawson
EARLIEST_DATE: 1891
KEYWORDS: Australia political freedom
FOUND_IN: Australia
REFERENCES: (2 citations)
Manifold-PASB, pp. 166-167, "Freedom on the Wallaby" (1 text, 1 tune)
DT, WALLABBY*
CROSS_REFERENCES:
cf. "Australia's on the Wallaby"
NOTES: While this piece is assuredly by Henry Lawson, it is not clear whether it is an adaption or a forerunner of "Australia's on the Wallaby." - RBW
File: PASB167
===
NAME: Freedom Triumphant
DESCRIPTION: When the Bastille fell French soldiers joined in the battle for freedom. "From France now see LIBERTY's TREE Its branches wide extending" and the "swine ... unite, and swear they'll bite Their unrelenting drivers"
AUTHOR: Zimmermann: "Madden ascribed this song to a United Irishman named Thomas Storey"
EARLIEST_DATE: 1796 (Zimmermann's text is from _Paddy's Resource_, Belfast, 1796, published by United Irishmen)
KEYWORDS: rebellion France political
FOUND_IN: 
REFERENCES: (2 citations)
Zimmermann 4, "Freedom Triumphant" (1 text, 1 tune)
Moylan 14, "Freedom Triumphant" (1 text, 1 tune)
NOTES: Zimmermann: "The word 'swine' is used affectionately ... perhaps an allusion to the 'swinish multitude' denounced by Edmund Burke (_Reflections on the French Revolution_) and vindicated by Tom Paine (_The Rights of Man_)." A United Irishmen song, "The Swinish Multitude," was "sung by them as they marched to the Battle of Antrim Killen." (source: a review of _The Decade of the United Irishmen--Contemporary Accounts 1791-1801_ by John Killen; the review is by John Russell on the Irish Republican News site for December 18, 1997). See broadside Bodleian, Harding B 5(97), "Edmund Burke, to the Swinish Multitude" ("Ye base swinish herd, in the stye of taxation"), unknown, n.d.
Zimmermann points out that lines, including the first four, "were borrowed from the famous Orange ballad "The Battle of the Boyne"
"The Battle of the Boyne" begins
July the first, in Oldbridge town,
There was a grievous battle,
Where many a man lay on the ground,
By cannons that did rattle
"Freedom Triumphant" begins
The fourteenth of July, in Paris town,
There was a glorious battle,
Where many a tyrant lay on the ground
By cannons that did rattle
Zimmermann's tune is "Boyne Water." - BS
The sad irony is, of course, that this song was obsolete by the time it was published. By 1796, France had been through the Reign of Terror (1793-1794) and the Directory of 1795 was already losing public support; in 1796, a young fellow by the name of Napoleon was named to his first major command in Italy.
Ireland in that year would see the first of the fiascos that clustered around the 1798 rebellion; this was the year of the Bantry Bay invasion (for which see especially the notes to "The Shan Van Voght"). - RBW
File: Zimm004
===
NAME: Freehold on the Plain, The
DESCRIPTION: The singer reports that he is now a "broken-down old squatter, my cash it is all gone." He once had a fine holding, a mansion, and a good wife -- but he turned to speculation, and now "I've lost that little freehold on the plain."
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson's _Old Bush Songs_)
KEYWORDS: commerce poverty rambling Australia
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 174-175, "The Freehold on the Plain" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 166-167, "Freehold on the Plain" (1 text)
CROSS_REFERENCES:
cf. "Little Joe the Wrangler" [Laws B5] (tune) and references there
File: FaE174
===
NAME: Freemason's Song (I), The
DESCRIPTION: "In the year of eighteen hundred and three I took a notion a Freemason to be." For his initiation he has to ride a goat, sit on a chair and "they threw me a sign from the nose to the chin saying This is our sign since Freemasons begin."
AUTHOR: unknown
EARLIEST_DATE: 1862 (Greenleaf/Mansfield)
KEYWORDS: ritual humorous
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 114, "The Freemason's Song" (1 text)
Roud #17746
NOTES: Greenleaf/Mansfield notes that "When a man was initiated into the Freemasons he was supposed to ride a goat for five hundred miles, they said"; "This is a variant of 'The Freemason' popular on stage in the sixties." - BS
File: GrMa114
===
NAME: Freemason's Song (II)
DESCRIPTION: Freemasonry began in the garden where Adam's fig leaf was his mason's apron. King David and Noah were freemasons. "Now come over the mountain you maidens all, bring a square and rule along" because a freemason "will secure you on a cold winter's night"
AUTHOR: unknown
EARLIEST_DATE: 1951 (Creighton-Maritime)
KEYWORDS: nonballad religious
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 175, "Freemason's Song" (1 text, 1 tune)
Roud #1179
CROSS_REFERENCES:
cf. "Free Mason Song" (subject, themes)
NOTES: This and the "Free Mason Song" are very similar, recounting Biblical events and connecting them to masonry. Roud lumps them. As there are no exact parallels, we split them -- but it's a close thing. - RBW
File: CrMa175
===
NAME: Freight Train
DESCRIPTION: "Freight train, freight train, run so fast/Please don't tell what train I'm on/So they won't know where I've gone." Rest of song gives singer's wishes for her burial "at the foot of old Chestnut Street."
AUTHOR: Elizabeth Cotten
EARLIEST_DATE: 1952 (composed c. 1905?)
KEYWORDS: train burial death nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Cohen-LSRail, pp. 521-523, "Freight Train" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 120, "Freight Train" (1 text, 1 tune)
Silber-FSWB, p. 63, "Freight Train" (1 text)
DT, FRGHTRN
RECORDINGS:
Elizabeth Cotten, "Freight Train" (on Cotten01) (on Cotten03)
Pete Seeger, "Freight Train" (on PeteSeeger34)
NOTES: Though not folk in origin, it was so widely recorded in the Sixties that it did seem briefly to go into oral tradition, though I suspect it's nearly dead as a folk song by now.
The popularity of the song seems to have been due partly to its use as a fingerpicking exercise. It is ironic to note that Elizabeth Cotten herself was left-handed, but instead of playing a left-handed guitar, she played a right-handed guitar flipped 180 degrees (i.e. she had her left hand on the fretboard, but with the bass strings on top and the treble on the bottom). So effectively none of the people imitating her style are actually imitating her technique. - RBW
File: CSW120
===
NAME: Freight Train Blues (I)
DESCRIPTION: "I hate to hear that engine blow, boo-hoo (x2), Every time I hear it blowin' I feel like ridin' too." The singer wants to travel to forget her man. She asks to ride the blinds; the brakeman says no. She compares how men and women get the blues
AUTHOR: Thomas Dorsey and Everett Murphy
EARLIEST_DATE: 1924 (copyright); also recordings by Trixie Smith and Clara Smith
KEYWORDS: train separation
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 446-449, "Freight Train Blues (I)" (1 text, 1 tune)
File: LSRai446
===
NAME: Freight Train Blues (II)
DESCRIPTION: "I waas born in Dixie in a boomer's shack, Just a little shanty by the railroad track...." "I got the fright train blues... When the whistle blows, I got to go...." The singer tells of how the rails have always ruled his life; he cannot outgrow them
AUTHOR: John Lair
EARLIEST_DATE: 1934 (recording, Red Foley)
KEYWORDS: railroading rambling love
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Cohen-LSRail, pp. 524-527, "Freight Train Blues (II)" (1 text, 1 tune)
Roud #16393
RECORDINGS:
Roy Acuff and his Smoky Mountain Boys, "Freight Train Blues" (Vocalion 04466 [vocal by Sam Hatcher], 1936) (Columbia 37598 [vocal by Acuff], 1947) [It appears that some releases of this song, including Columbia 20034 and 37008, used the same record number for the Hatcher and Acuff masters]
Richard O. Hamilton, "Freight Train Blues" (on USWarnerColl01)
File: LSRai524
===
NAME: Freight Wreck at Altoona, The: see The Wreck of the 1262 (The Freight Wreck at Altoona) (File: DTwrck12)
===
NAME: Freighting from Wilcox to Globe
DESCRIPTION: "Come all you jolly freighters who travel upon the rooad That ever hauled a load of coke from Wilcox to Globe!" A tale of a bad trip, with everything overpriced, and having a mule stolen. The singer hopes to go into business and treat them as they did him
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: work travel hardtimes commerce
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Fife-Cowboy/West 20, "Freighting from Wilcox to Globe" (1 text, 1 tune)
Roud #8016
File: FCW020
===
NAME: French Privateer, The
DESCRIPTION: The Irish ship goes to sea, and after four days overtakes a Spanish ship, which they defeat. They prepare to pursue the defeated ship, but a French privateer come in sight. They sink the French ship, but the Spaniard escapes
AUTHOR: unknown
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: ship sea battle escape pirate
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H560, pp. 112-113, "The French Privateer" (1 text, 1 tune)
Ranson, pp. 33-34, "The Spanish Privateer" (1 text)
Roud #690
RECORDINGS:
Robert Cinnamond, "The American and Irish Privateer" (on IRRCinnamond03)
CROSS_REFERENCES:
cf. "Warlike Seamen (The Irish Captain)" (plot, lyrics) and references there
cf. "The Terrible Privateer" (plot)
cf. "Captain Coulston" (plot)
cf. "The Dolphin" (plot)
NOTES: On the face of it, the fact that Sam Henry's version of this song involves battles with both French and Spanish would seem to date the piece. It doesn't; the English were at war with both on several occasions. Even if one ignores the Spanish Armada era (when France wasn't formally at war), the British faced a Franco-Spanish coalition during parts of the War of the Spanish Succession, the War of the Austrian Succession, and the Napoleonic Wars.
Huntington notes several similar songs which may be related. He seems to have missed the most famous, the Copper Family song "Warlike Seamen," which Roud lumps with this (and with others such as "The Dolphin"). Much of that piece is identical to the second half of this song, though this appears to be some sort of cross-fertilization, since they have distinct openings. It would appear that this sort of patriotic song was common, and they mixed heavily. - RBW
The Ranson ballad is only slightly different from SHenry H560. An American, rather than French, ship interferes. Eventually the American ship flees but the Spanish prize is lost.
In Cinnamond's version "our ship the _Amazon")_ is defeated but "then bespoke our captain boys, 'We'll make them mind the time Neither Yankee, French nor Spaniard could fight our Irish boys.'" SHenry ("neither French nor Spanish can fight our Irish boys") and Ranson ("neither Yankee, Dutch nor Spaniard can match our Irish play"), each with a different result for our privateer, end with the same tag line.
Cinnamond's version makes the name of the ship _Amazon_ and, as I hear it, the captain's name "Colvin." Maybe there is a real-life connection to this report of a Co Antrim wreck near Bangor by Bourke in _Shipwrecks of the Irish Coast_ v2, p. 8: "The privateer Amazon was wrecked in Ballyholme bay near Bangor on 25-2-1780. Some of her cannon were recovered and one stands at Bangor where Captain Colvill is buried. The 14 gun Amazon had fought a battle with a Spanish brig off Bangor." In this connection you can read Captain George Colvill's headstone at Bangor Abbey, Co Down, or by referring to Memorial M1231 at the National Maritime Museum (UK) site; it refers to the wreck. - BS
File: HHH560
===
NAME: Frenchmen, The
DESCRIPTION: The singer says the French and General Humbert were "too late again" at Killala Bay. He fights at Castlebar, where 700 Frenchmen help chase Lord Roden's cavalry, and when Cornwallis drives the French out, leaving Tone and Teeling to be martyred.
AUTHOR: Pete St John (source: Moylan)
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: army battle rebellion France Ireland
HISTORICAL_REFERENCES: December 1796 - The French fleet is driven from Bantry Bay by "near-hurricane weather"
August 22, 1798 - A French force of 1070 French troops, under General Jean-Joseph-Amable Humbert lands at Killala Bay and defeats a garrison at Kilalla, County Mayo.
August 27, 1798 - The French and rebels route the British, "notably the Fraser Fencibles and Roden's Dragoons," at Castlebar, County Mayo. 
September 8, 1798 - With Cornwallis guarding Dublin and under attack by General Lake at Ballinamuck, County Longford, the greatly outnumbered Humbert surrenders. The French prisoners were sent to Dublin and then repatriated. The Irish officers, including Teeling [and Matthew Tone], were hanged as traitors.
(source: "In the Footsteps of General Humbert: The French Invasion of Ireland, 1798" by Bill Peterson in _The Napoleonic Wargaming Club Newsletter_, Sep 2001, at the Wargames Club site) 
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 116, "The Frenchmen" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Men of the West" (subject: The landing of General Humbert) and references there
cf. "Henry Munroe" (character of Bartholomew Teeling)
NOTES: Moylan: The song was written in the 1980s. - BS
For the story of General Humbert's invasion, see the notes to "The Men of the West." For the overall strategic situation, see "The Shan Van Voght." - RBW
File: Moyl116
===
NAME: Frere Jacques (Are You Sleeping; Brother John)
DESCRIPTION: French: "Frere Jacques (x2), Dormez-vous (x2), Sonnez les matines (x2), Din din don (x2)." English: "Are you sleeping (x2), Brother John? (x2), Morning bells are ringing (x2), Ding ding dong (x2)."
AUTHOR: unknown
EARLIEST_DATE: 1811 (melody in "Le Clw du Caveau...")
KEYWORDS: nonballad
FOUND_IN: US France
REFERENCES: (4 citations)
Silber-FSWB, p. 412, "Frere Jacques (Brother John)" (1 English and 1 French text)
Pankake-PHCFSB, p. 268, "Brother John" (1 text, tune referenced)
Fuld-WFM, pp. 237-238
DT, FRERJACQ*
SAME_TUNE:
Turkey Dinner (Pankake-PHCFSB, p. 21)
Next Thanksgiving (Pankake-PHCFSB, p. 21)
Perfect Posture (Pankake-PHCFSB, p. 74)
NOTES: Fuld reports that a manuscript copy of this tune was made c. 1780 (under another title); the melody was published in 1811. Words and music were first published together in 1860. - RBW
File: FSWB412F
===
NAME: Fresh Peanuts!
DESCRIPTION: Extended street cry: "Fresh peanuts! Is the best of all, They's raised in the summer and dug in the fall. I got fresh peanuts! The singer boasts of their quality, his work in preparing them, and his prices.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Warner)
KEYWORDS: commerce food nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 184, "Fresh Peanuts" (1 text)
Roud #16405
NOTES: Perhaps this is a token of how times have changed since the Warners collected this in 1940. The singer doesn't have sales, nor bulk discounts; he declares
I'll sell a whole five cents worth for just one nickel,
I'll sell a whole ten cents worth for one little dime.
A whole twenty-five cents worth for a quarter of a dollar. - RBW
File: Wa184
===
NAME: Friar in the Well, The [Child 276]
DESCRIPTION: A friar solicits a girl; she is afraid of hell. The friar points out that he can pray her out. That promise, plus cash in advance, wins her consent, but she -- claiming her father is coming -- causes him to fall into a well, dampening his ardor
AUTHOR: unknown
EARLIEST_DATE: 1719 (Pills; tune in "The Dancing Master," 1651)
KEYWORDS: humorous trick
FOUND_IN: Britain(England(South))
REFERENCES: (6 citations)
Child 276, "The Friar in the Well" (2 texts)
Bronson 276, "The Friar in the Well" (3 versions)
Chappell/Wooldridge I, pp. 296-297, "The Maid Peeped out at the Window, or, The Friar in the Well" (1 tune) {Bronson's #1}
Kinloch-BBook VII, pp. 24-29, "The Friar" (1 text)
BBI, ZN219, "As I lay musing all alone"
DT 276, FRIARWEL* FRIARWL2*
Roud #116
CROSS_REFERENCES:
cf. "Harry the Tailor" (plot)
File: C276
===
NAME: Friendless Soldier Boy, The: see The Soldier's Poor Little Boy [Laws Q28] (File: LQ28)
===
NAME: Friends and Neighbors (Virginia's Alders)
DESCRIPTION: The singer reports, "Friends and neighbors, I am now going to leave you..." He says that, despite what people think, it is not for any wrongdoing. He simply wants to go home to "the handsome young girl I left behind" among Virginia's alders
AUTHOR: unknown
EARLIEST_DATE: 1982 (Cazden, Haufrecht, Studer)
KEYWORDS: love separation rambling farewell
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 35, "Friends and Neighbors" (1 text, 1 tune)
ST FSC035 (Partial)
Roud #4603
ALTERNATE_TITLES:
Virginia's Alders
NOTES: This song is sung to the shape note hymn "Nettleton" (one of several settings for "Come Thou Fount of Every Blessing"). Cazden et al report that it has only been collected twice: From their informant George Edwards, and from a recording of another Catskills singer, Frank Edwards, who may have been related to George. - RBW
File: FSC035
===
NAME: Friends of Temperance
DESCRIPTION: "Friends of temperance, lift your banners, Wave them in the air, Sing ye now your glad hosannahs, Sing them loud and clear. Lo, the hour of victory cometh, See the dawning day. Rouse ye, drunkards, break your bondage, Dash your cups away!"
AUTHOR: Arthur Bittenger?
EARLIEST_DATE: 1875 (printing known to Randolph)
KEYWORDS: drink
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 326, "Friends of Temperance" (1 text)
Roud #7800
File: R326
===
NAME: Frigging Fusileers, The
DESCRIPTION: A mock boast in which the singer(s), "the heroes of the night," brag they are ever eager for beer and women.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy sex drink
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 518-522, "The Frigging Fusileers" (2 texts, 2 tunes)
ALTERNATE_TITLES:
The Foreskin Fusileers
The Fucking [Foreskin] Fusileers
File: RL518
===
NAME: Frigging in the Rigging: see The Good Ship Venus (File: EM315)
===
NAME: Frisch Aug, Alle Mann an Deck (Lively There, All Hands on Deck)
DESCRIPTION: German shanty. Sentimental song about a ship facing a storm. Describes efforts to make the ship fast, sounds and images of the storm, thoughts of loved ones, and how hard the sailor's lot is compared to those on shore. Ch: "Holla-hi, holla-he, holla-ho!"
AUTHOR: unknown
EARLIEST_DATE: 1935 (Baltzer's _Knurrhahn_)
KEYWORDS: foreignlanguage shanty ship storm
FOUND_IN: Germany
REFERENCES: (1 citation)
Hugill, pp. 535-537, "Frisch Aug, Alle Mann an Deck" (2 texts-German & English, 1 tune)
File: Hug535
===
NAME: Frisky Jim: see Happy, Frisky Jim (File: R431)
===
NAME: Fritz Truan, a Great Cowboy
DESCRIPTION: "Over the divide a great cowboy did go, To ride broncs in heaven at the big rodeo. I've watched him ride since I was fifteen, Up till the day he became a marine." Truan's skill is remembered; the poet "bet[s] Fritz got a hundred before they got him."
AUTHOR: Larry Finley
EARLIEST_DATE: 1973
KEYWORDS: cowboy horse soldier death recitation
HISTORICAL_REFERENCES: 1945 - Death of Fritz Truan during the battle for Iwo Jima
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 35, "Fritz Truan, a Great Cowboy" (1 text)
NOTES: According to Ohrlin, Truan won sundry world championship events in 1939 and 1940, but joined the Marines during World War II and perished. - RBW
File: Ohr035
===
NAME: Frog and the Mouse (I), The: see Frog Went A-Courting (File: R108)
===
NAME: Frog and the Mouse (II), The: see Kemo Kimo (File: R282)
===
NAME: Frog and the Mouse, The: see Frog Went A-Courting (File: R108)
===
NAME: Frog He Went A-Courting, A: see Frog Went A-Courting (File: R108)
===
NAME: Frog He Would A-Wooing Go, (A): see Frog Went A-Courting (File: R108)
===
NAME: Frog in the Middle
DESCRIPTION: Children's game: "Frog in the middle And can't get out. Take a stick And punch him out."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: playparty animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 130, (no title) (1 short text)
Roud #14047
NOTES: I suspect that there is a good deal more to this game than Scarborough describes. But until we find another version, we're left guessing, e.g., as to how one becomes the "frog" (whom she describes as a child in the middle of a circle, and poked out into the ring). - RBW
File: ScaNF130
===
NAME: Frog in the Spring, The: see Frog Went A-Courting AND Kemo Kimo (File: R108)
===
NAME: Frog in the Well: see Kemo Kimo (File: R282)
===
NAME: Frog Went A-Courting
DESCRIPTION: Frog rides to ask Miss Mouse to marry him. She is willing but must ask permission of Uncle Rat. Rat's permission received, the two work out details of the wedding. (Some versions end with a cat or other creature devouring the participants)
AUTHOR: unknown
EARLIEST_DATE: perhaps 1549 (Wedderburn's "Complaynt of Scotland"); there is a reference in the Stationer's Register of 1580 to "A Moste Strange Weddinge of the Frogge and the Mouse"
KEYWORDS: animal courting love marriage request
FOUND_IN: US(Ap,MA,MW,NE,SE,So,SW) Canada(Mar,Newf) Britain(England(West)) Ireland
REFERENCES: (44 citations)
Leather, pp. 209-210, "The Frog and the Mouse" (2 texts)
Belden, pp. 494-499, "The Frog's Courtship" (7 texts in 3 groups, 2 tunes; several of the texts are short, and IB at least appears to be "Kemo Kimo")
Randolph 108, "The Frog's Courtship" (5 texts plus 5 excerpts, 2 tunes)
Randolph/Cohen, pp. 139-141, "The Frog's Courtship" (1 text, 1 tune -- Randolph's 108A)
BrownIII 120, "The Frog's Courtship" (7 texts plus 13 excerpts, 2 fragments, and mention of 5 more; "Kemo Kimo" in appendix)
Hudson 136, pp. 282-283, "The Frog's Courting" (1 text plus mention of 9 more)
Scarborough-SongCatcher, pp. 244-248, "The Frog He Went A-Courting" (3 texts, the first two, with local titles "Frog Went A-Courting" and "Frog Went Courting" and tune on p. 420, are this song; the third item, "The Gentleman Frog," is separate, probably part of the "Kemo Kimo"/"Frog in the Well"  family)
Scarborough-NegroFS, pp. 46-48, "Frog Went A-Courtin'"; p. 48, (no title); pp. 48-50, "Mister Frog) (3 texts, 1 tune)
Brewster 42, "The Frog Went A-Courting" (5 texts plus an excerpt and mention of 4 more, 3 tunes -- one of them of the "Kitty Alone" type)
Eddy 44, "The Frog and the Mouse" (5 texts, 2 tunes)
Gardner/Chickering 189, "The Frog's Courtship" (2 texts plus an exceprt and mention of 5 more, 3 tunes)
Greenleaf/Mansfield 40, "The First Come in it was a Rat" (1 text)
Creighton/Senior, pp. 250-254, "The Frog and the Mouse" (3 texts plus 4 fragments, 2 tunes)
Creighton-NovaScotia 89, "It Was a Mouse" (1 text, 1 tune)
Creighton-SNewBrunswick 83, "The Frog and the Mouse" (1 text, 1 tune)
Mackenzie 155, "A Frog He Would a Wooing Go" (1 text, 1 tune)
Flanders/Olney, pp. 11-13, "Gentleman Froggie" (1 text, 1 tune)
Linscott, pp. 199-202, "A Frog He Would A-Wooing Go" (1 text, 1 tune)
Kennedy 294, "The Frog and the Mouse" (1 text, 1 tune)
McNeil-SFB2, pp. 41-43, "Frog Went A-Courtin" (1 text, 1 tune)
Wyman-Brockway I, p. 25, "Frog Went A-Courting" (1 text, 1 tune)
Wyman-Brockway II, p. 86, "The Toad's Courtship" (1 text, 1 tune)
Fowke/Johnston, pp. 170-171, "A Frog He Would A-Wooing Go" (1 text, 1 tune)
FSCatskills 142, "Missie Mouse" (1 text, 1 tune)
SharpAp 220, "A Frog He Went A-courting" (11 texts, 11 tunes)
Sharp/Karpeles-80E 75, "The Frog and the Mouse" (1 text, 1 tune -- a composite version)
Sandburg, p. 143, "Mister Frog Went A-Courting" (1 text, 1 tune)
Scott-BoA, pp. 339-341, "The Mouse's Courting Song" (1 text, 1 tune)
Asch/Dunson/Raim, p. 32 "King Kong Kitchie Kitchie Ki-Me-O" (1 text, 1 tune)
Lomax-ABFS, pp. 310-313, "Frog Went A-Courtin'" (1 text, 1 tune)
Botkin-NEFolklr, pp. 571-572, "The Frog in the Spring" (1 text, 1 tune)
Botkin-SoFolklr, p. 722, "Frog Went A-Courting" (1 text, 1 tune)
PSeeger-AFB, p. 56, "Froggie Went A-Courtin'" (1 text, 1 tune)
Pankake-PHCFSB, pp. 48-49, "Froggie Went A-Courting" (1 text)
JHCox 162, "The Frog and the Mouse" (3 texts plus mention of two more including some excerpts, 1 tune)
JHCoxIIB, #22A-E, pp. 174-182, "Mr. Mouse Went A-Courting," "The Frog and the Mouse," "Frog Went A-Courting," "A Frog He Would A-Wooing Go" (3 texts plus 2 fragments, 5 tunes)
Opie-Oxford2 175, "A frog he would a-wooing go" (3 texts)
Baring-Gould-MotherGoose #69, pp. 77-79, "(There was a frog liv'd in a well)" (a complex composite with a short version of "Frog Went A-Courting" plus enough auxiliary verses to make an almost complete "Kemo Kimo" text)
Montgomerie-ScottishNR 193, "(There dwelt a puddy in a well)" (1 text, very long, containing a full "Frog Went A-Courting" version plus sundry "Kemo Kimo" type verses)
Chappell/Wooldridge I, pp. 142-143, "The Wedding of the Frog and Mouse" (1 text, 1 tune)
Silber-FSWB, p. 403, "Frog Went A-Courtin'" (1 text)
BBI, ZN3249, "It was a frog in a well"
DT 306, FRGCORT2* PUDDYWL2
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II, p. 194 (1931), "A Frog Went Courting" (1 text)
Roud #16
RECORDINGS:
Albert Beale, "A Frog He Would a-Wooing Go" (on FSB10)
Anne, Judy, & Zeke Canova, "Frog Went A-Courtin'" (Brunswick 264, 1928; on CrowTold02)
Elizabeth Cronin, "Uncle Rat Went Out to Ride" (on FSB10)
Drusilla Davis, "Frog Went A-Courting" (AFS 347 B, 1935)
Otis High & Flarrie Griffin, "Froggie Went A-Courtin'" (on HandMeDown1)
Bradley Kincaid, "Froggie Went A Courting" (Champion 15466 [as Dan Hughey]/Silvertone 5188/Silvertone 8219/Supertone 9209, 1928)
Adolphus Le Ruez ,"The Frog and the Mouse" (on FSB10)
Pleaz Mobley, "Froggie Went A-Courting" (AFS; on LC12)
Chubby Parker, "King Kong Kitchie Kitchie Ki-Me-O" (Columbia 15296D, 1928; on AAFM1, CrowTold01) (Supertone 9731, 1930) (Conqueror 7889, 1931)
Annie Paterson, "The Frog and the Mouse" (on FSB10)
Uncle Don, "Frog Went A'Courting" (Conqueror 9013, 1938)
Unknown artist(s), "A Frog He Would A-Wooing Go" (Harper-Columbia 1162, c. 1919)
CROSS_REFERENCES:
cf. "Kemo Kimo" (occasional floating lyrics)
cf. "I Ask That Gal" (tune)
cf. "The Bear in the Hill" (plot)
cf. "The Fly and the Bumblebee (Fiddle-Dee-Dee)" (theme)
ALTERNATE_TITLES:
There Was a Puggie in a Well
There Lived a Puddie in the Well
The Frog's Wooing
Y Broga Bach (Welsh)
NOTES: The notes on this song in Cazden et al (pp. 524-532) constitute probably the best succinct summary available on variants of this piece.
Spaeth has a note that the original version of this was supposed to refer to the Duke of Anjou's wooing of Elizabeth I of England. If the second known version (1611, in Melismata, reprinted in Chappell) were the oldest, this might be possible -- there are seeming political references to "Gib, our cat" and "Dick, our Drake." But the Wedderburn text, which at least anticipates the song, predates the reign of Queen Elizabeth by nine years, and Queen Mary of by four. If it refers to any queen at all, it would have to be Mary Stuart.
Those who want a version of this piece which does not involve inter-species hanky-panky are advised to try J. A. Scott's version (or other American texts); in this, both creatures are mice. Of course, it does end with the cat interfering with the festivities.
In addition to "pure" texts of this song, some there exist versions which have gotten mixed with "Martin Said to His Man." The versions I've seen are often titled "Kitty Alone" ; the first such text seems to have been in Gammer Gurton's Garland (1784), which has clearly a "Frog" plot but the form (and some of the exaggerations) of "Martin." - RBW
File: R108
===
NAME: Frog Went Courting, A: see Frog Went A-Courting (File: R108)
===
NAME: Frog, The (Fisherman's Luck)
DESCRIPTION: Swagman Paddy, out of food, decides to catch a fish. The only possible bait is a frog -- but a snake swallows the frog before Paddy can catch it. Paddy gets the snake drunk and retrieves the frog. The snake, wanting another drink, brings another frog
AUTHOR: unknown
EARLIEST_DATE:  c. 1938 (recording, Dixon Brothers)
KEYWORDS: food animal humorous hardtimes recitation
FOUND_IN: Australia US(SE)
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 279-281, "The Frog" (1 text)
RECORDINGS:
Dixon Brothers "Fisherman's Luck" (on Montgomery Ward M-7855, c. 1938)
Mike Seeger, "Fisherman's Luck" (on MSeeger01)
File: MCB279
===
NAME: Frog's Courtship, The: see Frog Went A-Courting (File: R108)
===
NAME: From Hillsborough Town the First of May
DESCRIPTION: "From Hillsborough town the first of May Marched those murdering traitors. They went to oppose the honest men That were called Regulators." Hamilton leads the regulators to raid the town
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: political rescue
HISTORICAL_REFERENCES: Apr 30, 1768 - Arrest of Regulator leaders Harmon Husband and William Butler
May 3, 1768 - Rescue of the arrested leaders
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 278, "From Hillsborough Town the First of May" (1 text)
CROSS_REFERENCES:
cf. "When Fanning First to Orange Came" (subject)
cf. "Said Frohock to Fanning" (subject)
cf. "Who Would Have Tho't Harmon" (subject)
NOTES: One of four "regulator" songs in Brown. The regulators were a group of protesters against high taxes and fees, found mostly in North Carolina though some also were active in South Carolina.
The Regulators formally organized in 1766, when William Tryon (1725-1788) was governor of North Carolina (1765-1771) ; he defeated them at Almance in 1771. That was Tryon's way; as governor of New York (1771-1778) he was equally harsh. His successors then turned to compromise.
The notes in Brown relate this to the 1768 raid on Hillsborough town: The authorities seized assorted items for back taxes, Regulators went to retake the items, Husband and Harmon were arrested, and Ninian Bell Hamilton led a raid to rescue the leaders. This is almost certainly the true setting -- but we note that Husband and Harmon aren't mentioned in the extent text of the song; the only people named are Hamilton and Edmund Fanning. - RBW
File: BrII278
===
NAME: From Liverpool 'cross the Atlantic: see The Stowaway (File: GrMa051)
===
NAME: From Ogemaw
DESCRIPTION: The song, in its entirety: "I'm a ramblin' wreck of poverty/From Ogemaw I came/My poverty compels me/To split wood in the rain/But in all kinds of weather/Be it wet or dry/I'm bound to gain an honest living/Or lay me down and die"
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: poverty lumbering work logger nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 24, "From Ogemaw" (1 text)
Roud #8860
CROSS_REFERENCES:
cf. "I Walk the Road Again"
NOTES: This fragment may be part of another song, but it's impossible to tell. - PJS
Looks to me more like an agglomeration of common lines, e.g. from "Son of a Gambolier" or one of its offspring and "I Walk the Road Again" (though it might be a much-worn-down version of the latter) - RBW
File: Be024
===
NAME: From Surabaya to Pasoeroean
DESCRIPTION: Javanese sea shanty. "Sum go coolie ah-e-ah ang, sor Sourabaya, Hoo-e la-e-la-e-la." Used as a capstan shanty, Harlow says he took it down from the coolies singing and can't vouch for the correctness of the words.
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: shanty foreignlanguage
FOUND_IN: Indonesia
REFERENCES: (1 citation)
Harlow, p. 114, "From Surabaya to Pasoeroean" (1 text, 1 tune)
File: Harl114
===
NAME: Frowns That She Gave Me, The
DESCRIPTION: "When first to this country a stranger I came, I placed my affection on a beautiful dame." ""Oh Susan... Won't you leave your old parents?" "Oh William, that never would do." "Take warning by me, Never place your affections on a green growing tree"
AUTHOR: unknown
EARLIEST_DATE: 1934 (Randolph)
KEYWORDS: love courting family floatingverses
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 752, "The Frowns That She Gave Me" (1 text)
Roud #4296
CROSS_REFERENCES:
cf. "When First To This Country (I)" ("When First Unto This Country" lyrics) and references there
cf. "Oh No, Not I" (floating lyrics)
NOTES: This is another of those all-floating-verse pieces -- the first lines are from "The Banks of the Bann," then material that reminds us of "Green Grow the Lilacs" and others; then verses asking the girl to leave home that could be from anywhere, then the remark "Since it is no better I'm glad it is no worse," and finally a bit from "Oh No, Not I." - RBW
File: R752
===
NAME: Frozen Charlotte: see Young Charlotte (Fair Charlotte) [Laws G17] (File: LG17)
===
NAME: Frozen Girl, The: see Young Charlotte (Fair Charlotte) [Laws G17] (File: LG17)
===
NAME: Frozen Logger, The
DESCRIPTION: The singer meets a waitress. She recognizes him as a logger, and tells him the sad tale of her amazing logger lover. One night he forgot his Mackinaw, and at last, "at a thousand degrees below zero, it froze my logger love."
AUTHOR: James Stevens (1892-1971)
EARLIEST_DATE: 1951
KEYWORDS: love logger death talltale
FOUND_IN: 
REFERENCES: (4 citations)
Lomax-FSNA 61, "The Frozen Logger" (1 text, 1 tune)
Silber-FSWB, p. 30, "The Frozen Logger" (1 text)
DT, FROZLOGR*
ADDITIONAL: Walker D. Wyman, _Wisconsin Folklore_, University of Wisconsin Extension (?), 1979, pp. 35-36, has a version, quite different from the Weavers text, which he apparently thinks is traditional folklore
Roud #5470
NOTES: There is a good deal of uncertainty about the author of this. Not that there is any question that the author's name was pronounced "James Stevens"; all seem to agree on this. But different sources have spelled it "Stevens" or "Stephens."
Research by Abby Sale and others supports the theory that the author was the James Stevens whose dates are cited above; he also wrote the classic book _Paul Bunyan_ in 1925. The "Stephens" spelling may possibly be by confusion with the Irish author James Stephens.
It may be questioned whether this is a folk song. I would not so count it, despite its inclusion in Lomax. Nonetheless, the versions have been folk processed to a certain extent -- notably in the first verse, where the original version read "A six foot seven waitress." Somebody (the Weavers?) converted this to the unremarkable "A forty year old waitress," and of course this has been common since, even though the line is banal and does nothing to enhance the tall tale aspects of the song.
There is some interesting science (or, perhaps, lack of science) here. There  is, of course, no such temperature as a thousand degrees below zero, in either the Farenheit or Celsius scales; Absolute zero is at -459.7 degrees Farenheit -- and anything not made of helium (which is everything more complex than a single atom) will have frozen rock-solid far warmer than that.
But it is in fact not unlikely that the logger was hard to freeze. Assume the logger's girl was, in fact, 79 inches tall. This would make her at least 15 inches taller than the average woman of Stevens's time. That's 23% taller. Presumably her lover is also about 23% taller than average. (For the time, that makes him an inch or two above seven feet.).
And that brings in what is called the "square-cube law" or "the law of squares and cubes": That the surface area of an shape increases as the square of its linear dimension, but the volume increases as the cube of its linear dimension. In simpler terms, as something gets bigger, its surface area gets smaller relative to its volume. By a lot.
Which is significant, because the heat generated by a body is roughly proportional to its volume, but heat loss is roughly proportional to surface area. The fact that the logger was very big did make him significantly less vulnerable to cold (though more vulnerable to heat). So while this is a tall tale, it's a little less tall than it might have been.- RBW
File: LoF061
===
NAME: Frugal Maid, The: see I've Two or Three Strings To My Bow (File: HHH070)
===
NAME: Fuck 'Em All: see Bless 'Em All (File: EM386)
===
NAME: Fucking Machine, The
DESCRIPTION: A sailor/airman/engineer marries a sexually insatiable woman, and builds a machine to service her. He cannot stop the machine, which continues to function until the woman is killed and the machine destroys itself.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy sex wife husband death technology
FOUND_IN: Australia Canada Britain(England) US(MW,SW) New Zealand
REFERENCES: (2 citations)
Cray, pp. 392-394, "The Fucking Machine" (1 text, 1 tune)
DT, GRTWHEEL*
Roud #10237
ALTERNATE_TITLES:
The Great [Bloody] Wheel
The Bloody [Great] Wheel
NOTES: Most often set to the familiar hymn tune "Old Hundred." - EC
File: EM392
===
NAME: Fugitive's Lament, The
DESCRIPTION: Singer longs for home, sweetheart, family. He is a fugitive because he committed a murder. Distinguished by the chorus: "I'm riding along out on the lone prairie/The rangers are searching for me/I'm riding away from my home in Texas/A fugitive ever to be"
AUTHOR: unknown
EARLIEST_DATE: c. 1935 (recording, Delmore Bros.)
KEYWORDS: homesickness loneliness violence rambling separation travel crime homicide manhunt death police cowboy
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Delmore Brothers, "The Fugitive's Lament" (on Montgomery Ward 4752, c. 1935; on WhenIWas2)
CROSS_REFERENCES:
cf. "The Wandering Cowboy (I)" [Laws B7] (plot)
File: RcTFugLa
===
NAME: Full Loads to the Sealers
DESCRIPTION: "And here's grand success to the sealers, The pride of our city and town, Who face the doghood on the ocean, And with bat like heroes knock down." The singer bids success to the sealers and  hopes they have happy reunions at home
AUTHOR: Johnny Burke
EARLIEST_DATE: 1960 (Burke's Ballads)
KEYWORDS: hunting reunion
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 122, "Full Loads to the Sealers" (1 text)
NOTES: Most of Burke's songs are intended to be sung to a traditional tune. This particular text fits many melodies, and doesn't have the hints of parody found in many Burke pieces. It fits "Rosin the Beau," for instance. But I have this feeling it's sung to "The Badger Drive" (which, admittedly, is close to "Rosin"). - RBW
File: RySm122
===
NAME: Fuller and Warren [Laws F16]
DESCRIPTION: [Amasa] Fuller has become engaged to a woman, who however chooses to abandon him for [Paul] Warren. Fuller accuses Warren of saying that he (Fuller) was already married, and shoots him. He is sentenced to hang
AUTHOR: sometimes attributed to Moses Whitecotton
EARLIEST_DATE: 1874
KEYWORDS: homicide trial execution
HISTORICAL_REFERENCES: Jan 10, 1820 - Amasa Fuller shoots Paul (Palmer?) Warren in Lawrenceburg, Indiana. Fuller was later hanged.
FOUND_IN: US(MW,NE,Ro,So,SW) Canada(Mar)
REFERENCES: (13 citations)
Laws F16, "Fuller and Warren"
Belden, pp. 302-307, "Fuller and Warren" (3 texts plus a fragment, 1 tune)
Randolph 143, "Fuller and Warren" (1 text plus 2 excerpts, 1 tune)
Hudson 66, pp. 191-193, "Fuller and Warren" (1 text)
Brewster 100, "Fuller and Warren" (2 texts plus an excerpt and mention of 4 more)
Larkin, pp. 127-130, "Fuller and Warren" (1 text, 1 tune)
Flanders/Olney, pp. 174-175, "Fuller and Warren" (1 text, 1 tune)
Burt, pp. 51-52, "(no title)" (1 text plus an excerpt, 1 tune)
Friedman, p. 205, "Fuller and Warren" (1 text)
LPound-ABS, 49, pp. 116-118, "Fuller and Warren" (1 text)
JHCox 45, "Ye Sons of Columbia" (1 text, 1 tune)
Ives-NewBrunswick, pp. 148-151, "Fuller and Warren" (1 text, 1 tune)
DT 704, FULLWARR
Roud #694
RECORDINGS:
Anna Underhill, "The Indiana Hero" (on FineTimes)
NOTES: Although this song is sometimes attributed to Moses Whitecotton, Belden has information that Whitecotton wrote a *different* poem about this particular event.
The reference to the hanging of Haman on the gallows so high is an allusion to the Biblical book of Esther (especially 7:10). The story of Samson and Delilah is told in Judges 16:4-22. The references to Eve causing Adam's fall are obviously to Genesis 3.
The reference to "Genesis, Judges, Samuel, Kings, and Job" seems confused; the texts in Belden apply it to various doctrines, and I can't see how the books listed combine to teach any of the doctrines cited. - RBW
File: LF16
===
NAME: Funeral Hymn, The
DESCRIPTION: "Oh, carry me away to the graveyard After a long time suffering, Where every day will be Sunday, by and by, By and by, by and by, Where every day will be Sunday, by and by." "So fare you well, dear (father/mother/brothers/etc.), I am going home to glory."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: religious death nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 207, "A Funeral Hymn" (1 text)
ST Fus207 (Partial)
Roud #16370
File: Fus207
===
NAME: Funeral Train, The
DESCRIPTION: "The funeral train is coming, I know it's going to slack, For the passengers are all crying and the train is creped in black." "You belong on that funeral train... Oh, sinner, why don't you pray." The singer looks forward to taking the train to heaven
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: religious death train nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 262, "The Funeral Train" (1 text)
File: ScaNF262
===
NAME: Fust Banjo, De (The Banjo Song; The Possum and the Banjo; Old Noah)
DESCRIPTION: Noah sets out to build the ark, despite the scorn of his neighbors. "Ham... couldn't stand the racket... soon he had a banjo made, the first that was invented." He took the hair of the possum's tail to string it; the possum remains bare-tailed to this day
AUTHOR: Irwin Russell?
EARLIEST_DATE: 1878 (Christmas Night in the Quarters)
KEYWORDS: flood ship animal music Bible
FOUND_IN: US(Ap, So)
REFERENCES: (2 citations)
Randolph 253, "The Banjo Song" (2 texts, 2 tunes)
JHCox 181, "Old Noah" (1 text)
ST R253 (Partial)
Roud #5467
NOTES: The versions of this display extreme variation, and may even be separate songs. Reports are few enough, however, that I decided to lump the things just because there wasn't enough evidence to split them cleanly.
The attribution to Irwin Russell is from Felleman's _ The Best Loved Poems of the American People_, which sometimes has some very strange attributions. Her version seems to come straight out of a minstrel show; the question then is whether it is the original or if Russell worked from an earlier song. - RBW
File: R253
===
NAME: Future Plans (The G-Man)
DESCRIPTION: "When I grow up, I think I'll be A G-Man brave and bold, Or maybe a fearful pirate, And bury lots of gold." The singer lists other job possibilities: sailor, diver, jockey, doctor, apple-cart-pusher. Finally he says, "I just think I'll wait and see."
AUTHOR: Billie Menshouse?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: work nonballad youth
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 256, (no title) (1 text)
File: ThBa256B
===
NAME: Fylemore
DESCRIPTION: "Fylemore you're the place for merry sport and singing and the chief amongst them all is the charming beagle hunting" The singer describes the draghunt route and its "swift horses and fine riders." The riders are named. At hunt end all retire to the pubs.
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: sports drink moniker dog horse hunting
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 102-103, "Fylemore" (1 text, 1 tune)
NOTES: OCanainn p.16, quoting his friend Olan Dwyer on draghunting: "They drag a piece of meat with stuff put on it to give it a good scent. There were two fellows -- whips or huntsmen -- fellows who were used to running -- and they had a special course laid out. Usually the start would be about two miles up on the hill and these two fellows would start with the meat about four miles away -- one could come back this way towards the start and the other would go on to the finish. When the fellow going to the start would finish they'd leave off the hounds and the first dog in the gap would be the winner. There'd be a raffle for the spectators -- they'd buy a ticket and draw a dog and they'd get the money if they won. There would be a bookie there as well."
OCanainn: "Fylemore is near Cahirciveen in Co Kerry. It was famous for its draghunt and dogs went to it from all over Cork and Kerry." - BS
File: OCan102
===
NAME: Gaberlunyie Man, A: see The Gaberlunzie Man [Child 279A] (File: C279A)
===
NAME: Gaberlunzie Man, The [Child 279A]
DESCRIPTION: A beggar comes to a lady's door and begs lodging. That night, he lures her daughter away with him. Later he returns to the lady's door and again begs lodging. The lady says she will never lodge a beggar again. He reveals her daughter, rich and happy
AUTHOR: unknown
EARLIEST_DATE: 1724 (Tea-Table Miscellany)
KEYWORDS: begging courting escape money elopement mother children disguise
FOUND_IN: Britain(England,North),Scotland)) Ireland Canada(Mar) US(NE)
REFERENCES: (10 citations)
Child 279 Appendix, "The Gaberlunyie-Man" (sic) (1 text)
Bronson (279 Appendix), "(The Jolly Beggar/The Gaberlunzie Man)" (49 versions)
BarryEckstormSmyth pp. 333-336, "The Gaberlunyie Man" (1 text plus an extensive quotation from Petrie, 1 tune) {Bronson's 32}
Percy/Wheatley II, pp. 67-71, "The Gaberlunyie Man" (1 text)
SHenry H810, p. 269, "A Beggarman Cam' ower the Lea" (1 text, 1 tune)
Ord, pp.375-377, "The Beggar Man" (1 text, 1 tune) {Bronson's #33}
MacSeegTrav 19, "The Gaberlunzie Man" (1 text, 1 tune)
Davis-More 42, pp. 333-338, "The Gaberlunyie-Man" (1 text, which though collected in Virginia comes from a man born in Scotland and is in Braid Scots)
Creighton/Senior, pp. 99-101, "The Gaberlunyie Man" (1 text, 1 tune) {Bronson's #11
BBI, ZN2346, "The silly poor man came over the lee" (?)
Roud #119
RECORDINGS:
Maggie & Sarah Chambers, "The Beggarman (The Gaberlunzie Man)" (on FSB5 [as "The Auld Beggarman"], FSBBAL2) {Bronson's #46}
Liam Clancy, "Hi For the Beggarman" (on IRLClancy01)
Togo Crawford, "The Beggarman (The Gaberlunzie Man)" (on FSBBAL2)
Lizzie Higgins, "A Beggar Man" (on Voice17)
Ewan MacColl, "The Beggar Man" (ESFB1, ESFB2)
Maggie Murphy, "Clinking O'er the Lea" (on Voice07)
John Strachan, "The Beggarman (The Gaberlunzie Man)" (on FSBBAL2) {Bronson's #38}
BROADSIDES:
NLScotland, RB.m.143(126), "The Beggar Man" ("There was an old man cam' o'er the lea"), Poet's Box (Dundee), c.1890
CROSS_REFERENCES:
cf. "The Jolly Beggar" [Child 279] and references there
cf. "The Beggar-Laddie" [Child 280]
cf. "A Great Big Sea Hove in Long Beach" (tune & meter)
ALTERNATE_TITLES:
The Beggar's Bride
NOTES: Although this ballad is associated in tradition with James V of Scotland, there is no evidence that he ever sought a woman in this fashion. James V in fact married a noble foreign lady, Mary of Guise-Lorraine.
Wheatley explains "Gaberlunyie" as a compound of "gaber," a wallet, and "lunyie," the loins, i.e. a Gaberlunyie man is one who carries a wallet by his side. The fact that the title vacillates between "Gaberlunyie" and "Gaberlunzie" implies that most singers were less aware of this than the average scholar....
For the relationship between this song and "The Jolly Beggar," see the notes to that song. Due to the degree of cross-fertilization of these ballads, one should be sure to check both songs to find all versions.- RBW
The following broadsides almost certainly belong here but I could not download them: Bodleian, 2806 c.18(171), "The Beggar Man" ("There was an old man cam o'er the lea"), unknown, n.d.; also Firth c.26(57), "The Beggar Man" - BS
File: C279A
===
NAME: Gabriel's Trumpet (Baptist Numbered in God)
DESCRIPTION: "Baptist, Baptist is my name, I hope to live and die the same, Oh Baptist numbered in God." "Gabriel's trumpet is the voice of God, to wake up the members in the old Church Yard." The singer regrets his (sister's) death and looks forward to the afterlife
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
MWheeler, pp. 71-72, "Gabriel's Trumpet" (1 text, 1 tune)
BrownIII 555, "Baptist, Baptist Is My Name" (1 fragment)
Roud #11881 and 10022
File: MWhee071
===
NAME: Gaie-Annee, La: see Guillannee, La (La Gui-Annee) (File: BMRF584)
===
NAME: Gairdner and the Plooman, The
DESCRIPTION: A gardner has long courted the girl, "But the blythe blink o the plooman lad Has stown my hairt frae me, me, Has stown my hairt frae me." The singer first saw her love singing "under a bush o' rue." She finally turns to the plooman
AUTHOR: unknown
EARLIEST_DATE: 1925 (Grieg)
KEYWORDS: love courting farming
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Bronson 219, "The Gardener" (9 versions+3 in addenda, but #1 at least is "The Gairdner and the Plooman")
Ord, p. 94, "The Gairdner and the Ploughman" (1 text)
Roud #339
NOTES: This song sometimes is listed as a version of "The Gardener" [Child #219], including by Bronson, who counts one of Grieg's versions there. This is understandable, as the song is very diverse (Bronson himself says that "The Gardener" "rests uneasily in Child's collection. It is both too little of a ballad... and too sophisticated").
Nonetheless, I think they should be separated. "The Gardener" seems to have at its root a dialog involving flowers and courting. This piece mentions a gardener, but he isn't wandering around waving flowers in the girl's face, really, and she has a separate love interest. - RBW
File: Ord094
===
NAME: Gairdner and the Ploughman, The: see The Gairdner and the Plooman (File: Ord094)
===
NAME: Gal I Left Behind Me, The: see The Girl I Left Behind Me (lyric) (File: R546)
===
NAME: Galbally Farmer, The: see Darby O'Leary (File: CrSNB110)
===
NAME: Gale of August '27, The
DESCRIPTION: 87 fishermen set out in April for the Sable Island fishing grounds. When a storm blows up, their vessels sink and all are lost. A memorial service in Lunenburg draws 5000. The singer hopes they will meet again in Heaven
AUTHOR: George Swinamer
EARLIEST_DATE: 1951
KEYWORDS: sailor sea fishing storm wreck funeral death religious
HISTORICAL_REFERENCES: Aug 25, 1927 - The _Joyce M. Smith_, _Uda F. Corkum_, _Mahala_, and _Clayton W. Walters_, all of Lunenburg, are lost with all hands off the Sable Island shoals
FOUND_IN: US(MA) Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 184-185, "The Gale of August '27" (1 text, 1 tune)
Roud #9431
NOTES: Lunenburg is a town (and county) in Nova Scotia; the town is on the coast about 60 kilometers south and west of Halifax. Sable Island, the "graveyard of the Atlantic," is a long, low island about 250 km. due south of the eastern tip of Nova Scotia. - RBW
File: Doe185
===
NAME: Gallant 69th, The: see The Irish Sixty-Ninth (File: Wa014)
===
NAME: Gallant Brigantine, The [Laws D25]
DESCRIPTION: A sailor and a girl meet. She gives him her address, saying her husband would be glad to meet them. He mentions his wife and newborn son. They go off to her farm hand in hand; sailor, woman, and husband spend dinner and a pleasant afternoon together
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: courting husband wife
FOUND_IN: US(MA,MW,NE) Canada(Mar,Newf)
REFERENCES: (10 citations)
Laws D25, "The Gallant Brigantine"
FSCatskills 127, "The Islands of Jamaica" (1 text, 1 tune)
Peacock, pp. 218-223, "My Gallant Brigantine" (3 texts, 3 tunes)
Leach-Labrador 88, "Jamaica Girl" (1 text, 1 tune)
Lehr/Best 39, "The Gallant Brigantine" (1 text, 1 tune)
Creighton-NovaScotia 36, "Gallant Brigantine" (1 text, 1 tune)
Creighton-Maritime, pp. 142-143, "The Gallant Brigantine" (2 texts, 1 tune)
Ives-NewBrunswick, pp. 46-49, "The Gallant Brigantine" (1 text, 1 tune)
Manny/Wilson 69, "The Gallant Brigantine" (1 text, 1 tune)
DT 670, GALLBRIG
Roud #648
RECORDINGS:
Mrs. Edward Gallagher, "My Gallant Brigantine" (on MRHCreighton)
ALTERNATE_TITLES:
Henry Orrison
NOTES: For this they wrote a ballad? - PJS
Even more amazing, the thing seems to have been fairly popular. Laws remarks, "This tongue-in-cheek narrative achieves its effect by repeatedly disappointing the listener's anticipation of stock situations of broadside balladry." - RBW
In Mrs. Gallagher's version, the last line is a teaser, leading you to expect that the sailor discovers his wife has run off with another man, but in fact she has had a baby son. - PJS
Ives-NewBrunswick: The final verse changes the tone entirely: "... the girl I loved so dear was the wife of another man, And I really thought my heart would break as I sailed for a foreign land." - BS
File: LD25
===
NAME: Gallant Farmer's Farewell to Ireland, The
DESCRIPTION: Michael Hayes claims he shot the land agent when he went to pay his rent and he has been running since. He describes the manhunt across Ireland and on ships at port. They go to America: "The paper said they had him caught" but he was not. 
AUTHOR: T. Walsh (according to broadside Bodleian Harding B 26(201))
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: homicide manhunt escape farming Ireland
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 68B, "The Gallant Farmer's Farewell to Ireland" (1 fragment)
BROADSIDES:
Bodleian, Harding B 26(201), "The Gallant Farmers' Farewell to Ireland" ("Farewell to old Irelaud [sic] the land of my fathers")," P. Brereton (Dublin), c.1867
CROSS_REFERENCES:
cf. "M'Kenna's Dream" (tune, broadside Bodleian Harding B 26(201))
cf. "The Great Elopement to America" (see Notes)
cf. "The General Fox Chase" (character of Michael Hayes)
cf. "Rory of the Hill" (character of Michael Hayes)
NOTES: Compare "The Gallant Farmers' Farewell to Ireland" to broadside 
Bodleian, 2806 c.8(158), "The Great Elopement to America" ("Farewell to old Ireland the land of my fathers"), Haly (Cork), 19C. 
One of these is clearly derived from the other.
Here is the first verse of "The Gallant Farmers' Farewell to Ireland" [broadside Bodleian Harding B 26(201)] with Brereton's spelling:
Farewell to old Ireland the land of my Fathers,
From house home and farm I sharp had to flee,
I went to pay my rent on a fine summers morning
Myself and the agent we there did disgree
I had the money in my hand he told me I should quit the land
The truth to tel you know right well his words did me displease
He fel a victim to a shot his agency he soon forgot
And since that day theyre searching for the farmer Michael Hayes.
Here is the first verse of "The Great Elopement to America" [broadside Bodleian 2806 c.8(158)]:
Farewell to old Ireland the land of my fathers,
From house, home and farm, quite sharp I had to flee,
I once fell a courting a rich farmer's daughter
Myself and her father we could not agree;
500 pounds she had in hand, she asked me would I leave the land
I said I would, and to I did, and thought it no disgrace
To America we sailed off, we went as quick caused many to laugh
And since that day he is searching for his daughter Nancy Keays.
The description is based on broadside Bodleian, Harding B 26(201).
Zimmermann: "This ballad shows how a probably hateful character could become a gallant hero in the eyes of the oppressed peasants. Michael Hayes had been for many years the ruthless bailiff of a land agent, for whom he was said to have evicted more than one thousand people in one parish alone.... When he grew too old for this job he was allowed to stay on the land as a farmer, but a notice to quit was finally served on him too. He shot the agent in a hotel in Tipperary, (30th July, 1862)." In spite of a manhunt he was never caught. - BS
File: Zimm068B
===
NAME: Gallant Forty-Twa, The
DESCRIPTION: Weaver Willie Brown enlists. The first sergeant fears he'll "make an awfu' mess o' the gallant forty-twa" Willie is always "first man at the table" When he goes home on furlough he'll teach his comrades to handle a gun and show them he's a corporal.
AUTHOR: unknown
EARLIEST_DATE: 1959 (sung by David Hammond on "I Am the Wee Falorie Man: Folk Songs of Ireland"); 19C (broadside, NLScotland L.C.Fol.70(25a))
KEYWORDS: army Scotland humorous nonballad soldier
FOUND_IN: Ireland
REFERENCES: (2 citations)
Hammond-Belfast, pp. 36-37, "The Gallant Forty-Twa" (1 text, 1 tune)
DT, GALNT42*
Roud #1877
BROADSIDES:
NLScotland, L.C.Fol.70(25a), "The Gallant Forty-Twa," Poet's Box (Dundee), c.1890
CROSS_REFERENCES:
cf. "Wha Saw the Forty-Second" (subject)
NOTES: NLScotland commentary to L.C.Fol.70(25a): "The 'forty-twa' is the 42nd Highland Regiment, more commonly known as the Black Watch." [For the record of this regiment, see "Wha Saw the Forty-Second." - RBW]
Hammond-Belfast attributes one verse and chorus to Oiny Boak and other verses to Hugh Quinn (1884-1956). Oiny Boak's verse ("You may talk about your Lancers or your Irish Fusiliers, Your Aberdeen Militia or the Dublin Volunteers; Or any other regiment that's lying far awa', But give to me the tartan of the gallant forty twa") is the chorus of the broadside. His chorus ("Strolling through the green fields on a summer's day, Watching all the country girls forking up the hay, I really was delighted till he stole my heart awa', Then left me for the tartan of the gallant forty-twa") and Quinn's verses (the female singer recalls the day her lover marched away to war, and then when he returned) have no broadside counterpart. If the Hammond-Belfast version is sung in Ireland, the broadside version is sung in Scotland (see GreigDuncan 1 70, which omits the chorus).
The source for the description is broadside NLScotland L.C.Fol.70(25a).
Also collected and sung by David Hammond, "The Gallant Forty-Twa" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959)) - BS
File: Hamm036
===
NAME: Gallant Grahams, The
DESCRIPTION: "As I was crossing ower Boyne Water... For the killin' o' an English lord My gude braid sword they've ta'en frae me." The singer complains of being abandoned by the Grahams. He escapes and flees from his home in Carrickfergus
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: homicide home exile prison escape
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 441-442, "The Galland Grahams" (1 text)
Roud #5618
CROSS_REFERENCES:
cf. "Hughie Grame [Child 191]" (lyrics)
NOTES: This is clearly related to "Hughie Grame"; about half the material in Ord's text, for instance, is standard in "Hughie." The perspective is different, though: The setting seems to be Ulster (where many Scots emigrated, both before and after Culloden). Only one girl would laments the hero's fate, and she makes no attempt to save him. The hero lives. And it is told in first person throughout.
Clearly the relation between the two songs needs more study. Without it, I follow standard Ballad Index policy and split the two. But my initial inclination was to lump; they have that much in common. - RBW
File: Ord441
===
NAME: Gallant Hussar, The (A Damsel Possessed of Great Beauty)
DESCRIPTION: The beautiful damsel waits at her father's gate for the hussars to pass by. At last she sees her lover. She reports that her parents kept her confined for a whole year, but she is all the more determined to follow and marry him
AUTHOR: unknown
EARLIEST_DATE: 1904  (Ford)
KEYWORDS: elopement love separation soldier
FOUND_IN: US(MW) Ireland Britain(Scotland)
REFERENCES: (3 citations)
Ford-Vagabond, pp. 254-256, "The Gallant Hussar" (1 text, 1 tune)
SHenry H243a, pp. 473-474, "Young Edward the Gallant Hussar" (1 text, 1 tune)
Eddy 147, "A Damsel Possessed of Great Beauty" (1 fragment, 1 tune)
ST E147 (Full)
Roud #1146
BROADSIDES:
NLScotland, L.C.Fol.70(84b), "The Gallant Hussar," Poet's Box (Dundee), c. 1890
CROSS_REFERENCES:
cf. "The Gallant Soldier (Mary/Peggy and the Soldier)" (plot)
cf. "Fare Ye Well, Enniskillen (The Inniskillen Dragoon)"
NOTES: Broadside Murray, Mu23-y1:031, "Answer to Young Jane and her Gallant Hussar," James Lindsay (Glasgow), 19C obviously claims to be an "answer" to this, but it's more of a sideline and continuation, in which Jane rejects another suitor and eventually goes off with the hussar.
File: E147
===
NAME: Gallant Ninety-Twa, The
DESCRIPTION: "Brave Ninety-Twa, I've read your story, A valour tale of fadeless glory." "Reared 'mong these glens 'mid which I stand, The brave, heroic Gordons grand." The singer lists places visited by the Ninety-Second, and hopes it will retain its fame
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: soldier war
HISTORICAL_REFERENCES: June 18, 1815 - Battle of Waterloo
Feb 26, 1881 - Battle of Majuba Hill
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 289-291, "The Gallant Ninety-Twa" (1 text)
Roud #3776
NOTES: Raised in 1794 as the 100th Foot, this regiment (the Gordon Highlanders) was renumbered the 92nd in 1798; under that number, it served in and was granted battle honours for the Peninsular War, the Hundred Days, and the Second Afghan War; it managed to miss the Crimea.
In 1881, the 92nd was consolidated with the 75th Highland Regiment as the Gordon Highlanders. The consolidated unit fought in the Sudan, in the Boer War, and on into the World Wars.
The 92nd does deserve a good deal of credit for Waterloo, incidentally. The first phase of the main battle consisted of the attack by d'Erlon's French corps on Wellington's center. This broke the British line, but Picton's division and others counterattacked and restored the situation. The 92nd was in the forefront of this fight, which was arguably the key to the battle -- had d'Erlon broken through, Napoleon would have won Waterloo; once the assault failed, Napoleon had almost no chance of beating Wellington completely before Blucher arrived with reinforcements.
The dating of the song is a bit of a conundrum. The last event mentioned seems to be Majuba Hill, part of the first (1880-1881) Boer war, in which a scratch force led by Major General Pomeroy-Colley attacked a larger and entrenched Boer force, with predictable results: The British lost about 20% of their force, including Pomeroy-Colley, killed in the field without achieving anything.
The 92nd was not engaged as a whole in this battle (and was given no battle honours), but portions were engaged, so it is fair to mention it. And yet, later that year, the 92nd lost its independent identity. Could the song, perhaps, have been written in response to the consolidation, or the threat of the same? - RBW
File: Ord289
===
NAME: Gallant Shearers, The
DESCRIPTION: As autumn brings on the shearing, the singer asks, "Bonnie lassie, will ye gang... To join yon band of shearers?" He promises to work hard for her -- e.g. if it is dry, he will still love her; if it is hot, he will still work, and she will remain his
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting work sheep
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 267, "The Gallant Shearers" (1 text)
Roud #5593
CROSS_REFERENCES:
cf. "The Band o' Shearers" (chorus)
NOTES: This song and "The Band o Shearers" share a chorus and a theme, and are undoubtedly connected, though it's not clear which is older. But the feel of the verses is different enough that I follow Ord in splitting them, as does Roud. - RBW
File: Ord267
===
NAME: Gallant Shoemaker, The
DESCRIPTION: A girl is courted by a wealthy farmer, but loves a shoemaker. Her father confines her to make her change her mind. She sends a letter to her love. He rides by and carries her away. They live happily, "For she had gotten her shoemaker."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting escape
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 102-103, "The Gallant Shoemaker" (1 text)
Roud #3950
CROSS_REFERENCES:
cf. "The Iron Door" [Laws M15] (theme)
cf. "Locks and Bolts" [Laws M13] (theme)
File: Ord102
===
NAME: Gallant Soldier, The: see Soldier, Soldier, Will You Marry Me (File: R065)
===
NAME: Gallant Soldier, The (Mary/Peggy and the Soldier)
DESCRIPTION: (Peggy) comes out and sees the soldiers marching by. She falls in love with one and offers to marry him. He warns her of the problems of travel and separation. She offers to come with him; she has money to care for herself. He agrees to marry her
AUTHOR: unknown
EARLIEST_DATE: 1911 (Grieg)
KEYWORDS: love courting soldier travel marriage money
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (2 citations)
SHenry H782, p. 473, "The Gallant Soldier" (1 text, 1 tune)
DT, MARYSOLD
Roud #2496
BROADSIDES:
NLScotland, L.C.Fol.70(19a), "The Highland Soldier," Poet's Box (Dundee), c. 1890
CROSS_REFERENCES:
cf. "The Gallant Hussar (A Damsel Possessed of Great Beauty)" (plot)
NOTES: All three versions of this song known to me (the Sam Henry version and the Paul Brady version in the Digital Tradition, plus a version sung by Connie Dover on"If Ever I Return") contain the line, "But O how cruel my parents (can/must) be, To banish my darling so far from me." But at that stage in the song, the man is *already* a soldier, and the parents probably don't know what Mary/Peggy is up to anyway. The conclusion would seem to be that this song picked up elements of some song involving banishment of a true love. - RBW
File: HHH473
===
NAME: Gallant Victory, The: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Galloping Randy Dandy O!: see Randy Dandy O (File: Hugi167)
===
NAME: Gallows [Laws L11]
DESCRIPTION: A young man is to be hanged. His family and a clergyman contrive a few minutes delay by each asking for a last word. Just before the boy is to be hanged, his true love arrives with a royal pardon and he is saved
AUTHOR: unknown
EARLIEST_DATE: 1929 (Barry, Ecksotm, Smyth)
KEYWORDS: execution reprieve
FOUND_IN: US(NE) Canada(Mar,Newf) Ireland
REFERENCES: (9 citations)
Laws L11, "Gallows"
Bronson 95, "The Maid Freed from the Gallows" (68 versions, but the last four, given in an appendix, are this song)
BarryEckstormSmyth pp. 389-393, 483, "The Gallows Tree" (2 texts plus a fragment, 2 tunes); p. 483 (1 tune) {Bronson's #67, #68; the tune in the addenda is Bronson's #66}
Flanders-Ancient3, pp. 15-41, "The Maid Freed from the Gallows" (8 texts plus a fragment, 8 tunes, but of the texts, only "A," "B1," and "B2" are 'The Maid Freed" [Child 95]; the remaining six are "Gallows") {G=Bronson's #65}
Kennedy 316, "Derry Gaol" (1 text, 1 tune)
SHenry H705, p. 132, "The Dreary Gallows" (1 text, 2 tunes)
Creighton/Senior, pp. 109-112, "Gallows" (3 texts plus 1 fragment, 1 tune)
Leach-Labrador 27, "Sweet Ann O'Neill" (1 text, 1 tune)
DT 571, HANGMAN4
Roud #896
CROSS_REFERENCES:
cf. "The Maid Freed from the Gallows" (Child 95)
ALTERNATE_TITLES:
Streets of Derry
NOTES: Kennedy, following Barry, speculates that this was based on an incident during the 1798 Irish rebellion. The only real supporting evidence is a reference to King George (which, for all it directly proves, could date it to the 1916 rebellion; in any case, Britain had a King named George every year from 1714 to 1839), and in any case the reference to King George in not found in many versions, where it is the Queen who offers the pardon.
Barry et all state unequivocally that the song is Irish. This is likely enough, but there are only a handful of Irish collections (Sam Henry's, and Sarah Makem sang it); the rest are all North American. It's just possible that the song originated in North America and crossed back.
All agree that this was inspired by "The Maid Freed from the Gallows," but the form clearly makes it a separate ballad.
Peter Kennedy lists the Sam Henry version of this piece as from 1924, but it was not published until 1937. - RBW
File: LL11
===
NAME: Gallows Tree, The: see Gallows [Laws L11] (File: LL11)
===
NAME: Gals o' Chile, The: see Bangidero (File: Hug053)
===
NAME: Gals O' Dublin Town, The
DESCRIPTION: Capstan shanty (also listed as a forebitter) Chorus: "Hurrah, hurrah, for the gals o' Dublintown. Hurrah for the bonnie green flag and the harp without the crown."
AUTHOR: unknown
EARLIEST_DATE: 1938 (Colcord)
LONG_DESCRIPTION: Capstan shanty (also listed as a forebitter) Chorus: "Hurrah, hurrah, for the gals o' Dublintown. Hurrah for the bonnie green flag and the harp without the crown." There are two versions of this, one describes the ship, flags and captain; the other is more along general sailing themes, i.e. weather and complaints.
KEYWORDS: shanty sailor ship
FOUND_IN: US
REFERENCES: (2 citations)
Colcord, p. 175, "The Shenandoah" (1 text)
Hugill, pp. 140-142, "The Gals o' Dublin Town" (2 texts & a fragment, 2 tunes) [AbEd, pp. 112-113]
ST Hugi140 (Partial)
Roud #323
ALTERNATE_TITLES:
The Harp without the Crown
Heave Her and Bust Her
NOTES: The "Shenandoah" was an American clipper which sailed out of New York under the command of Captain Jim Murphy. The references to the "harp without the crown" refer to Murphy's custom of flying the Irish flag under the American one. - SL
This seems likely enough (though Ireland of course did not have an official flag at this time; the golden harp on a green field went back to Hugh O'Neill, but the orange, green, and white tricolor was also in use by the middle of the nineteenth century). But I sort of suspect that the song may be a modification of a piece about the C.S.S. raider _Shenandoah_. This is because both texts and tune look as if they were influenced by "The Bonnie Blue Flag." - RBW
File: Hugi140
===
NAME: Galway Bay
DESCRIPTION: "If you ever go across the sea to Ireland," then perhaps you can see Galway Bay. It's a land of beautiful women and children in the fields. They still speak a language the English don't know. The singer hopes to return there after death
AUTHOR: unknown
EARLIEST_DATE: before 1958 (Margaret Barry parody)
KEYWORDS: home Ireland travel
FOUND_IN: Ireland
REFERENCES: (1 citation)
DT, GLWAYBAY*
Roud #9306
SAME_TUNE:
Galway Bay Parody (sung by Margaret Barry on Voice14)
Galway Bay (2) (DT, GLWYBAY2)
NOTES: The Digital Tradition lists this as by Arthur Colahan.
Its popularity is probably demonstrated by the supply of parodies. Ben Schwartz gave this description of Margaret Barry's (Roud #12926):
"Singer considers going back to Ireland; 'it may be when I hear she's passed away/' She had a mouth as big as Galway Bay and she'd live, swim and die in it if it were Guinness. The rest of the song is a complaint about everyone singing Galway Bay."
Ben adds, "Among the references in the song are Topic Records and 'The Bedford Arms,' where the performance was recorded."
The other parody, in the Digital Tradition, is apparently from Tommy Makem. It could perhaps be considered the same parody -- it also talks about Galway Bay full of drink. But the ending is different. - RBW
File: RcGalBay
===
NAME: Galway Races, The
DESCRIPTION: On August 17 "half a million" gather at Galway for the horse races.The multitudes and occupations are described in great variety. "There was yet no animosity, no matter what persuasion"
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn); 19C (broadside, LOCSinging as113080)
KEYWORDS: racing dancing food music Ireland political horse
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn 10, "The Sporting Races of Galway" (1 text, 1 tune)
DT, [abbreviation unknown, but it's in there]
Roud #3031
RECORDINGS:
Liam Clancy, "Galway Races" (on IRLClancy01)
BROADSIDES:
LOCSinging, as113080, "The Sporting Races of Galway," unknown [Brereton (Dublin)?], 19C
NOTES: I could not see the following broadside in detail though it almost certainly refers to the same ballad:
Bodleian, Harding B 26(621), "The Sporting Races of Galway" ("As I roved out through Galway town to n ek for recreation"), P. Brereton (Dublin), c.1867. There are the usual Brereton spelling errors -- in this case in the first line -- as well as the imprint (so far as could be made out) that make me believe this is the same broadside as LOCSinging as113080. - BS
Although the "proper" title of this seems to be "The Sporting Races of Galway," I called it "The Galway Races" because that title (from the Clancy Brothers and Tommy Makem) seems to be what most people know these days. - RBW
File: OLoc010
===
NAME: Galway Shawl, The
DESCRIPTION: The singer walks out in May and sees a beautiful girl in a Galway shawl. He comes to her home and meets her parents. She sings beautifully to his musical accompaniment. He leaves the next morning, but cannot stop thinking of her.
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: courting beauty father mother music separation
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H652, p. 269, "The Galway Shawl" (1 text, 1 tune)
DT, GLWYSHWL*
Roud #2737
RECORDINGS:
Margaret Barry, "The Galway Shawl" (on IRMBarry-Fairs)
File: HHH652
===
NAME: Gambler (I), The
DESCRIPTION: "My moments are lonesome, no pleasure I find, My true love is a gambler, It troubles my mind." Her love is gone. Gambling has put him in prison; it made him threaten to shoot her. She warns other girls of those who love cards more than wives
AUTHOR: unknown
EARLIEST_DATE: 1908?
KEYWORDS: gambling abuse hardtimes poverty separation
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Combs/Wilgus 184, p. 190, "The Gambler" (1 text)
Roud #4302
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (floating lyrics)
cf. "The Roving Gambler (The Gambling Man)" [Laws H4] (theme, floating lyrics)
cf. "The Gambler's Sweetheart" (plot)
NOTES: From its structure and certain floating lyrics, as well as the subject matter, this seems likely to be a derivative or relative of "The Roving Gambler." However, it has enough detail of its own to deserve a separate listing. - RBW
File: CW190
===
NAME: Gambler (II), The
DESCRIPTION: "Good morning, Mister Railroad Man, What time do your trains roll by? At nine-sixteen and two-forty-four And twenty-five minutes till five." The gambler watches trains, wanders, and thinks about the woman who left him.
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: train gambling hobo separation
FOUND_IN: US
REFERENCES: (3 citations)
Botkin-RailFolklr, p. 459, "The Gambler" (1 text, 1 tune)
Silber-FSWB, p. 62, "The Gambler" (1 text)
DT, GAMBLR
RECORDINGS:
Dixon Brothers, "Rambling Gambler" (Bluebird 6809, 1937; on TimesAint04)
ALTERNATE_TITLES:
Good Morning Mister Railroadman
NOTES: I place the Dixon Brothers' recording here rather than in "Roving Gambler" mostly because of the tune; verses float freely between the two songs, so distinguishing them is difficult. - PJS
File: BRaF459
===
NAME: Gambler, The (My Father was a Gambler; Hang Me): see Hang Me, Oh Hang Me (Been All Around This World) (File: R146)
===
NAME: Gambler's Blues: see Saint James Infirmary (File: San228)
===
NAME: Gambler's Dying Words, The: see I Wonder Where's the Gambler [Laws H22] (File: LH22)
===
NAME: Gambler's Sweetheart, The
DESCRIPTION: "Forever remember your dark-eyed girl Whose love was ever true, Who has waited for your coming...." She accuses him of gambling while leaving her alone at home. She warns him that some day he'll find her dead.
AUTHOR: unknown
EARLIEST_DATE: 1934 (Randolph)
KEYWORDS: love gambling betrayal death
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 809, "The Gambler's Sweetheart" (2 texts)
Roud #7426
CROSS_REFERENCES:
cf. "The Gambler" (plot)
NOTES: There are, obviously, many songs on this theme, and I suspect this may be a derivative of one of the others. But the lyrics have no obvious connection with any of the others, so I classify this piece separately. - RBW
File: R809
===
NAME: Gambling on the Sabbath Day [Laws E14]
DESCRIPTION: A young man murders his comrade and is condemned to die. His family's pleas for him are in vain; despite repenting, he is hanged. His downfall is blamed on his habit of gambling on the sabbath day
AUTHOR: unknown
EARLIEST_DATE: 1925 (recording, George Reneau)
KEYWORDS: gambling homicide execution
FOUND_IN: US(Ap,So)
REFERENCES: (5 citations)
Laws E14, "Gambling on the Sabbath Day"
MHenry-Appalachians, pp. 105-106, "Gambling on the Sabbath Day" (1 text)
Randolph 137, "Gambling on the Sabbath Day" (3 texts plus 2 excerpts, 2 tunes)
Randolph/Cohen, pp. 170-173, "Gambling on the Sabbath Day" (1 text, 1 tune -- Randolph's 137A)
DT 624, CMBLSBTH (?! -- if this doesn't work, try GMBLSBTH)
Roud #3544
RECORDINGS:
William Hanson, "Gambling on the Sabbath Day" (OKeh 45529, 1931; rec. 1930)
George Reneau, "Gambling on the Sabbath Day" (Vocalion 15149, 1925)
NOTES: Ozark lore attributes this song to one Bill Walker, executed May 10, 1889. Since some people believe they learned the song before this time, the attribution is doubtful. - RBW
File: LE14
===
NAME: Gambling Suitor, The: see The Courting Case (File: R361)
===
NAME: Gamboling Man, The: see The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Game of Cards (I), The
DESCRIPTION: A young man meets a girl by the highway. They walk together; she would play a game. He wants her to learn "the game of all fours." When the "cards" are "dealt," she takes his "jack." If he will return, she offers to "play the game over and over again."
AUTHOR: unknown
EARLIEST_DATE: 1908 (Sharp)
KEYWORDS: cards sex bawdy seduction game
FOUND_IN: Britain(England(South,Lond))
REFERENCES: (3 citations)
Kennedy 175, "The Game of Cards" (1 text, 1 tune)
MacSeegTrav 36, "All Fours" (2 texts, 2 tunes)
DT, GAMECARD
Roud #232
RECORDINGS:
Sam Larner, "All Fours" (on SLarner02)
Levi Smith, "The Game of Cards" (on Voice11)
BROADSIDES:
Bodleian, Firth b.34(120), "Game of All Fours," unknown, n.d.; also Firth b.34(281), "Game of All Fours"
ALTERNATE_TITLES:
One-Two-and-Three
The Game of All Fours
As I Walked Out
NOTES: The actual card-game of "All Fours" is also known, in the USA, as "Seven-Up," "Old Sledge," "High-Low-Jack," and "Pitch" -- but the use of the game as a sexual metaphor did not make it across the ocean. - PJS
W. C. Hazlitt _A Dictionary of Faiths & Folklore_, entry on "All Fours," notes that the common amusement of having an adult get down on arms and knees and have a child ride on his back is also known as "all fours," which obviously has high potential for sexual undercurrents.
There are other songs entitled "The Game of Cards" -- e.g. Healy-OISBv2, pp. 81-83. Some may have distant dependence on this, but most are probably distinct. - RBW
Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 11" - 11.9.02: "it should be stressed that this song has nothing, whatsoever, to do with the card game." - BS
File: K175
===
NAME: Game of Cards (II), The
DESCRIPTION: Cahill, Napoleon, D'Esterre and O'Connell, Castlereagh and Pitt are presented as players of all-fours or twenty-five representing Erin, France and John Bull. In 1798, "'Twas easy to beat drunken men." Now we're sober. "Nearly ready to finish the game"
AUTHOR: unknown
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: game cards England France Ireland nonballad patriotic political
FOUND_IN: 
REFERENCES: (2 citations)
Moylan 127, "The Game of Cards" (1 text)
Healy-OISBv2, pp. 81-83, "The Game of Cards" (1 text)
BROADSIDES:
Bodleian, 2806 b.9(35), "The Game of Cards" ("You true sons of Erin draw near me"), P. Brereton (Dublin), c.1867; also 2806 c.8(87), 2806 b.9(231), 2806 b.11(12), Johnson Ballads 3062, "The Game of Cards"; Harding B 26(283), "The Irish Volunteers of 1860"
CROSS_REFERENCES:
cf. "The Shan Van Voght (1848)" for references to the "stealing" of Grattan's Parliament
cf. "The Wheels of the World" for references to the "stealing" of Grattan's Parliament
NOTES: There is no "overall game" nor even a "game" in this broadside, just a set of disconnected plays in what seem to be two different card games.
Dr Daniel William Cahill [1796-1864] deals "the five fingers to France, The stout Knave of Clubs to America." Cahill argued against the government and the Established Church of Ireland (source: "Daniel William Cahill" in _The Catholic Encyclopedia_ at the New Advent site).
Napoleon deals all-fours next.
"D'Esterre went to play O'Connell ... with a trigger the cards he did shuffle." Daniel O'Connell killed challenger D'Esterre in an 1815 duel over a disparaging speech by O'Connell about the Dublin Corporation (source: "Daniel O'Connell" in _The Catholic Encyclopedia_ at the New Advent site).
The 1798 defeat at Tara is referred to as all-fours but seems to mix in the twenty-five rules.
"Castlereagh and old Pitt were gamesters ... Our Parliament they stole away." Castlereagh and William Pitt championed the Act of Union of Ireland and England in 1800, but both resigned with Cornwallis in 1801 when George III refused to allow Irish Emancipation (source: "Robert Stewart, Viscount Castlereagh" in _The Age of George III_ at the site of A Web of English History).
For another attribution of the 1798 loss to Irish drunkenness see "The Boys of Wexford."
For discussions of the card games of "All Fours" (Old Sledge, Auction Pitch, High-Low-Jack) and "Twenty-Five" (Spoil Five, Five Fingers) see the Card Games site and The United States Playing Card Company site. - BS 
It would be hard to claim that alcohol ruined the 1798 rebellion; that was wrecked by lack of planning and the fact that the United Irish leadership was informant-riddled. But the Fenians of the nineteenth century did often fall prey to drink. A still later rebel, Vinnie Byrne, claims it nearly cost them even after the 1916 rebellion: "[Michael] Collins was a marvel. If he hadn't done the work he did, we'd still be under Britain. Informers and drink would have taken care of us." (See Tim Pat Coogan, _ Michael Collins_, p. 116.)
The referencesto the stealing of Parliament remind me very much of "The Wheels of hte World," though which came first is not clear. - RBW
File: BrdTGoC2
===
NAME: Game of Howsers, The: see We Won't Go Home Until Morning (File: RJ19226)
===
NAME: Game Warden Song
DESCRIPTION: The game warden catches the singers netting salmon. He takes the nets but agrees, for a ride, not to turn them in. But he sends a letter to the magistrate. They are met by the judge with a summons. The warden gets half the $10 fine.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: trial trick fishing judge punishment
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 82, "Game Warden Song" (1 text, 1 tune)
ST LLab082 (Partial)
Roud #9978
File: LLab082
===
NAME: Game-Cock, The: see The Trooper and the Tailor (File: FSC139)
===
NAME: Gamekeepers Lie Sleeping
DESCRIPTION: "I keep my dogs and my ferrets too, O I have them in my keepin' To catch good hares all in the night While the gamekeeper lies sleeping." The singer goes out one night and poaches a female rabbit. Her cries bring the keepers, but he escapes and sells her
AUTHOR: unknown
EARLIEST_DATE: 1891
KEYWORDS: poaching hunting dog animal commerce
FOUND_IN: Britain(England(Lond,South))
REFERENCES: (2 citations)
Kennedy 249, "Gamekeepers Lie Sleeping" (1 text, 1 tune)
Copper-SoBreeze, pp. 266-267, "Dogs and Ferrets" (1 text, 1 tune)
Roud #363
RECORDINGS:
Wiggy Smith, "Hares in the Old Plantation" (on Voice18)
Tom Willett, "While Gamekeepers Lie Sleeping" (on TWillett01, HiddenE)
CROSS_REFERENCES:
cf. "While Gamekeepers Were Sleeping" (lyrics)
ALTERNATE_TITLES:
I Keep My Dogs
Hares in the Old Plantations
The Sleeping Gamekeeper
I Keep My Dogs and Ferrets Too
While Gamekeepers Lie Sleeping
File: K249
===
NAME: Gan to the Kye Wi' Me
DESCRIPTION: "Gan to the kye wi' me, my love, Gan to the kye wi' me; Over the moor and thro' the grove, I'll sing ditties to thee." The girl's cattle were stolen after he was killed in battle, but the singer hopes the kine are enough to support them
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: father death courting animal
FOUND_IN: Britain(England(Scotland))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 138-139, "Gan to the Kye Wi' Me" (1 text, 1 tune)
ST StoR138 (Full)
Roud #3162
File: StoR138
===
NAME: Gaol Song (II): see The Prisoner's Song (File: FSC100)
===
NAME: Gaol Song, The
DESCRIPTION: The singer describes the hard life in prison, abused by the guards, granted only the poorest food, and forced to work the treadmill and engage in other backbreaking labour. The singer, once free, vows to leave all such things behind
AUTHOR: unknown
EARLIEST_DATE: 1906
KEYWORDS: work prison punishment captivity worksong
FOUND_IN: Britain(England(South))
REFERENCES: (3 citations)
Fahey-Eureka, pp. 22-23, "The Gaol Song" (1 text, 1 tune)
Vaughan Williams/Lloyd, p. 39, "Gaol Song" (1 text, 1 tune)
DT, GAOLSONG*
Roud #1077
CROSS_REFERENCES:
cf. ""The County Gaol"
cf. "Durham Gaol"
ALTERNATE_TITLES:
Treadmill Song
NOTES: The treadmill was a rotating cylinder that drove machinery such as a mill or a pump. It was a set of steps on a circular gear, which meant that, once started, the convict had no way to stop it; he had to keep walking the treads until relieved. Prisoners often collapsed in agony on such machines, first installed in Sydney in 1823. - RBW
While Lloyd does not mention [this] as a work song, it certainly has the cadence of one, so I have assigned that keyword. -PJS
File: FaE022
===
NAME: Garbey's Rock: see The Jam on Gerry's Rock [Laws C1] (File: LC01)
===
NAME: Garden Gate, The
DESCRIPTION: Mary and William have planned a secret meeting. She arrives at the garden gate at eight; William is not there. Nine comes; she searches, then vows to forsake him. He finally arrives at ten; he had been shopping for a ring. She forgives him
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: courting nightvisit separation marriage
FOUND_IN: US(MW) Ireland
REFERENCES: (3 citations)
Eddy 78, "The Garden Gate" (1 text, 1 tune)
SHenry H770, p. 485, "The Garden Gate" (1 text, 1 tune)
BrownIII 319, "The Garden Gate" (1 fragment, in which the girl tells her mother she is going to the garden gate; it may be a separate song, but with only four lines, we cannot tell )
ST E078 (Partial)
Roud #418
File: E078
===
NAME: Garden Hymn, The
DESCRIPTION: "The Lord into his garden comes, the flowers yield a rich perfume." The hymn describes how God's presence brings life to the garden. Jesus will "conquer all his foes And make his people one."
AUTHOR: unknown
EARLIEST_DATE: 1800 (published by author)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Chase, pp. 158-159, "The Garden Hymn" (1 text, 1 tune)
Roud #11502
RECORDINGS:
Singers from Stewart's Chapel, Houston, MS, "Nashville" (on Fasola1)
NOTES: The authorship of this piece is somewhat dubious. It's usually credited to Jeremiah Ingalls, but sometimes to William Campbell. In the 1971 Sacred Harp Campbell is given credit as "Translator," whatever that means in the context of an English-language hymn. Sacred Harp gives Alexander Johnson as composer of the tune, but Amelia Ramsey, in her notes to the Stewart's Chapel recording, credits Ingalls for the tune as well. - PJS
Which mostly proves how confused the data in the Sacred Harp can be. John Martin writes to note that many of the Sacred Harp editions lack this piece, and others give different attributions.
Martin adds that he has searched the works of Ingalls, and finds the poem there, in a form rather different from the Sacred Harp version (e.g. it lacks the part about Jesus conquering his foes). Ingalls, Martin writes, "describes the words as 'att. John Stocker, 1777.'"
I finally gave up and decided to eliminate all author references for the piece. In any case, chances are that any version you hear is composite. - RBW
File: Cha158
===
NAME: Garden Where the Praties Grow
DESCRIPTION: ""Have you ever been in love, me boys, Oh! have you felt the pain? I'd rather be in jail, I would, than be in love again.... I'd have you all to know That I met her in the garden where the praties grow." The two marry and live happily ever after
AUTHOR: Johnny Patterson
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: love courting marriage
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Sandburg, p. 463, "I Met Her in the Garden Where the Praties Grow" (1 short text, 1 tune)
DT, PRATIGRO*
Roud #4803
RECORDINGS:
Dr. Smith & his Champion Hoss Hair Pullers, "In the Garden Where the Irish Potatoes Grow" (Victor 21711, 1928)
CROSS_REFERENCES:
cf. "Why Paddy's Not at Work Today" (tune)
File: San463
===
NAME: Gardener, The [Child 219]
DESCRIPTION: A "gardener" comes to a lady, offering many flowers if she will marry him. She is not interested.
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: courting flowers rejection gardening
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (6 citations)
Child 219, "The Gardener' (3 texts)
Bronson 219, "The Gardener" (9 versions+3 in addenda, but #1 at least is "The Gairdner and the Plooman")
Leach, p. 577, "The Gardener" (1 text)
OBB 159, "The Gardener" (1 text)
DBuchan 55, "The Gardener" (1 text)
DT 219, GRDNRCHD*
Roud #339
RECORDINGS:
Ewan MacColl and Peggy Seeger, "The Gairdener Chyld" (on SCMacCollSeeger01) {cf. Bronson's #6}
ALTERNATE_TITLES:
The Gairdener Chylde
NOTES: One can only suspect that this piece was made up to get in as many flower symbols as possible; at least, there seems little point to most of the imagery. For a catalog of some of the sundry flower symbols, see the notes to "The Broken-Hearted Gardener."
Child prints a text (additions and corrections to "The Gardener", p. 258 in Volume V of the Dover edition) which conflates this with "In My Garden Grew Plenty of Thyme" or something similar. 
The song is also sometimes confused with "The Gairdener and the Plooman" (which see). - RBW
File: C219
===
NAME: Gargal Machree: see Gay Girl Marie [Laws M23] (File: LM23)
===
NAME: Garners Gay (Rue; The Sprig of Thyme)
DESCRIPTION: Of a girl who has lost her thyme and her love. She uses other symbols to describe her sad state: With her thyme gone, her life is "spread all over with rue"; a woman is a "branching tree"; a man, a wind blowing through the branches and taking what he can
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: loneliness seduction virginity
FOUND_IN: Britain(England(North))
REFERENCES: (4 citations)
Silber-FSWB, p. 163, "Rue" (1 text)
Stokoe/Reay, pp.  80-81, "The Willow Tree, or, Rue and Thyme" (1 text, 1 tune)
Ritchie-Southern, p. 56, "Keep Your Garden Clean" (1 text, 1 tune)
DT, THYMSPRG* THYMTHY
Roud #3
RECORDINGS:
Sara Cleveland, "The Maiden's Lament" (on SCleveland01)
BROADSIDES:
Murray, Mu23-y1:104, "The Wheel of Fortune," James Lindsay (Glasgow), 19C [an incredible mixture, with the "Wheel of Fortune" verse, though the rest seems an amalgam of thyme songs -- here spelled "time"; I file it here in desperation]; also Mu23-y1:105, "The Wheel of Fortune," James Lindsay (Glasgow), 19C [even more mixed, with the "Wheel of Fortune" verse, a thyme stanza, a bit of "Fair and Tender Ladies," a "Queen of Heart" verse, and more]
CROSS_REFERENCES:
cf. "The Rue and the Thyme (The Rose and the Thyme)" (theme, symbols, lyrics)
NOTES: In flower symbolism, thyme stood for virginity. For a catalog of some of the sundry flower symbols, see the notes to "The Broken-Hearted Gardener."
Thyme songs are almost impossible to tell apart, because of course the plot (someone seduces the girl) and the burden (let no man steal your thyme) are always identical. For the same reasons, verses float freely between them. So fragmentary versions are almost impossible to classify.
The Digital Tradition has a version, "Rue and Thyme" (not to be confused with the Ballad Index entry with that title) which seems to have almost all the common elements. Whether it is the ancestor of the various thyme songs, or a gathering together of separate pieces, is not clear to me.
This is one of the more lyric versions of the piece, usually with almost no information about the actual seduction. The mention of multiple herbs, especially rue, seems characteristic.
To show how difficult all this is, Randolph and Ritchie have texts of this called "Keep Your Garden Clean" which are pretty much the same except for the first verse. On the basis of that distinction, I filed Randolph' with "In My Garden Grew Plenty of Thyme" and Ritchie's with "Garners Gay (Rue; The Sprig of Thyme)."
Jean Ritchie calls this a version of "The Seeds of Love," and Randolph calls his a "Seeds of Love" variant also, and Roud's classification seems to agree. I don't, though I rather wish I could, given the difficulty of distinguishing. - RBW
File: FSWB163
===
NAME: Garnish
DESCRIPTION: The singer recalls "the days of my youth [when] I roamed down to the seashore, With my golden-haired Kathleen to Garnish white strand" In all his travels since none can compare with her. He wishes he might return. He knows she is waiting.
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: homesickness love emigration separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, p. 57, "Garnish" (1 text, 1 tune)
NOTES: Garnish is an island in Bantry Bay in County Cork. - BS
File: OCan067
===
NAME: Garrawilla (The Shearer's Life)
DESCRIPTION: "I sing of Garrawilla, a station of the glen...." Though the singer says, "A shearer's life is jolly," he also complains of the bad conditions and the demands for fast and accurate work. But he concludes, "Heaven's sheep are shorn by Garrawilla men"
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: Australia sheep work
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 128-129, "Garawilla" (1 text, 1 tune)
NOTES: Meredith and Anderson's informant, Jack Wright, claims that this was made up by a co-worker of his father's at Garrawilla. I find it interesting that only the first and last verses refer to this station. I wonder if the middle is not a generic song about shearing (which should perhaps be titled "The Shearer's Life"), onto which these two verses were tacked. - RBW
File: MA128
===
NAME: Garryowen (I)
DESCRIPTION: "Garryowen's gone to rack, We'll win her olden glories back." Sarsfield "tramp'd the English banner down ... And we will take our father's place And scowl into the Saxon face" "Draw your swords for Garryowen and swear upon the Treaty stone"
AUTHOR: unknown
EARLIEST_DATE: c.1867? (broadside, Johnson Ballads 2111a)
KEYWORDS: rebellion nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, p. 237, "Garryowen" (1 fragment seemingly appended to a text of "Garryowen (II)")
BROADSIDES:
Bodleian, Johnson Ballads 2111a, "Garryowen" ("Oh Garr[y]owen's gone to rack"), P. Brereton (Dublin), c.1867
LOCSinging, as104230, "Garryowen," unknown[?], n.d.
NOTES: Broadsides LOCSinging as104230 and Bodleian Johnson Ballads 2111a are duplicates.
Broadside Bodleian Johnson Ballads 2111a is the basis for the description.
The Treaty of Limerick was signed on October 3, 1691 by Sarsfield for the Irish and Ginkel for the English. Hayes, _The Ballads of Ireland_, Vol I, p. 215 re "The Treaty Stone of Limerick": "The large stone which served Sarsfield for a chair and writing desk, when signing the articles of the treaty of Limerick, is still [1855] shown as an object of historic interest to the stranger visiting that city."
Croker-PopularSongs: "Garryowen, in English, 'Owen's Garden,' is a suburb of Limerick." - BS
For more on Sarsfield, see "After Aughrim's Great Disaster." - RBW
File: CrPS237a
===
NAME: Garryowen (II)
DESCRIPTION: "Let Bacchus's sons be not dismayed"; "booze and sing" ;"take delight in smashing the Limerick lamps" and fighting in the streets. Doctors can fix our bruises. Break windows and doors. Beat bailiffs. "Where'er we go they dread the name Of Garryowen"
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: bragging violence drink nonballad doctor
FOUND_IN: 
REFERENCES: (3 citations)
Croker-PopularSongs, pp. 230-237, "Garryowen" (1 text)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 264, "Garryowen"
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 478-479, 511, "Garryowen"
NOTES: Croker-PopularSongs: "Garryowen, in English, 'Owen's Garden,' is a suburb of Limerick."
Digital Tradition: "Official marching tune of Custer's Seventh Cavalry."
Croker-PopularSongs quoting a letter of 1833: Two of the characters in the song [Johnny Connell and Darby O'Brien] "were two squireens in Limerick, and about the time the song was written, between the years 1770 and 1780, devil-may-care sort of fellows, who defied all authority." The Digital Tradition version omits four of the seven verses from Croker, and adds none, and the verses mentioning Connell and O'Brien are among the missing: Connell went to Cork and O'Brien leapt over the dock, apparently at sentencing.
Croker-PopularSongs: "Speaking of the enjoyments of the people of Limerick at fair time or on festival days, Fitzgerald and MacGregor notice in their history, a fondness for music of the fiddle or bagpipe. 'Amongst the airs selected upon these occasions, 'Patrick's Day,' and 'Garryowen,' always hold a distinguished place.'"
The only obvious connection between "Garryowen (I)" and "Garryowen (II)" is the last line of the chorus: "From Garryowen in glory!"/"For Garryowen na glora" - BS
File: CrPS230
===
NAME: Garryowen, The
DESCRIPTION: Fragment: "She was accompanied by two vessels more, When to her misfortune on the Patch she bore. There was calico, check and some velveteen ...The likes of this vessel you never had known: The American trader called the Garryowen"
AUTHOR: unknown
EARLIEST_DATE: 1945 (Ranson)
KEYWORDS: sea ship wreck commerce
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 126, "The Garryowen" (1 fragment)
NOTES: no date: "The 'Garryowen' was wrecked on the Patch, a sandbank off Balinoulart" (source: Ranson may be the source for Bourke in _Shipwrecks of the Irish Coast_ v1, p. 52) - BS
File: Ran126
===
NAME: Garvagh Town
DESCRIPTION: The singer meets the "star of Garvagh town." She refuses his advances because he is a Roman Catholic. She remarks favorably on the "twenty-two religions held up in Garvagh town." They share a drink, discuss their differences further, shake hands and part
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: courting religious rejection drink beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 34, "Garvagh Town" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Protestant Maid" (subject: religious conversion) and references there
NOTES: See "The Banks of Dunmore" for a song in which a Protestant suitor meets and is converted by a Roman Catholic farmer's daughter; after his conversion they marry. - BS
Garvagh is in County Derry, and in 1813 was the site of an incident of religious violence (see the notes to "March of the Men of Garvagh"), so it is a logical site for a meeting of religions. - RBW
File: McB1034
===
NAME: Gas Lights
DESCRIPTION: "Belfast and the new fashioned gas ... can from all darkness deliver." Business men, "jolly commanders," are named. People "from Scotland and England from Holland and Flanders" meet. Tradesmen are busy. Saturday nights are lively, well lit and safe.
AUTHOR: unknown
EARLIEST_DATE: 1823 (according to Leyden)
KEYWORDS: commerce technology nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 6, "Gas Lights" (1 text)
File: Leyd006
===
NAME: Gaspard Tragedy, The: see The Cruel Ship's Carpenter (The Gosport Tragedy; Pretty Polly) [Laws P36A/B] (File: LP36)
===
NAME: Gates of Ivory, The: see Lady Isabel and the Elf Knight [Child 4] (File: C004)
===
NAME: Gates of Londonderry, The
DESCRIPTION: King James and all his Host" attack Derry "but vain were all their Popish arts, The Gates were shut by gallant hearts ...The 'Prentice Boys" "Red war, with fiery breath Cast pestilence and death" until "the gallant ship Mountjoy" broke the seige.
AUTHOR: unknown
EARLIEST_DATE: c.1895 (Graham)
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"
July 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, pp. 16-18, "The Gates of Londonderry" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Shutting of the Gates of Derry" (subject) and references and notes there
cf. "The Death of Nelson" (tune) 
File: Grah016
===
NAME: Gatesville Cannonball, The
DESCRIPTION: A boastful youth meets a girl at a dance, takes her to her mother's bedside and seduces her.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy seduction sex
FOUND_IN: US(So)
REFERENCES: (1 citation)
Cray, pp. 79-81, "The Gatesville Cannonball" (1 text, 1 tune)
Roud #10407
CROSS_REFERENCES:
cf. "Rosemary Lane" [Laws K43]
cf. "When I Was Young (Don't Never Trust a Sailor)"
cf. "The Wabash Cannonball" (tune)
File: EM079
===
NAME: Gathering Mushrooms
DESCRIPTION: The singer meets a maid in the fields and asked what she is doing out so early. She is gathering mushrooms to make her mommy catsup. "Her panting breast on mine she pressed ... And her lips on mine did gently join And we both sat down together"
AUTHOR: unknown
EARLIEST_DATE: 1955 (IRRCinnamond02)
KEYWORDS: courting food
FOUND_IN: Ireland
REFERENCES: (0 citations)
ST RcTGMus (Full)
Roud #7001
RECORDINGS:
Robert Cinnamond, "The Maid Gathering Mushrooms" (on IRRCinnamond02)
NOTES: I thought "catsup" - however it's spelled - was always made from tomatoes. However, it is "a seasoned sauce of puree consistency the principal ingredient of which is usu. tomatoes but sometimes another foodstuff (as mushrooms or walnuts)" (source: _Webster's Third New International Dictionary of the English Language Unabridged_, 1976)
The description is based on John Moulden's transcription from IRRCinnamond02 included in the Traditional Ballad Index Supplement. - BS
File: RcTGMus
===
NAME: Gathering Nuts in May
DESCRIPTION: "Here we go gathering nuts in May, nuts in May, nuts in May, Here we go gathering... On a bright and pretty day." "Who will you have for your nuts in May?" "We'll have (a boy) for the nuts in May."  A girl will "pull him across." Repeat for each player
AUTHOR: unknown
EARLIEST_DATE: 1894 (Gomme)
KEYWORDS: playparty courting harvest nonballad
FOUND_IN: US(MW,NE,So)
REFERENCES: (3 citations)
Randolph 561, "Gathering Nuts in May" (2 texts, 1 tune, although the second, fragmentary, text may be unrelated)
Linscott, pp. 16-18, "Here We Go Gathering Nuts in May" (1 text, 1 tune)
DT, NUTSMAY
Roud #6308
RECORDINGS:
Tony Wales, "Four Children's Singing Games (Nuts in May)" (on TWales1)
CROSS_REFERENCES:
cf. "Here We Go Round the Mulberry Bush" (tune)
NOTES: Linscott explains, "This is certainly a dance survival from the May Day destivals of olden days.... The words are a corruption from 'knots of may,' the game is of English origin, and the tune a variant of the country dance melody 'Nancy Dawson.'" - RBW
File: R561
===
NAME: Gathering Rushes in the Month of May (Underneath Her Apron)
DESCRIPTION: Girl gathers rushes and bears a child, wrapping it in her apron. The baby cries; her father asks who the father was and where it was conceived, vowing to burn the place. The father was a sailor; she conceived "by yonder spring, where the small birds sing"
AUTHOR: unknown
EARLIEST_DATE: 1937
KEYWORDS: pride sex accusation questions childbirth pregnancy baby father lover sailor clothes
FOUND_IN: Britain(England(North,South))
REFERENCES: (1 citation)
DT, UNDRAPRN*
Roud #899
RECORDINGS:
Anne Briggs, "Gathering Rushes in the Month of May" (on BirdBush1, Birdbush2, Briggs3)
Jack Elliott, "Was It In the Kitchen?" (on Elliotts01)
NOTES: The Elliott version has the young man as a miner, not a sailor; it is mixed with "Never Let a Sailor Get an Inch Above Your Knee"; see "Rosemary Lane" for discussion of *that* mess. - PJS
File: DTundrap
===
NAME: Gatineau Girls, The: see The Jolly Shanty Boy (File: Be021)
===
NAME: Gauger, The
DESCRIPTION: "There was a captain of the fleet, A bonnie lassie he did entreat (x2) For to wed wi' him a sailor." She says her mother will not approve, and advises him to dress as a gauger. He fails to find any gin in the house, and says he will take the lass instead
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting trick disguise drink marriage
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, pp. 126-127, "The Gauger" (1 text)
DT, NWCGAUG*
Roud #2343
ALTERNATE_TITLES:
The Newcombe Gauger
NOTES: It appears, in this case, that "gauger" is used in its sense of "revenue officer," though the secondary sense of one who is very aware of his own interests also fits. - RBW
File: Ord126
===
NAME: Gauger's Song, The: see The Private Still (The Gauger's Song) (File: HHH103)
===
NAME: Gay Caballero, The
DESCRIPTION: The gay caballero meets a gay senorita who gives him "exceedingly painful clapito" that results in a doctor cutting off the end of his "latraballee" and one of his "latraballeros." (In another version, her husband arrives, with predictable results)
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: bawdy humorous disease
FOUND_IN: Australia Britain(England) US(So,SW)
REFERENCES: (4 citations)
Cray, pp. 231-235, "The Gay Caballero" (2 texts, 1 tune)
Randolph-Legman I, pp. 492-493, "The Gay Caballero" (1 text, 1 tune)
Logsdon 29, pp. 169-172, "The Gay Caballero" (2 texts, 1 tune)
DT, GAYCAB
Roud #10095
RECORDINGS:
Frank Crumit, "The Gay Caballero" (Victor 21735, 1928) [a cleaned-up version, needless to say]
Lazy Larry, "The Gay Caballero" (Cameo 9019, 1929) [presumably a cleaned-up version]
CROSS_REFERENCES:
cf. "The Fire Ship" (plot) and references there
cf. "Root, Hog, or Die (VI -- Cowboy Bawdy variant)" (theme of disease destroying sexual organs)
cf. "Cielito Lindo" (tune) and references there
NOTES: Logsdon's two texts, both from Riley Neal, have no words in common except "gay caballero"; one is a song about acquiring a veneral disease; in the other, the woman's husband shows up. Based solely on the texts, they are different songs. But Neal used the same tune, and both are in limerick form. I thought seriously about splitting them. But the "B" text, about the husband, is relatively clean. I suspect it might be a version for semi-polite company. So I'm lumping them, tentatively, until more data appears. - RBW
File: EM231
===
NAME: Gay Girl Marie [Laws M23]
DESCRIPTION: The singer sends a love letter to his "gay girl Marie." The courier, however, delivers it to her father, who is outraged, and sends her into exile. The singer searches at great length, and is almost in despair when he hears a girl weeping and it is Marie
AUTHOR: unknown
EARLIEST_DATE: before 1841 (broadside, Bodleian Harding B 25(768))
KEYWORDS: courting exile father reunion
FOUND_IN: US(NE,So) Australia Ireland Canada(Mar,Newf)
REFERENCES: (6 citations)
Laws M23, "Gay Girl Marie"
Randolph 124, "Gay Girl Marie" (1 text)
Meredith/Anderson, p. 194, "Gargal Machree" (1 text, 1 tune)
Leach-Labrador 135, "Grogal McCree" (1 text, 1 tune)
Lehr/Best 45, "Gra Geal Mo Chroi" (1 text, 1 tune)
DT 583, GAYGIRLM
Roud #1020
BROADSIDES:
Bodleian, Harding B 25(768)[illegible lines], "Gragerel Macgre" ("I am a fond lover that sorely opprest"), J. Jennings (London), 1790-1840; also Harding B 17(117a), "Grageral Macgree"
NOTES: Samuel P. Bayard conjectures that "Gay Girl Marie" is a corruption of Gaelic "mo gradh geal mo chroidhe," "bright heart's love." Meredith and Anderson make the same conjecture about their title, "Gargal Machree."
Sam Henry's has a title "Gragalmachree" which makes this certain, but it's not certain that it's the same song. Both obviously are built around the same Gaelic phrase, but they may be independent. That other song is indexed as "Gra Geal Mo Chroi (II -- Down by the Fair River)"; see the notes there.  But note also that that song has many floating verses, one could easily confuse short versions. The editors of the Sam Henry collection, e.g., lumped a version of that song with this, and I followed that in early versions of the Index. Credit goes to Ben Schwartz for spotting the distinction.  - RBW
File: LM23
===
NAME: Gay Goshawk, The [Child 96]
DESCRIPTION: An English lass is forbidden to marry the Scot she loves. He sends a message by his goshawk. She asks to be buried in Scotland should she die. This granted, she feigns death. Her coffin is taken to where her lover waits; they are reunited
AUTHOR: unknown
EARLIEST_DATE: 1802
KEYWORDS: love separation death burial trick reunion
FOUND_IN: Britain(Scotland) Ireland
REFERENCES: (9 citations)
Child 96, "The Gay Goshawk" (8 texts)
Bronson 96, "The Gay Goshawk" (2 versions, though the second, from Christie, is described by Bronson as "padded out with a second strain.")
Leach, pp. 300-303, "The Gay Goshawk" (1 text)
Flanders-Ancient3, pp. 43-44, "The Gay Goshawk" (1 fragment, with lyrics typical of this piece but too short identify with certainty)
OBB 60, "The Gay Goshawk" (1 text)
PBB 43, "The Gay Goshawk" (1 text)
Gummere, pp. 265-269+358, "The Gay Goshawk" (1 text)
DBuchan 17, "The Gay Goshawk" (1 text, 1 tune in appendix) {Bronson's #1}
HarvClass-EP1, pp. 69-73, "The Gay Goss-hawk" (1 text)
Roud #61
File: C096
===
NAME: Gay Goss-hawk, The: see The Gay Goshawk [Child 96] (File: C096)
===
NAME: Gay Jemmie, the Miller: see The Gray Mare [Laws P8] (File: LP08)
===
NAME: Gay Maid of Australia, The: see Oxeborough Banks (Maids of Australia) (File: FaE044)
===
NAME: Gay Oul' Hag, The
DESCRIPTION: At a house on our street "the red-haired one is mine ... she's a gay old hag." We sat on the bed and with the last kiss I drove her crazy. I have money "from the Newross girl" but I'll not forsake my my "darlin' little wife ... she's a gay old hag"
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: nonballad rake whore wife
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, pp. 107-108, "The Gay Oul' Hag" (1 text, 1 tune)
Roud #5167
File: TSF107
===
NAME: Gay Ploughboy, The
DESCRIPTION: A rich farmer's daughter meets and falls in love with her father's ploughboy. He warns that her father will oppose them. She gives him twelve hundred pounds and they elope from Belfast for North America.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: courting elopement emigration farming father
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 38, pp. 126-127,171, "The Gay Ploughboy" (1 text, 1 tune)
Roud #2938
File: MoMa038
===
NAME: Gay Spanish Maid, A [Laws K16]
DESCRIPTION: The girl bids her lover farewell as he prepares to sail. A storm sinks the ship soon after it starts on its way; the entire crew is killed except her lover, who clings to a plank. She hears that the ship is lost and dies before her lover reaches her
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cox)
KEYWORDS: ship storm death separation love drowning
FOUND_IN: US(Ap,MW,NE,So) Canada(Mar, Newf)
REFERENCES: (10 citations)
Laws K16, "A Gay Spanish Maid"
Randolph 125, "Gay Spanish Mary" (1 text)
Gardner/Chickering 40, "A Spanish Maid" (1 text plus an excerpt, 2 tunes)
Combs/Wilgus 87, pp. 134-135, "The Spanish Maid" (1 text)
JHCox 115, "A Gay Spanish Maid" (1 text)
Leach-Labrador 17, "Gay Spanish Maid" (2 texts, 2 tunes)
Creighton-NovaScotia 35, "The Gay Spanish Maid" (1 text, 1 tune)
Mackenzie 33, "The Gay Spanish Maid" (1 text)
Dibblee/Dibblee, p. 79, "Gay Spanish Maid" (1 text, 1 tune)
DT 560, GAYSPAN
Roud #708
RECORDINGS:
Edmund & Sadie Henneberry, "The Gay Spanish Maid" (on NovaScotia1)
File: LK16
===
NAME: Gay Spanish Mary: see A Gay Spanish Maid [Laws K16] (File: LK16)
===
NAME: Geaftai Bhaile Atha Bui (The Gates of Ballaghbuoy)
DESCRIPTION: Gaelic. Singer leads Mary astray but falls asleep, leaving her a virgin. His heart "is coal-black ... And for nine days I've wrestled with very death itself." Advice: "women are all guile; ... sleep the more soundly without them"
AUTHOR: unknown
EARLIEST_DATE: 1991 (Tunney-SongsThunder)
KEYWORDS: foreignlanguage seduction sex virginity rejection
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-SongsThunder, pp. 35-37, "Geaftai Bhaile Atha Bui" (1 text)
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 73-74, "Geaftai Bhaile Ath Bui" ("The Gates of Athboy") [Gaelic and English]
CROSS_REFERENCES:
cf. "The Broomfield Hill" [Child 43] (plot) and references there
NOTES: The translations in Tunney-SongsThunder and Bell/O Conchubhair are very close and are the basis for the description. - BS
File: TST035
===
NAME: Gee, But I Want to Go Home
DESCRIPTION: A soldier complains about the coffee ("It's good for cuts and bruises And it tastes like iodine), food, clothes, work, and girls at the service club. Chorus: "I don't want no more of army life. Gee, but I want to go home"
AUTHOR: unknown
EARLIEST_DATE: 1947
KEYWORDS: soldier army hardtimes home
FOUND_IN: US
REFERENCES: (3 citations)
Lomax-FSUSA 39, "Gee, But I Want to Go Home" (1 text, 1 tune)
Silber-FSWB, p. 276, "Gee, But I Want To Go Home" (1 text)
DT, GOHOME*
Roud #10053
RECORDINGS:
Pete Seeger, "Gee, But I Want to Go Home" (on PeteSeeger31)
ALTERNATE_TITLES:
Army Life
NOTES: Why do I suspect that Oscar Brand had a hand in this song? - PJS
File: LxU039
===
NAME: Geely Don Mac Kling Go: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Gelvin Burn
DESCRIPTION: The singer bids farewell to his old home, detailing all the historic and beautiful places nearby, "For I must go far from the Roe, my fortune to pursue." He promises to remember, and hopes that he will meet old friends again
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: emigration
HISTORICAL_REFERENCES: 1385 - Death of "Cooey-na-Gal" O'Cahan
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H667, pp. 192-193, "Gelvin Burn" (1 text, 1 tune)
Roud #13549
CROSS_REFERENCES:
cf. "The Banks of the Roe" (for Cooey-na-Gal) and references there
NOTES: For "Cooey-na-Gal" O'Cahan, and the other O'Cahans, see the notes on "The Banks of the Roe"
File: HHH667
===
NAME: General Florido
DESCRIPTION: French: "Oh General Florido! C'est vrai ye pas capab' pren moin!" "Oh, General Florido, It is true, you can't capture me." "There is a ship on the ocean, It is true, you can't capture me."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: foreignlanguage prisoner escape
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 169-170, (no title) (1 text plus translation, 1 tune)
NOTES: Curiously, for a song of (what Courlander reports to be) an escaping Spanish prisoner/slave, the song is in French.
I have not been able to locate a historical "General Florido"; I suspect it may simply be derived from the name "Florida." - RBW
File: CNFM169
===
NAME: General Fox Chase, The
DESCRIPTION: "I am a bold undaunted fox" who has always paid his rent and taxes. The land agent evicts him. "I stole away his ducks and geese, and murdered all his drakes." The "fox" becomes the target of a manhunt across Ireland and escapes to "the land of liberty"
AUTHOR: unknown
EARLIEST_DATE: 1862 (Zimmermann)
KEYWORDS: emigration crime manhunt escape farming Ireland animal
FOUND_IN: Ireland
REFERENCES: (3 citations)
Zimmermann 68A, "The General Fox Chase" (1 text)
Munnelly/Deasy-Lenihan 19, "Farmer Michael Hayes" (1 text, 1 tune)
DT, FARMHAYS
Roud #5226
RECORDINGS:
Tom Lenihan, "Farmer Michael Hayes" (on IRTLenihan01)
BROADSIDES:
Bodleian, 2806 b.10(136), "Gallant Michael Hayes" ("I am a bold undaunted fox, that never was before on tramp"), H. Such (London), 1863-1885; also 2806 c.8(103), 2806 b.10(100), "The General Fox Chase"
CROSS_REFERENCES:
cf. "The Gallant Farmer's Farewell to Ireland" (character of Michael Hayes)
NOTES: Zimmermann: "This ballad shows how a probably hateful character could become a gallant hero in the eyes of the oppressed peasants. Michael Hayes had been for many years the ruthless bailiff of a land agent, for whom he was said to have evicted more than one thousand people in one parish alone.... When he grew too old for this job he was allowed to stay on the land as a farmer, but a notice to quit was finally served on him too. He shot the agent in a hotel in Tipperary, (30th July, 1862)." In spite of a manhunt he was never caught. 
Neither Zimmermann nor the Bodleian "The General Fox Chase" broadsides mention Michael Hayes by name; the slightly longer Bodleian "Gallant Michael Hayes" broadside mentions his name in only one line (I have reformatted the lines to emphasize what weak rhyme scheme there may be):
They searched the cellars underground, 
The lime kilns, and each dwelling house,
And packet steamers there was found 
To cross the raging sea,
But not meeting any chance, 
They took another trip to France,
But still were baulked in their tramp, 
They never met Gallant Michael Hayes.
Once these lines disappeared the remaining lines could be taken to apply to any fugitive. Zimmermann: "In 1865, a ballad singer was arrested in South Great George Street Dublin, for singing 'The General Fox Chase', which was then supposed to refer to the vain pursuit of Fenian fugitives. (_The Nation_, 4th November, 1865.)" - BS
File: Zimm068A
===
NAME: General Guinness
DESCRIPTION: General Guinness "is a soldier strong and 'stout,' Found on every 'bottle-front'" "He always finds a corkscrew far more handy than a sword." He "kept our spirits up in the midst of all the wars." "All over Bonnie Scotland too the General is seen"
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: drink humorous nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 47, "General Guinness" (1 text, 1 tune)
Roud #2914
NOTES: Morton-Ulster: "General Guiness has been winning battles for a brave few years now. Arthur Guiness bought the small and ill-equipped brewery at James' Gate, Dublin in 1759." - BS
File: MorU047
===
NAME: General Lee's Wooing
DESCRIPTION: "My Maryland, my Maryland, I bring thee presents fine, A dazzling sword with jewelled hilt...." (The Confederates "woo" the border state, but the end is bloody): "My Maryland, my Maryland, alas the ruthless day... Proud gentlemen... whose bones lie stark"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Civilwar battle death derivative
HISTORICAL_REFERENCES: Sept 17, 1862 - Battle of Antietam (Sharpsburg). Robert E. Lee's invasion of Maryland meets a bloody check at the hands of McClellan
FOUND_IN: US
REFERENCES: (1 citation)
Scott-BoA, pp. 233-235, "General Lee's Wooing" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "O Tannenbaum (Oh Christmas Tree)" (tune) and references there
cf. "The Battle of Antietam Creek" (subject)
NOTES: The Confederates always wanted Maryland to join them. Local sentiment probably did not favor them, however, and in any case the federal government could hardly allow the secession of the state in which Washington was located.
The South had to pursue a forceful "wooing." In 1862, having won the Seven Days' Battles and Second Bull Run, Robert E. Lee took the Army of Northern Virginia into Maryland. He didn't do well. Few recruits came in, and many of his own soldiers refused to cross the Potomac. Add the fact that Union General George McClellan captured a copy of Lee's orders, and it was almost a miracle that he was able to assemble his army
at Sharpsburg to fight McClellan.
The Battle of Antietam/Sharpsburg was hardly a victory for anyone. It produced the highest casualties of any single day of battle in the war. By the time it was over, every regiment in Lee's army was worn out, and he may have had fewer than 25,000 effective soldiers left. McClellan still had unused troops, but he refused to commit them; his losses had also been immense.
After the battle, Lee headed back across the Potomac. The wooing of Maryland was over. An unknown Union soldier wrote this song to commemorate the fiasco.
The one good result of Antietam was that it was enough of a victory -- barely -- to allow Lincoln to issue the preliminary Emancipation Proclamation. - RBW
File: SBoA233
===
NAME: General Michael Collins
DESCRIPTION: A memorial to Michael Collins. His part in the Easter rising is recalled as well as other activities before the Treaty. "De Valera and his Die-hards they forced Civil War And Mick Collins was ambushed ... brother on brother they never should turn"
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: Civilwar rebellion homicide England Ireland memorial patriotic political
HISTORICAL_REFERENCES: Aug 22, 1922 - The head of the Provisional Government of Ireland, General Michael Collins shot and killed in an ambush by Anti-Treaty republicans (source: _Michael Collins (Irish Leader)_ and _Irish Civil War_ at the Wikipedia site)
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More, pp. 264-265, "General Michael Collins" (1 text, tune referenced)
CROSS_REFERENCES:
cf. "Lovely Willie" [OLochlainn 55] (tune)
NOTES: The song mentions Eamon de Valera. The Anglo-Irish Treaty of December 6, 1921 established the Irish Free State. The Civil War that followed was between the pro-treaty and anti-treaty factions. De Valera led the ant-treaty faction. (source: _Irish Civil War_ at the Wikipedia site) - BS
Michael Collins (1890-1922) and Eamon de Valera (1882-1975) were indeed probably the two most important figures of the Irish Civil War. De Valera came to prominence first; the highest-ranking officer to have been spared the executions following the Easter Rising of 1916, he was regarded as the head of the Irish rebel government. But in the struggle that followed, Collins, the "Big Fellow," had done more to make Irish indepenence real than the slight de Valera, who looked like (and was) a mathematics teacher -- and not even Irish by birth; he was born in the United States (a fact which saved his life in 1916). When it came time to form an actual Irish state, Collins became its de facto leader; de Valera, by his opposition to the Treaty with England which allows the formation of the Irish Free State, was for a time pushed out of government.
Collins was the son of a surprisingly well-educated farmer, Michael John Collins, who died when Collins was six (Collins senior was about sixty when he married Marianne O'Brien, then aged about 23, and Michael junior was the youngest child. His mother too died when he was fairly young).
Collins, ironically,  worked in London from 1906 to 1915, when he returned to Ireland to take part in the struggle for independence. He was involved in the Easter Rising, being imprisoned for his part in the attack on the General Post Office, but he was not at that time a leader. Eventually released, he became an important Irish Republican Army organizer. Elected to parliament in 1918, he joined the other members of Sinn Fein in withdrawing and forming the separatist Dail Eireann.
In the provisional government that the Dail formed, he became first the Minister of Home Affairs, then took the desperately difficult job of Minister of Finance. All the while he was continuing the battle against the British, becoming probably the most renowned fighter in Ireland.
Eventually, he was appointed, against his will, to the committee appointed to negotiate with England.
There were five Irish commissioners, plus a secretary: Collins, Arthur Griffith (the founder of Sinn Fein), and secretary Erskine Childers were the most prominent. De Valera carefully stayed home -- and even from there, did his best not to become involved. After difficult negotiations, Collins, Griffith, and two other commissioners agreed to a treaty which gave Ireland home rule (in effect, dominion status) in return for continued paper allegiance to the King; it also separated Ulster from the rest of Ireland, with a boundary supposedly to be adjusted based on a religious census; this of course never happened; indeed, Kee, p. 160, says that Lloyd George had offered irreconcileable boundary promises to the Irish delegation and to Ulster leader James Craig, and adds on p. 172 that when the time came to appoint the commissioners, Ulster simply refused to take part. (For notes on sources, see the Bibliography at the end of this article.) A vague attempt was finally made at a survey, but no changes came about; in effect, the decision was that the boundary would remain unchanged and Britain would forgive a bunch of financial claims against Ireland; Kee, p. 173.
Collins apparently felt that Ireland had to have peace; the IRA was too close to exhaustion (Fry/Fry, p. 313). Coogan, p. 274, quotes Robert Barton, one of Collins's fellow commissioners. Collins was in anguish: "Collins rose looking as though he were going to shoot himself...." But "[Collins] knew that physical resistance, if resumed, would collapse, and he was not going to be the leader of a forlorn hope."
There were other reasons for signing. Collins had earned most of his successes by having a better intelligence system than the British, and there was evidence that the British were catching up; see Coogan, p. 76, 83, etc. where instances are listed of the British firing the informers in their midst.
In addition, the Irish commissioners had been pressured and bluffed by the much more politically astute Lloyd George (Dangerfield, pp. 334-339). To say they were tricked would be a little strong, but they were certainly manipulated.
On the other hand, rationally speaking, it was a good deal for Ireland; see the notes to "The Irish Free State."
When he signed the agreement in December of 1921, Collins is reported to have said "I have signed my own death warrant" (Wallace, p. 131; Fry/Fry, p. 317; Dangerfield, p. 339; Coogan, p. 276, notes that Lord Birkenhead had commented that in approving the Treaty that he might have signed his political death warrant; to which Collins replied "I may have signed my actual death-warrant").
Collins did not consider the Treaty final; he described it as "not the ultimate freedom that all nations aspire... to, but the freedom to achieve it" (Fry/Fry p. 314; Coogan, p. 301).
Ireland still wasn't satisfied; the Dail barely approved the treaty by a vote of 64-57.
It is ironic to note that when Collins cast his vote in favor of the treaty -- the first vote of the roll call to favor it -- he cast it as member from Armagh, which would not be part of Ireland under the treaty.
De Valera, who had authorized the commission to England without outlining clear terms, proceeded to denounce the treaty and quit his own government. *This* was what ultimately doomed Collins. What followed was civil war.
A provisional government was formed early in 1922, and after de Valera failed to earn re-appointment as head of the Dail, the office went to Griffith. But Collins was the heart and soul of the provisional government, and its provisional president. An election in that year overwhelmingly supported treaty candidates (Golway, p. 276; Fry/Fry, pp. 315-316; Younger, pp. 313-314, states that "pro-Treaty panel candidates gained 239,193 votes of a total of 620,283 votes cast [39%]; anti-treaty panel candidates... polled 133,864 [22%]; and Labour, Independents and Farmers [most of whom would have accepted the Treaty] won between them 247,226 votes [40%]").
De Valera and the hardliners were so dissatisfied that they went to war against their own allies. (This was rather typical of de Valera, whose grip on reality was sometimes rather weak; even Younger, who is sufficiently pro-Irish that he consistently calls terrorists "freedom fighters," says on p. 90 that "odd decisions" "were... almost habitual with de Valera".)
(To be fair, there are many historians who, instead of seeing de Valera as too hardline and inconsistent, see him as brilliant and subtle -- perhaps too subtle for the opposition to understand. E.g, Kee, p. 149, says, "It was indeed because de Valera knew there must be compromise that he remained in Ireland, but not in his own self-interest"; it is Kee's view that he was *allowing* compromise while keeping the hard-liners on his side. The problem with this theory, of course, is that he kept the hard-liners, but didn't support the compromise, and the result was the Civil War.)
In the struggle that followed, Collins ironically had the backing of Britain. But an exhausted Griffith died in early August 1922, and Collins was slain from ambush within a fortnight (Fry/Fry, p. 317; Dangerfield, p. 294). There was already war, of course, but that pretty well guaranteed that the war would continue for generations, at least in Ulster. Collins seemingly hoped for peace with "the North-East corner" (Coogan, p. 301), but few others went along.
The assassination of Collins was in some ways interesting. He travelled with an armed and armored party, but the party had difficulty finding its way in the area of the "Mouth of Flowers." Several ambushes were set up; one managed to catch him despite being outgunned. Collins, hothead that he was, actually left his car to fight the assassins -- and was killed.
Collins was the only member of his party to die, though others were injured.
Other details are fuzzy. According to Coogan (p. 420), Sonny O'Neill, who probably fired the fatal shot, died without telling his side of the story. And De Valera would eventually cause the government to destroy -- not seal, *destroy* -- its records (p. 418).
It will tell you how horrid the situation was at the time of the Civil War that even Younger, who approved of Irish terrorism, admits that the anti-Treaty faction of de Valera "made no effort to rule in any positive way. What they were setting out to do was to prevent the Dail government and its interwoven Provisional Government from ruling either." (p. 268). Nor did they seek to learn the will of the people: "The plain fact was that de Valera and his adherents did not want an election which they knew they could not win'" (p. 269).
"To many of his compatriots, Collins was the real architect of Ireland's freedom, and some said he was the greatest Irish hero since Brian Boru" (Fry/Fry, p. 317). That statement is surely too strong, but it obviously explains such songs as this one.
A good analogy might be to Abraham Lincoln: Both Lincoln and Collins had fought great wars that defined their nations, and with the war ending, were responsible for reconstruction and healing. Both were assassinated before reconstruction really began. Many historians think that Lincoln would have moderated reconstruction had he lived, as they think Collins might have held down the Irish Civil War had he lived. In neither case can we know, and Collins, since he died earlier in the process, probably had even less chance than Lincoln. But he was surely the only man who had any chance.
Apparently there was eventually a movie about Collins, entitled "Michael Collins" (how original), by Neil Jordan, starring Liam Neeson and Julia Roberts. All I know about this is what I read in Michael Padden and Robert Sullivan, _May the Road Rise to Meet You_, pp. 157-161, which is anything but a scholarly account. Apparently this tried to lay the blame for Collins's death at the feet of de Valera -- which caused Coogan, who had been hired as a consultant to the film, to blow up, noting that, if such a thing had been shown to be true, it would have signed de Valera's own death warrant. Whatever the film was like, it proved to be rather a flop.
>>BIBLIOGRAPHY<<:
In writing this summary, in addition to the standard references such as the _Oxford Companion to Irish History_, I have consulted the following works, some obviously more relevant than others:
Coogan: Tim Pat Coogan _Michael Collins_ (1992, 1996; I used the Roberts Rinehart edition), one of several biographies of the subject of this song. Coogan is mildly pro-Collins, but without slipping into hagiography, and the amount of detail he supplies is most useful.
Dangerfield: George Dangerfield, _The Damnable Question: One Hundred and Twenty Years of Anglo-Irish Conflict_ (Atlantic Little Brown, 1976). Despite its title, the book is devoted primarily to the problems of Ireland's Protestant/Catholic relations and the unsolved Ulster question, but this of course means it devotes significant space to the issue of Partition.
Fry/Fry: Peter and Fiona Somerset Fry, _A History of Ireland_ (1988; I used the 1993 Barnes & Noble edition). A general history, not overly long, but it seems fairly reliable and is quite easy to read.
Golway: Terry Golway, _For the Cause of Liberty: A Thousand Years of Ireland's Heroes_. (Simon & Schuster, 2000) This has a strange tendency to skip around, missing some incidents and devoting much ink to character details, but as such it contains some information not in the standard histories.
Kee: Robert Kee, _Ourselves Alone_, being volume III of _The Green Flag_ (combined edition published 1972; I used the 1987 Quartet edition of volume III), is probably the most balanced work on Irish history I have read, and it concentrates heavily on the period leading up to final Irish independence.
Wallace: Martin Wallace, _A Short History of Ireland_ (1973, 1986; I used the 1996 Barnes & Noble edition). The name is accurate: It's very short. But it likes to throw in the occasional detail not found elsewhere.
Younger: Calton Younger, _Ireland's Civil War_ (1968, 1979; I used the 1988 Fontana edition). This is a very difficult book, at least for me, because it considers terrorism justifiable. It is a very detailed reference if you can stomach a guy who thinks murder counts as political leadership. - RBW
File: OLcM264
===
NAME: General Monroe
DESCRIPTION: At Ballynahinch Monro and his men fight until night. Monro pays a woman not to tell where he is hiding. She calls the army. They takes him home to Lisburn. He is hanged, beheaded and his head put on a spear. Monro's sister swears to avenge his death.
AUTHOR: unknown
EARLIEST_DATE: 1798 (Zimmermann)
KEYWORDS: betrayal execution rebellion Ireland
HISTORICAL_REFERENCES: 1798 - Irish rebellion
FOUND_IN: Canada(Newf) Ireland
REFERENCES: (7 citations)
Peacock, pp. 998-999, "General Munro" (1 text, 1 tune)
OLochlainn 65, "General Munroe" (1 text, 1 tune)
Zimmermann 16, "General Munroe" (2 texts, 1 tune)
Moylan 84, "General Munroe" (1 text, 1 tune)
OBoyle 12, "General Monroe" (1 text, 1 tune)
Healy-OISBv2, pp. 60-61, "General Munroe (2)" (1 text); pp. 58-59, "General Munroe (1)" is a come-all-ye which appears to be a different song but which shares some verses
DT, GENMUNRO*
ST Pea998 (Partial)
Roud #1166
BROADSIDES:
Bodleian, Johnson Ballads 614, "General Munroe," E.M.A. Hodges (London), 1846-1854; also 2806 b.10(8), 2806 b.9(267), Firth b.26(204), Harding B 11(3562), Harding B 19(9), Firth b.25(315) [some illegible words], 2806 c.15(185), Harding B 11(1297), Harding B 11(1298), "General Munroe"; 2806 c.14(70) [partly illegible], "General Monro"; 2806 b.10(9), "General Munro"
Murray, Mu23-y1:024, "General Monro," James Lindsay Jr. (Glasgow), 19C
CROSS_REFERENCES:
cf. "Henry Munroe" (subject)
cf. "Betsy Gray" (subject: Battle of Ballynahinch)
NOTES: In the 1798 Irish Rebellion shopkeeper Henry Monro (1768-1798) led a force of the United Irishmen in a losing battle at Ballynahinch -- about 12 miles from Belfast. Monro was captured and was hanged three days later, on June 16, 1798. Source BBC History site _The 1798 Irish Rebellion_ by Professor Thomas Bartlett. - BS
Monroe (also spelled Munroe, Munro, and Monro) was, ironically, not even Irish; he was a draper, an immigrant from Scotland -- and, like Wolfe Tone among others, a Protestant. He was not a member of the United army, and had had no expectations of being appointed a general. But he ended up in command of rebel forces (or, rather, the rebel mob; it hardly qualified as an army) in Down.
Their commander was about as well equipped to be a general as his  troops were to be an army; he had no military training and wasn't even particularly well educated. Nor did he have time to do anything about his troops' inadequacy even had he known what to do; Robert Kee (in _The Most Distressful Country_, being Volume I of _The Green Flag_, p. 129) reports that he took command in the county only one day before the scheduled beginning of the rising; his predecessor had been arrested.
Discipline they certainly did not have; when Monroe pressed for an attack, Catholics in particular held back (one source says they were afraid of Monroe's Presbyterianism). In a sense, they were right to be hesitant, because the troops simply weren't ready to fight. Then the Loyal troops appeared.
The sight of opposing forces caused many of Monroe's troops to desert. Monroe sent most of his best pikemen into Ballynahinch, since only in the town could they avoid the British guns. But a loyal force equipped with two cannon destroyed the rebel camp, and Major General George Nugent, commanding loyal forces in Ulster, then attacked the town. The remaining rebels were quickly routed (see Thomas Pakenham, _The Year of Liberty_, pp. 229-231). It was, for all intents and purposes, the end of the 1798 rebellion in Ulster. - 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, "General Munro" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS
File: Pea998
===
NAME: General Owen Roe
DESCRIPTION: Battle-weary Owen Roe finds a place to sleep. He pays a woman not to tell where he is hiding. She calls the cavalry. They capture him. He leaves his land to his family and his bridle and saddle to his son. His sister swears to avenge his death.
AUTHOR: Joseph Maguire
EARLIEST_DATE: 1938 (sung by Joseph Maguire on Decca 12137, according to Spottswood)
KEYWORDS: betrayal execution rebellion Ireland
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 35, "General Owen Roe" (1 text, 1 tune)
Roud #5284
NOTES: According to _Ethnic Music on Records: a Discography of Ethnic Recordings Produced in the United States, 1893 to 1942_ by Richard K Spottswood (Urbana, c1990), Joseph Maguire wrote and recorded "General Owen Roe": Decca 12137, recorded January 13, 1938 (matrix number 63147-A). - BS
McBride: "It tells of the bravery of ... Owen Roe O'Neill who returned from the continent to fight for the cause of his country in 1640.... This song tells of his bravery during an incident when he was betrayed while weary and tired from the throes of battle. [The singer] learned this song from a 78 r.p.m. record - he thinks it was a McGettigan record that came from the U.S. in the thirties. It seems possible that McGettigan wrote this version based on a similar song 'General Munroe' ...." The songs are more than similar. Whole verses are lifted, though the names are changed. Even the verse about Roe's/Munroe's sister is the same.
Owen Roe O'Neill was born in Co. Tyrone in either 1595 or 1597. He returned from the continent in 1642 and was appointed commander of the Northern Army of the Confederation of Kilkenny. His death was nothing like what is portrayed in this ballad. He became sick and died, probably of tetanus, on November 6, 1649 (source: "Owen Roe O'Neill - The Cavan Connection" by Jim Hannon at the Cornafean Online site). It had been thought that he was poisoned (see, for example, "Lament for Owen Roe O'Neill" by Thomas Davis: 
"Did they dare, did they dare, to slay Owen Roe O'Neill!"
'Yes they slew with poison him they feared to meet with steel.'
"May God wither up their hearts! May their blood cease to flow!
May they walk in living death, who poisoned Owen Roe!
Edward Hayes, The Ballads of Ireland (Boston, 1859 (reprint of 1855 London edition)), Vol I, p. 204.) - BS
Owen Roe O'Neill is one of those slightly ambiguous figures so common in Irish history. He was the nephew of Hugh O'Neill, Earl of Tyrone (for whom see "O'Donnell Aboo"); see Terry Golway, _For the Cause of Liberty_ (Simon & Schuster, 2000), p. 26. Born around 1590 (so R. F. Foster, _Modern Ireland 1600-1972_, Penguin, 1988, p 80; Golway says 1580), he had left Ireland around the time of the "Flight of the Earls," and had spent thirty-odd years fighting for Spain in the hope that they would rescue Ireland. Finally, during the Civil War of the 1640s, he came home.
Foster, p. 90, says of him, "Subtle, aristocratic, a great figure in the Spanish army, O'Neill was deeply imbued with Continental Catholic zeal... While he was capable of fervent Royalist rhetoric [at a time when Charles I was at war with his own parliament], it as suspected that he harboured the characteristic O'Neill ambitions on his own account." Unfortunately, after so long away, he didn't understand either Irish or English politics.
According to Martin Wallace, _A Short History of Ireland_ (Barnes & Noble, 1986), p. 48, he claimed to be fighting on the order of the embattled Charles I -- which was only partly true; they *thought* Charles would support them, but in fact they fought without his encouragement (Foster, p. 88). Still, their claims helped splinter the Irish. O'Neill became one of the chief leaders of Irish forces, but there was no overall commander to coordinate strategy.
O'Neill won a medium-sized battle against Munroe at Benburb in 1646 (according to Peter and Fiona Somerset Fry, _A History of Ireland_, Barnes & Noble, 1988, p. 153, he left 3000 English and Scots dead on the field); it was the greatest single victory of Irish forces in the period (Foster, p. 80). He could perhaps have marched on Dublin at this point, or moved to clean out the remainder of the Parliamentary army of Scots who occupied Ulster, but did neither, wasting his advantage as he tried to strengthen Catholic control over Ireland rather than win the final battle over the English that would have let the Irish decide things on their own (Foster, p. 98)..
Soon after, the always-fragile unity of the Irish forces crumbled completely -- the moderate leader the Earl of Ormond wanted to make terms; the Papal nuncio, supported by O'Neill, tried to hold out for absolute Catholic supremacy. And then Cromwell came. His dreadful work is described under "The Wexford Massacre." Ireland was left a conquered, ruined country, and O'Neill died in 1649. Golway, p. 27, claims he "died under mysterious circumstances," though Wallace, p. 50, asserts he had been sick for some time; Foster, p. 102, splits the difference and says he died of a "mysterious illness."
Ultimately, I fear he did Ireland more harm than good; by holding out so long, he made compromise impossible and opened the door for Cromwell. - RBW
File: McB1035
===
NAME: General Rawlinson, The
DESCRIPTION: General Rawlinson leaves Marystown and docks at New Harbour. In a gale "the vessel struck the rocks" and sinks but the crew get to shore. They spend three weeks on meager rations waiting to be taken home.
AUTHOR: Ben Doucey
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: sea ship storm wreck
HISTORICAL_REFERENCES: Jan 7, 1922 - General Rawlinson, docked at Oporto, Portugal, collides with the dock fin anchor and sinks. (Lehr/Best, Northern Shipwrecks Database)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 40, "The General Rawlinson" (1 text, 1 tune)
NOTES: I assume New Harbour, on the return trip, is in Portugal rather than the New Harbour not far from St John's. - BS
I assume the _General Rawlinson_ was named for Henry Seymour Rawlinson (1864-1925), commander of the British Fourth Army in World War I. This presumably makes it a fairly new ship in 1922; perhaps the crew was inexperienced? - RBW
File: LdBe040
===
NAME: General Scott and the Veteran
DESCRIPTION: "An old and crippled veteran to the War Department came" to volunteer his services in the Civil War: "I'm not so weak but I can strike, and I've got a good old gun...." "We will plant our sacred banner in each rebellious town...."
AUTHOR: Bayard Taylor?
EARLIEST_DATE: 1922 (Dean); said to have been written May 13, 1861
KEYWORDS: Civilwar patriotic soldier
HISTORICAL_REFERENCES: July 25, 1814 - Battle of Lundy's Lane (Bridgewater), at which the veteran is alleged to have fought. Winfield Scott was a brigadier at Lundy's Lane
1861-1865 - American Civil War. General Winfield Scott (1786-1866), who had been one of the leading generals in the Mexican war, was brevet Lieutenant General and commander in chief of Union forces until age forced him to retire in November 1861
FOUND_IN: US(MA,MW)
REFERENCES: (2 citations)
Warner 13, "General Scott and the Veteran" (1 text, 1 tune)
Dean, pp.128-129, "Billie Johnson of LundyÕs Lane" (1 text)
ST Wa013 (Full)
Roud #9583
NOTES: For details on the Battle of Lundy's Lane, see "The Battle of Bridgewater."
The reference to "Pickens" is to Fort Pickens, the *other* fort (besides Fort Sumter) in Federal hands when the Confederacy seceded. Fort Pickens was in Pensacola Bay, and a handful of federal troops under Lt. Adam J. Slemmer occupied in on January 10, 1861.
This part of the story is quite similar to that of Fort Sumter -- as is the sequel: The Confederates demanded the surrender of Pickens several times in early April. But the Federals reinforced Pickens as they did not reinforce Sumter. Some 400 reinforcements arrived on April 12, and Colonel Harvey Brown took charge on April 18. The Federals held Pensacola for the entire war, depriving the Confederates of an excellent if rather out-of-the-way harbor.
The veteran's disparagement of the "mini" (minie) ball demonstrates both his crustiness and his uselessness -- the rifle musket and minie ball were the first (relatively) rapid-fire rifle type in the world -- about four times as fast as previous rifles. The veteran had used either smoothbore muskets (which couldn't hit a brick wall at fifty paces) or the older rifles (which took roughly two minutes to load and fire). In neither case was he as effective as he thought.
"Arnold" is, of course, the traitor Benedict Arnold.
It is ironic to note that the song ends with the general (nowhere explicitly mentioned as Winfield Scott, but the description fits) turning down the veteran. By the end of the war, the Federals had formed an Invalid Corps of such tired and crippled old men. They needed every body they could get.
There is one fairly well documented instance of a War of 1812 veteran fighting in the Civil War: John Burns of Gettysburg allegedly came out and fought with Union soldiers after Confederates chased off his cows. He is said to have been wounded three times and captured. No one, however, seems to have been able to verify his previous war service -- and, in any case, he was not a proper soldier, just sort of a one-man posse.
I don't know if this song was inspired by an actual incident, but it could have been. According to Steven E. Woodworth, _Nothing But Victory: The Army of the Tennessee 1861-1865_ (Vintage Civil War Library, 2005), p. 6, at the start of the Civil War, a veteran of Lundy's Lane organized a company of men in their forties and fifties, and offered it to the State of Illinois -- only to be turned down because the men were too old. It's easy to imagine a songwriter turning a general incident into one about a particular soldier. - RBW
File: Wa013
===
NAME: General Taylor: see Carry Him To the Burying Ground (General Taylor, Walk Him Along Johnny) (File: Hugi078)
===
NAME: General Wolfe
DESCRIPTION: "Oh, General Wolfe to his men did say, 'Come, come my boys, To yon blue mountain that stands so high...." "The very first volley the French fired at us, They wounded our general on his left breast." The dying Wolfe recalls his exploits
AUTHOR: unknown
EARLIEST_DATE: 1957
KEYWORDS: battle death Canada soldier
HISTORICAL_REFERENCES: Sept 13, 1759 - Battle of Quebec. Wolfe and Montcalm killed.
FOUND_IN: Canada(Ont)
REFERENCES: (2 citations)
Fowke/Mills/Blume, pp. 50-51, "General Wolfe" (1 text, 1 tune)
DT, BRAVWLF3*
Roud #624
RECORDINGS:
Margaret Ralph, "General Wolfe" (on Ontario1)
BROADSIDES:
Bodleian, Harding B 11(2156), "Death of General Wolfe," unknown, n.d.; same broadside as 2806 c.16(156)
CROSS_REFERENCES:
cf. "Brave Wolfe" (subject)
NOTES: This ballad veers curiously between truth and fancy. Wolfe did not lead his men up a mountain -- but he *did* lead them up a high cliff to the Plains of Abraham, where the Battle of Quebec was fought. The bullet which mortally wounded him was not fired in the first volley (since he had already taken two other wounds), but it did hit him in the breast. And he had indeed been in the army for 16 years when he died at the age of 32.
For full historical notes, see "Brave Wolfe."
Spaeth mentions a song, "The Death of General Wolfe" (not the same as "Brave Wolfe") published in 1775 -- but I don't know if that is the same as this song. - RBW
Fowke describes "The Death of the Brave General Wolfe" as an alternate title for "Brave Wolfe" [Laws A1] rather than this song. - PJS
File: FMB050
===
NAME: General Wonder
DESCRIPTION: "General wonder in our land ... As General Hoche appeared; General woe fled through our land ... General gale our fears dispersed ... General joy each heart has swelled, As General Hoche has fled... General of the skies That sent us general gale"
AUTHOR: unknown
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: navy war sea ship storm France Ireland patriotic
HISTORICAL_REFERENCES: December 1796 - A gale disrupts the French Fleet of 43 ships and 15000 men under General Hoche in Bantry Bay; only one ship was sunk and drove several ashore, and the rest returned to Brest. (source: "'Rackets and Tea': The Life and Writings of William Hazlitt (1778-1830)" in _Biographies_ on the Blupete site)
FOUND_IN: 
REFERENCES: (2 citations)
Moylan 29, "General Wonder" (1 text)
ADDITIONAL: Thomas Kinsella, _The New Oxford Book of Irish Verse_ (Oxford, 1989), p. 259, (no title) (1 text)
CROSS_REFERENCES:
cf. "The Shan Van Vogt" (subject)
NOTES: As this song implies, the French invasion commanded by General Hoche was probably the closest Ireland ever came to being liberated by foreign forces. General Hoche was one of the brightest young stars of the French Republic (Napoleon being the other), and he had a sufficient force to cause the British great discomfort at least. (It might have been more than discomfort, given how bad most of the senior British officers were.)
But the wind caused disaster twice. First it scattered and damaged the French fleet. Most ships made it to Bantry Bay, but bad weather made it difficult to land. And the wind had also blown Hoche and naval commander de Galles away from the rest of the fleet. With no assertive officer to force the remaining ships to get something down, the French fleet essentially sat still in Bantry Bay from December 22 to December 25, then sailed for home. The Royal Navy was severely (and rightly) criticized for its complete failure to do anything, but the British had lucked out even so. Hoche would die soon afterward, and no one else in France was willing to devote significant resources to Ireland.
For more context on Hoche's expedition, see the notes to "The Shan Van Voght." - RBW
File: Moyl029
===
NAME: Genette and Genoe: see Jeanette and Jeannot (File: SWMS245)
===
NAME: Gentle Annie
DESCRIPTION: The singer reports that it is harvest time, and soon he will be traveling on. He bids farewell to "gentle Annie," the daughter of the farm. He offers her various warnings
AUTHOR: Stephen C. Foster
EARLIEST_DATE: 1856 (sheet music)
KEYWORDS: love separation farewell farming warning
FOUND_IN: US(So) Australia
REFERENCES: (3 citations)
Randolph 701, "Gentle Annie" (1 fragment, 1 tune)
Saunders/Root-Foster 2, pp. 7-10+417, "Gentle Annie" (1 text, 1 tune); pp. 18-21+419, "Gentle Annie for the Guitar" (1 text, 1 tune)
DT, GENTLANN
ST R701 (Full)
Roud #2656
RECORDINGS:
Apollo Quartet of Boston, "Gentle Annie" (CYL: Edison [BA] 3289, n.d.)
Asa Martin, "Gentle Annie" (Champion 16568, 1933; rec. 1931; on KMM)
Ernest V. Stoneman, "When the Springtime Comes Again" (on Stonemans01)
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(060), "Gentle Annie," James Lindsay (Glasgow), 1852-1859
NOTES: Stephen Foster's original version is said to be based on Annie Laurie, and is mostly a lyric (a lament for a dead girl: "Thou wilt come no more, Gentle Annie, Like a flower thy spirit did depart; Though art gone, alas! like the many That have bloomed in the summer of my heart"). I's been said that it was inspired by his grandmother, Annie Pratt McGinnis Hart.
The song, however, has evolved heavily, presumably because the tune is strong but the lyrics banal. The Australian version (the one you may know from the singing of Ed Trickett), in particular, is heavily localized, and has become a near-ballad of a migrant worker bidding farewell to the (young?) daughter of the household.
Properly, the two should be split, but given the limited circulation of each in tradition, I decided not to bother. - RBW
File: R701
===
NAME: Gentle Boy, The (Why Don't Father's Ship Come In)
DESCRIPTION: "As I roved out one evening As I sat down to rest, I saw a boy scarce four years old Sleep on his mother's breast." They tell about his father who sailed away and was lost in a hurricane. "They cast their eyes to heaven and son and mother died."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: grief parting death sea disaster storm wreck baby mother father separation sailor
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Greenleaf/Mansfield 113, "The Gentle Boy" (1 text)
Peacock, pp. 795-796, "The Ship That Never Came" (1 text, 1 tune)
Lehr/Best 120, "Why Don't Father's Ship Come In?" (1 text, 1 tune)
Roud #2973
CROSS_REFERENCES:
cf. "The Rocks of Scilly" [Laws K8] (theme)
File: GrMa113
===
NAME: Gentle Fair Jenny: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Gentle Robin: see A Robin, Jolly Robin (File: Perc1185)
===
NAME: Gentle Shepherdess, The: see The Sailor and the Shepherdess [Laws O8] (File: LO08)
===
NAME: Gentleman Frog, The: see Kemo Kimo (File: R282)
===
NAME: Gentleman Froggie: see Frog Went A-Courting (File: R108)
===
NAME: Gentleman of Exeter, A (The Perjured Maid) [Laws P32]
DESCRIPTION: A girl and a captain fall in love and vow to be true. After he sails away, though, she turns to another man. When the captain returns, she scorns him. He dies on the day of her wedding. That night he appears as a ghost and carries her away with him
AUTHOR: unknown
EARLIEST_DATE: 1896 (A. W. Moore _Manx Ballads and Music_)
KEYWORDS: courting infidelity marriage death ghost
FOUND_IN: US(Ap,NE) Canada(Mar)
REFERENCES: (5 citations)
Laws P32, "A Gentleman of Exeter (A Perjured Maid)"
SharpAp 130, "The Noble Man" (1 text, 1 tune)
Creighton-SNewBrunswick 66, "The Oxfordshire Captain" (1 text, 1 tune)
BBI, ZN2418, "Susan a Merchants Daughter dear"; cf. ZN789, "Disloyal lovers listen now" 
DT 510, GENTEXTR*
Roud #997
CROSS_REFERENCES:
cf. "Susannah Clargy" [Laws P33] (plot)
cf. "The Ghost's Bride" (plot)
cf. "Alonzo the Brave and Fair Imogene" (plot)
File: LP32
===
NAME: Gentleman Soldier, The
DESCRIPTION: Soldier brings woman into his sentry-box. They have sex; he prepares to leave. She asks him to marry her; he says he can't, as he's already married -- and "two wives are allowed in the army, but one's too many for me!" Nine months later she has a child.
AUTHOR: unknown
EARLIEST_DATE: 1907
KEYWORDS: adultery seduction sex abandonment pregnancy bawdy humorous soldier
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Vaughan Williams/Lloyd, pp. 40-41, "The Gentleman Soldier" (1 text, 1 tune)
Roud #178
CROSS_REFERENCES:
cf. "Drumdelgie" (tune)
cf. "One Morning in May (To Hear the Nightingale Sing)" [Laws P14] (plot)
File: VWL040
===
NAME: Gentleman Still, A: see Poor, But a Gentleman Still (File: FSC103)
===
NAME: Gentleman's Meeting, A: see The Foggy Dew (The Bugaboo) [Laws O3]; also "Pretty Little Miss" [LawsP18] (File: LO03)
===
NAME: Gently, Johnny, My Jingalo
DESCRIPTION: The speaker successively places his hands on various portions of his love's anatomy, all of them respectable. She tells him, "Come to me, quietly, do not do me injury/Gently, Johnny, my jingalo". They marry.
AUTHOR: To all intents and purposes, Cecil Sharp
EARLIEST_DATE: 1916
KEYWORDS: courting marriage sex derivative
FOUND_IN: 
REFERENCES: (3 citations)
Sharp-100E 65, "Gently, Johnny, My Jingalo" (1 text, 1 tune)
Silber-FSWB, p. 158, "Gently Johnny, My Jingalo" (1 text)
DT, JJINGLO*
Roud #5586
CROSS_REFERENCES:
cf. "A-Rovin'" (plot, theme)
cf. "Yo Ho, Yo Ho" (theme, floating lyrics)
cf. "Tickle My Toe" (theme)
NOTES: [Sharp writes,] "The words were rather coarse, but I have, I think, managed to re-write the first and third lines of each verse without sacrificing the character of the original song." The second and fourth lines constitute a refrain, of course. With this in mind, I call this essentially a new song, written by CJS. Otherwise, it could well be listed under "A-Rovin'." -PJS
Ed Cray, following Reeves, notes that "Gently" was rewritten from "Yo Ho, Yo Ho," which follows the exact form of "A-Rovin'" although with even more explicit lyrics. Roud lumps the result with "Yo Ho." I say the amount of rewriting is so great to make them separate songs. - RBW
File: ShH65
===
NAME: Geordie [Child 209]
DESCRIPTION: Geordie is taken (for killing a man or the king's deer). When word comes to his lady, she sets out to do all possible to save his life. In most accounts she raises his ransom, though in others Geordie is executed
AUTHOR: unknown
EARLIEST_DATE: 1792 (Johnson)
KEYWORDS: execution hunting punishment rescue wife
FOUND_IN: Britain(Scotland(Aber),England(All)) US(Ap,MA,MW,NE,NW,SE,So) Canada(Mar,Newf)
REFERENCES: (30 citations)
Child 209, "Geordie" (15 texts)
Bronson 209, "Geordie" (58 versions)
BarryEckstormSmyth p. 475, "Geordie" (notes only)
Flanders-Ancient3, pp. 231-235, "Geordie" (2 texts, 1 tune)
Belden, pp. 76-78, "Geordie" (3 texts)
Randolph 28, "The Life of Georgie" (3 texts plus 1 excerpt, 2 tunes) {Randolph's A=Bronson's #36, D=#40}
Randolph/Cohen, pp. 52-53, "The Life of Georgie" (1 text, 1 tune -- Randolph's 28D) {Bronson's #40}
Davis-Ballads 39, "Geordie" (3 texts plus a fragment, 1 tune entitled "Georgie") {Bronson's #30}
Davis-More 34, pp. 262-266, "Geordie" (1 text, 1 tune)
BrownII 38, "Geordie" (1 text, in which the condemned man is "Georgia"!)
Scarborough-SongCatcher, pp. 213-215, "Geordie" (1 text, with local title "Georgy-O," plus an excerpt from Christie; 1 tune on p.411) {Bronson's #5}
Chappell-FSRA 17, "Johnny Wedlock" (1 text, 1 tune) {Bronson's #49}
Flanders/Brown, pp. 241-242, "Charley's Escape" (1 text from the Green Mountain Songster)
Greenleaf/Mansfield 17, "Lovely Georgie" (1 text)
Creighton-Maritime, p. 27, "Geordie" (1 text, 1 tune)
Creighton/Senior, pp. 73-75, "Geordie" (2 texts plus 1 fragment, 1 tune) {Bronson's #23}
Gardner/Chickering 128, "Georgie" (1 fragment)
Leach, pp. 554-559, "Geordie" (3 texts)
Sharp-100E 9, "Geordie" (1 text, 1 tune)
Niles 53, "Geordie" (1 text, 1 tune)
SharpAp 34, "Geordie" (4 short texts plus 2 fragments, 6 tunes){Bronson's #50, #31, #51, #30, #55, #41}
Sharp/Karpeles-80E 24, "Georgie" (1 text, 1 tune -- a composite version) {Bronson's #30}
Vaughan Williams/Lloyd, pp. 42-43, "Geordie" (1 text, 1 tune) {Bronson's #27}
Hodgart, p. 135, "Geordie" (1 text)
JHCox 23, "Geordie" (1 text)
Ord, pp. 408-410, "Gight's Ladye"; pp. 456-457, "My Geordie, O, My Geordie O" (2 texts, 1 tune) {Bronson's #4}
MacSeegTrav 16, "Geordie" (2 texts, 2 tunes)
Silber-FSWB, p. 220, "Geordie" (1 text)
BBI, ZN279, "As I went over London Bridge"
DT 209, GEORDI GEORDI2* GEORDI4*
Roud #90
RECORDINGS:
Harry Cox, "Georgie (Geordie)" (on FSB5, FSBBAL2) {Bronson's #24}
Paul Joines, "The Hanging of Georgie" (on Persis1)
Ewan MacColl and Peggy Seeger, "Georgie" (on ENMacCollSeeger02)
Levi Smith, "Georgie" (on Voice11)
BROADSIDES:
Bodleian, Harding B 11(1797), "The Life of Georgey," H. Such (London), 1849-1862; also Harding B 25(488), "Death of Georgy", W. Armstrong (Liverpool), 1820-1824; also Firth c.21(20), Harding B 11(2297), "Maid's Lamentation for her Georgy" 
CROSS_REFERENCES:
cf. "The Prisoner at the Bar (The Judge and Jury)" (plot)
ALTERNATE_TITLES:
The Death of Geordie
NOTES: The historical antecedents of this ballad are disputed. Some suggest that it is based on the life of George Gordon (1512-1562), Fourth Earl of Huntley, the son of Margaret Stewart, she being an illegitimate daughter of James IV. A blackletter ballad cited by Lloyd names Geordie as George Stoole of Northumberland, executed in 1610, but Lloyd suggests the ballad itself predates the 17th century. - PJS, RBW
To the above list of possibilities, I'm going to add one other possibility, though it is later than Lloyd's broadside. But it might have caused the song to be reshaped. According to Susan Maclean Kybett, _Bonnie Prince Charlie_, Dodd Mead, 1988, pp. 16-17, after the 1715 Jacobite rebellion, several peers (including, e.g., Lord Derwentwater) were condemned to death. One of them was William Maxwell of Nithsdale. His wife Winifred begged before George I for his life. Her request was refused, but she was granted a last visit -- and managed to help him escape.
I must admit to sometimes wondering if this is really a single ballad. In most texts, of course, Geordie is charged with murder. But in a few texts, such as Child's "H" and Ord's version "Gight's Ladye," the charge is poaching, and the whole feeling of the song (as well as the lyrics) is different. Coffin's notes in Flanders-Ancient3 observes that there are two endings, one with Geordie ransomed, one with him executed, and that these seem to form distinct family groups. I wouldn't be surprised if two separate songs were mixed. - RBW
File: C209
===
NAME: Geordie Asking Miss Tiptoe in Marriage: see Geordie's Courtship (I Wad Rather a Garret) (File: Ord204B)
===
NAME: Geordie Downie
DESCRIPTION: "Hae ye heard o' a widow in rich attire... She's followed a tinker frae Dee-side, His name was Geordie Downie." She rejoices to follow tinker Geordie rather than her former husband. But he gets drunk, kills her, and falls off his horse and dies
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: tinker Gypsy courting abandonment homicide death horse
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 461, "Geordie Downie" (1 text)
Roud #3930
NOTES: Ord discusses this in connection with the "glamour" cast by the Gypsy Laddie over women, implying that this is a sort of sequel of that song. This seems unlikely, but it probably does derive from the same sort of anti-Gypsy feeling. - RBW
File: Ord461
===
NAME: Geordie Gill
DESCRIPTION: "Of aw the lads I see or ken, There's yen I like abuin the rest; He's neycer in his warday duds Than others donn'd in aw their best." The singer recalls all the held she has had from Geordie.  She admits that her heart is in his keeping
AUTHOR: Robert Anderson
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: love courting
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 110-111, "Geordie Gill" (1 text, 1 tune)
ST StoR110 (Partial)
Roud #1536
File: StoR110
===
NAME: Geordie's Courtship (I Wad Rather a Garret)
DESCRIPTION: "A maid of vain glory, with grandeur and pride Was asked by a ploughman for to be his bride." She rejects him, saying she would prefer to be hanged. He lists his assets. She still scorns him. He concludes, "I swear you shall  never get me for a man."
AUTHOR: probably John Milne
EARLIEST_DATE: 1871 (Milne's Selection of Songs and Poems)
KEYWORDS: courting rejection curse
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 204-205, "Geordie Asking Miss Tiptoe in Marriage" (1 text)
Roud #5067
CROSS_REFERENCES:
cf. "The Courting Case" (plot)
ALTERNATE_TITLES:
Plooman Geordie
NOTES: That this is a composed song is beyond doubt. My only hesitation in attributing it to Milne is the diversity of the forms found in tradition; nearly every collection has a different title and even some difference in form. It's hard to imagine that much variation arising in the few decades between Milne's publication and the early collections.
I wouldn't be at all surprised if this were inspired by "The Courting Case" or something similar. - RBW
File: Ord204B
===
NAME: Geordie's Lost His Penker
DESCRIPTION: Geordie has lost his penker (largest marble) in a cundy (drain-grate). The singer rams a clothes prop up the cundy, but can't retrieve the penker. He ties on a terrier, but fails; finally he blows up the drain -- as Geordie finds the penker in his pocket
AUTHOR: unknown
EARLIEST_DATE: 1961 (recorded by Len Elliott)
KEYWORDS: game humorous
FOUND_IN: Britain(England(North)) Ireland
REFERENCES: (1 citation)
DR, GORDPENK
Roud #8244
RECORDINGS:
Len Elliott, "Geordie's Lost His Penker" (on Elliotts01)
ALTERNATE_TITLES:
Wee Willie's Lost His Marley
NOTES: Anyone who thinks everything in this song is simple and straightforward hasn't heard Louis Killen sing it, or seen the look in his eye as he sings, "He rammed it up the cundy...." - PJS
File: RcGLHP
===
NAME: George Alfred Beckett
DESCRIPTION: Beckett leaves Perlican for the coal fields of Cape Breton. At Glace Bay, he beats a taximan to death with an iron bar, intending to rob him. He escapes back to Newfoundland but is caught and returned to stand trial in Cape Breton
AUTHOR: unknown
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: execution homicide trial gallows-confession
HISTORICAL_REFERENCES: Apr 20, 1931 - George Alfred Beckett, convicted of murdering Nicolas Marthos, hanged in Sydney, Nova Scotia. (Lehr/Best)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 41, "George Alfred Beckett" (1 text, 1 tune)
NOTES: [Lehr/Best's] version starts with the usual references to honest parents who raised him tenderly. Lehr/Best discusses a version collected in Nova Scotia that adds the features expected at the end: don't do what I have done or you'll end on the gallows and, for my part, "may the Lord have mercy on my soul." Cape Breton, Sydney, and Glace Bay are eastern Nova Scotia. Perlican is on the Avalon Peninsula, not far from St John's. - BS
File: LeBe041
===
NAME: George Aloe and the Sweepstake, The: see High Barbaree [Child 285; Laws K33] (File: C285)
===
NAME: George Bunker
DESCRIPTION: George Bunker goes fishing but sees Nellie on the shore. He takes her for a "walk" and promises to marry her. He is already married. He sails away for fish intending to return to Nellie.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: adultery seduction lie promise fishing sea ship infidelity
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 192-193, "George Bunker" (1 text, 1 tune)
File: Pea192
===
NAME: George Collins: see Lady Alice [Child 85] (File: C085)
===
NAME: George Jones [Laws D20]
DESCRIPTION: George Jones, of County Clare, tells the account of the Saladin mutiny. The mutineers kill the Captain and others of the crew, then are shipwrecked. Jones bids farewell and awaits execution
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: ship mutiny execution farewell
HISTORICAL_REFERENCES: 1844 - the former pirate Fielding convinces part of the crew of the "Saladin" to mutiny against the harsh Captain Mackenzie. The conspirators then turn against Fielding; they are taken and executed after the ship is wrecked off Halifax
FOUND_IN: Canada(Mar)
REFERENCES: (6 citations)
Laws D20, "George Jones"
Peacock, pp. 887-888, "The Saladin Mutiny" (1 text, 1 tune)
Creighton-NovaScotia 110, "George Jones" (1 text, 1 tune)
Creighton-SNewBrunswick 113, "George Jones" (1 text, 1 tune)
Mackenzie 112, "George Jones" (1 text)
DT 353, SLDNMTNY*
Roud #1817
CROSS_REFERENCES:
cf. "Charles Augustus (or Gustavus) Anderson" [Laws D19] (subject)
cf. "Saladin's Crew" (subject)
NOTES: For details on the Saladin Mutiny, see the notes to "Charles Augustus (or Gustavus) Anderson" [Laws D19]. - RBW
[Regarding the version in Creighton-SNewBrunswick]: Roud makes this "Charles Augustus (or Gustavus) Anderson" [Laws D19] but only the first verse belongs to that ballad. - BS
File: LD20
===
NAME: George Mann
DESCRIPTION: Charles Mann recalls his quiet youth. He describes murdering John Whatmaugh along with Gustave Ohr (blaming the deed on Ohr). They fly but are captured. He grieves for his father, come to see him die. He warns young men against his crime
AUTHOR: unknown
EARLIEST_DATE: 1939 (Eddy)
KEYWORDS: execution gallows-confession homicide
HISTORICAL_REFERENCES: 1879 - George Mann and Gustave Ohr attack, rob, and beat to death John Whatmaugh. They are condemned to death later in the year
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 122, "Story of George Mann" (1 text)
ST E122 (Full)
Roud #4096
CROSS_REFERENCES:
cf. "Charles Guiteau" [Laws E11] (meter)
cf. "Gustave Ohr" (meter, subject)
NOTES: As "The Story of George Mann," this song is item dE38 in Laws's Appendix II. - RBW
File: E122
===
NAME: George Reilly: see John (George) Riley (I) [Laws N36] AND John (George) Riley II [Laws N37] (File: LN37)
===
NAME: George Riley: see John (George) Riley (I) [Laws N36] AND John (George) Riley II [Laws N37] (File: LN36)
===
NAME: George Washington: see Hallelujah (File: R421)
===
NAME: George Whalen: see James Whalen [Laws C7] (File: LC07)
===
NAME: George's Bank (I): see Fifteen Ships on Georges' Banks [Laws D3] (File: LD03)
===
NAME: George's Bank (II)
DESCRIPTION: A captain's wife and three babes wait for the ship sunk on George's Bank. "Now many's brave fishermen sacrificed yearly Out on the ocean where danger do rise But God is father and lover of these children. Help and pity us poor fisherman's wives"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: grief death fishing sea ship wreck children wife
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 130, "George's Bank" (1 text, 1 tune)
Roud #16964
NOTES: The Northern Shipwrecks Database 2002 lists well over 200 ships by name lost on George's Bank between 1822 and 1995.
A July 2002 note by Wilfred Allan at Nova-Scotia Seafarers-L Archives site states "Georges Bank is at the edge of the Atlantic continental shelf between Cape Cod and Nova Scotia. Thus it straddles both the U.S and Canadian borders... about 250 km by 150 km in area." - BS
File: GrMa130
===
NAME: George's Banks: see The Roving Newfoundlanders (II) (File: GrMa150)
===
NAME: George's Quay
DESCRIPTION: Johnny Doyle sails for China leaving Mary pregnant. Years later Mary's son grows up. She dresses as a sailor and ships aboard a pirate to find Johnny. Their ships meet. Johnny is a captain. They return home, marry and she becomes pregnant again.
AUTHOR: Jimmy Montgomery (source: OLochlainn-More)
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: courting marriage reunion separation cross-dressing pregnancy sea ship baby sailor pirate
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 89, "George's Quay" or "The Forgetful Sailor" (1 text, 1 tune)
ADDITIONAL: Frank Harte _Songs of Dublin_, second edition, Ossian, 1993, pp. 34-35, "George's Quay (or The Forgetful Sailor)" (1 text, 1 tune)
NOTES: Anyone else think this is an Irish rewrite of _The Odyssey_?
Incidentally, the song says that "In China... they're very wise and drown at birth their surplus daughters." This is historically true (though it's even more common in India), and there is evidence that elimination of baby girls continues in China due to the "one child" policy (though they now use abortion rather than infanticide). Matt Ridley, _The Red Queen: Sex and the Evolution of Human Nature_, Penguin, 1993, p. 122, notes "The Chinese, deprived of the chance to have more than one child, killed more than 250,000 girls after birth between 1979 and 1984. In some age groups in China, there are 122 boys for every 100 girls. In one recent study of clinics in Bombay, of 8,000 abortions, 7,997 were of female fetuses."
However, this is by no means wise if the goal is to leave descendants. The policy obviously produces a surplus of males -- who end up leaving with no descendants because they cannot marry. I have seen reports that the effects of this are already being seen, though I can't recall the source. - RBW
File: OLcM089
===
NAME: Georgia Buck
DESCRIPTION: "Oh, my name is Georgia Buck, and I never had much luck." Various verses about Georgia's troubles and his wife, typically ending "Georgia Buck is dead, the last thing he said Was, 'Don't ever let a woman have her way" (or "Dig me a hole in the ground.")
AUTHOR: unknown
EARLIEST_DATE: 1913 (Brown)
KEYWORDS: marriage death
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 500, "Georgia Buck" (2 short texts plus a fragment)
Roud #3428
RECORDINGS:
Al Hopkins and his Buckle Busters, "Georgia Buck" (Brunswick 183/Vocalion 5182 [as the Hill Billies], 1927)
NOTES: Roud lumps this with "The Southern Soldier Boy (Barbro Buck)," or at least some versions of it. That seems to be based solely on the word "Buck" in the title. - RBW
File: Br3500
===
NAME: Georgia Creek
DESCRIPTION: "Georgia's creek where I forsake, To the red stone hills I came; I fell in love with a pretty little girl...." The two ride together to Charleston, but pray to escape the town. They look forward to returning to the hills where she will keep bees
AUTHOR: unknown
EARLIEST_DATE: 1929 (Henry, collected from Austin Harmon)
KEYWORDS: courting travel return bug
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 35-36, "Georgia Creek" (1 text)
File: MHAp035
===
NAME: Georgia Lullabye
DESCRIPTION: "De little stars am blinkin', Cuase dey wants to go to sleep, Bye, oh mah baby, hush-a-bye." The stars need to watch, but baby can sleep. Mother is the sheep, baby is the lamb, and the mother loves the baby
AUTHOR: unknown
EARLIEST_DATE: 1932 (Henry)
KEYWORDS: lullaby nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 218-219, "Georgia Lullabye" (1 text)
File: MHAp218
===
NAME: Georgie: see Geordie [Child 209] (File: C209)
===
NAME: Georgie Collins: see Lady Alice [Child 85] (File: C085)
===
NAME: Georgina, The
DESCRIPTION: "On the seventeenth of March, my boys, good people you all may know" Georgina leaves Liverpool "all bound for Pernambuco in South America" [fragment; first verse only]
AUTHOR: unknown
EARLIEST_DATE: 1947 (Ranson)
KEYWORDS: drowning sea ship storm wreck sailor
HISTORICAL_REFERENCES: Mar 17, 1844 - Georgina wrecked on Blackwater Bank; twelve of the crew of fourteen are lost (source: Ranson; Bourke in _Shipwrecks of the Irish Coast_ v1, p. 44)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 109, "The Georgina" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Pomona (II)" (subject)
SAME_TUNE:
cf. "Thomas Murphy" (tune)
NOTES: Ranson: Tune is "Thomas Murphy" on p. 98. - BS
File: Ran109
===
NAME: German Clockwinder, The
DESCRIPTION: A German (clockwinder/musician) comes to town, offering to "(mend/wind) (clocks/pianos)" by day or night. A lady takes his offer. Her husband finds them at work. He beats the German, who vows never again "to wind up the clock of another man's wife."
AUTHOR: unknown
EARLIEST_DATE: 1954
KEYWORDS: technology bawdy sex foreigner
FOUND_IN: Britain(England(South,Lond)) Ireland
REFERENCES: (2 citations)
Kennedy 201, "The German Musicianer" (1 text, 1 tune)
DT, CLOKWIND*
Roud #241
RECORDINGS:
Harry Cox, "The Old German Musicianer" (on HCox01)
CROSS_REFERENCES:
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (alternate tune)
ALTERNATE_TITLES:
The German Clockmaker
The Wonderful German Musician
File: K201
===
NAME: German Musicianeer, The: see The German Clockwinder (File: K201)
===
NAME: Gerry Ryan: see Jerry Ryan (File: Doyl3068)
===
NAME: Gerry's Rocks: see The Jam on Gerry's Rock [Laws C1] (File: LC01)
===
NAME: Gest of Robyn Hode, A [Child 117]
DESCRIPTION: 456 stanzas about Robin Hood, his men, his travels, his robberies, his courtesy, his victims, his relations with the king, his piety, his betrayal and death, etc. Much of the ballad deals with Little John, the Sheriff, and their relations with Robin
AUTHOR: unknown
EARLIEST_DATE: before 1534 (Wynkyn de Worde's edition of A Little Geste of Robyn Hoode was probably printed c. 1495)
LONG_DESCRIPTION: A narrative in eight fits, set after Robin has become an outlaw.
In fit one, Robin sends out his men to seek a guest for dinner. They find a knight, who, however, has gone deeply in debt to ransom his son.
In  the second fit, the knight (who has been given a gift by Robin) appeals to his lenders to have pity on him. They demand payment instead, and hope to have his lands. The knight pays his debts using Robin's money.
In the third fit, Little John takes part in an archery contest, wins, is invited to the Sheriff's house, has a fight with the Sheriff's cook, and induces the cook to join Robin's band.
In the fourth fit, Robin again seeks a dinner guest; they find a steward of those to whom the knight owed money. They take his purse; it amounts to 800 pounds (twice what they lent the knight).
In the fifth fit, Robin and his men join an archery contest, but are discovered and must take shelter in a knight's castle (perhaps their old friend, now called Sir Richard at the Lea)
In the sixth fit, the sheriff goes to London to appeal to the King; Robin and his men escape. The Sheriff captures the knight instead. Robin rescues him and kills the sheriff.
In the seventh fit, the King comes to deal with Robin Hood. He disguises himself and meets Robin's band. He pardons them and takes him into his service.
In the eighth fit, Robin grows tired of servitude and returns to the greenwood. Eventually he is killed by the prioress of Kirklees.
KEYWORDS: Robinhood outlaw
HISTORICAL_REFERENCES: 1272-1307 - Reign of Edward I
1307-1327 - Reign of Edward II
1327-1377 - Reign of Edward III
FOUND_IN: Britain(England) Ireland
REFERENCES: (5 citations)
Child 117, "A Gest of Robyn Hode" (1 text)
Bronson 117,"Robin Hood" (6 versions, though none has a substantial text and only one shows any words at all; Bronson, with reason, questions their validity); cf. Chappell/Wooldridge I, pp. 273, "Robin Hood (2 tunes, partial text) {Bronson's #2a}
OBB 115, "A Little Geste of Robin Hood and his Meiny" (1 text)
Gummere, pp. 1-67+313-320, "A Gest of Robin Hode" (1 text)
HarvClass-EP1, pp. 128-186, "A Gest of Robyn Hode" (1 text)
Roud #70
NOTES: It will probably be evident that, in this case, "gest" means "geste" ("song of deeds"), not "guest."
The "Saint Austin" of stanza 390 is presumably Augustine of Canterbury, who converted Britain to Catholicism, not the more famous Augustine of Hippo.
This song is, of course, much longer than any truly traditional ballad on record. For all that Child calls it a popular ballad, a large portion of the Robin Hood corpus is actually minstrel work. This piece is an obvious example.
The "Gest" is considered by J. C. Holt, following Child and others, and others to be one of only five fundamental pieces of the Robin Hood corpus (the others being "Robin Hood and Guy of Gisborne" [Child 118],  "Robin Hood and the Monk" [Child 119], "Robin Hood and the Potter" [Child 121], and "Robin Hood's Death" [Child 120]). (See J. C. Holt, _Robin Hood_, first edition,Thames & Hudson, 1982, pp. 15-34).
To this list, however, E. K. Chambers,  _English Literature at the Close of the Middle Ages_, pp. 132-134, makes various changes; his list, after a nod to "Robyn and Gandeleyn" [Child 115], consists of Guy of Gisborne, the Monk, and the Potter, plus perhaps the Geste, but not the Death; instead he offers "Robin Hood and Friar Tuck," i.e. "Robin Hood and the Curtal Friar" [Child 123]. Child too concedes the "Curtal Friar" to be "popular," but not necessarily early, and I have to say that the evidence supports this conclusion. It is interesting to note that there was a genuine outlaw named Friar Tuck, though he worked in the fifteenth century, far too late to be an inspiration for the Robin Hood legend. He, like Maid Marion, may have come to be associated with Robin via the May Games; see the notes to "Robin Hood and the Curtal Friar.")
Maurice Keen's list (_The Outlaws of Medieval Legend_, Dorset, 1961, 1977, 1987, pp. 116-117) of Robin Hood ballads of "proven early origin" is the "Geste," the "Story of Robin Hood and the Potter," "Robin Hood and Guy of Gisborne," and "Robin Hood and the Monk"; the "Death" is excluded even though its plot is part of the "Geste" and so clearly ancient.
Keen does note that the three shorter ballads have very different "feel": The "Potter" is humorous, with little real violence but a lot of tricks; the "Monk" and "Sir Guy," especially the latter, are very bloody. (The "Death," if it be granted as ancient, is of course more a tale of treachery than anything else.)
 On page 123, Keen in effect appends "Robin and Gandelyn" to his list of old ballads (while adding that it is only the skeleton of a ballad, hardly a full-blown story of Robin Hood; in his telling, it becomes a sort of proto-Robin tale), plus noting the much-mentioned connection of the Robin Hood corpus to "Adam Bell, Clim of the Clough, and William of Cloudesly" [Child 116],
Allowing some doubt about the exact list of early ballads, it is certain that most Robin Hood ballads are considered late imitations or additions to these -- often rather incompetent ones; as Keen notes (pp. 99-100), "Most [of the Robin Hood ballad], at least in the form in which we have them, are compositions of the sixteenth and seventeenth centuries, when Robin Hood's traditional world already belonged to a half-forgotten past. The cruel forest laws have fellen into desuetude; archery was no longer a national exercise; the abbeys whose monks the outlaws had robbed had been dissolved. Robin Hood's legend belonged, in fact, to a world so far away in time that almost anything could be believed of it, and as a result his story was sometimes changed out of recognition."
Keen adds that "we must remember that we are not dealing with a host of different stories, but with a host of versions of the same story, and that what is significant is the similarity of tone, the forest setting, the animus against the law and its officers, the callous indifference to bloodshed, and not the differences of detail. At the same time we must remember that we are not dealing with a series of individual characters, but with a type-hero, the outlaw, who, though he may appear under more than one alias, remains essentially the same, and what is significant about him is not his name or his individual acts, but his conventional attitudes" (pp. 126-127).
But even if Robin is more a spirit of outlawry than an actual outlaw, there must be a history of how that spirit arose. Trying to trace this is as difficult as sorting out the ballads themselves. We must look both at the age of the sources and at their content.
The "Gest" is not, in terms of the age of the manuscript, the oldest Robin Hood ballad (that honour is regarded as belonging to "Robin Hood and the Monk," dated c. 1450). The "Gest" is, however, early and widespread; a partial text seems to have been printed between 1510 and 1515 in Antwerp, and Wynken de Worde (who worked from 1492 to 1534) printed a complete text, now considered the standard. Three other version, with minimal differences, went through the press at about this same time; all are believed to have been derived from a single relatively recent original.
Keen, p. 101, notes that the "Gest" seems to be a combination of elements from four other ballads (though his names do not correspond to Child's; he titles them "Robin Hood and the Knight," "Robin Hood, Little John and the Sheriff," "Robin Hood and the King," and "Robin Hood's Death"). He also notes that, for all its length, the "Gest" opens with Robin already in the greenwood; the outlaw simply appears there, almost like a wood sprite.
This is typical of the early ballads. Holt, pp. 35-38, observes that much of the popular legend of Robin Hood is absent from these early pieces. Among the missing features: Maid Marian (the link between Robin and Marion/Marian seems to come from French romances, and was cemented by the May Games, where she was queen), Richard the Lion-Hearted (the Gest's king is Edward, though it's not clear which Edward), Robin's birth as Robin of Locksely and/or Earl of Huntingdon (in the early legend, Robin is clearly a yeoman), and the theme of robbing the rich to give to the poor. These and many other features accumulated later.
It should be noted that even the "basic" pieces of the legend date from well after Robin's time, which may explain why the chronology of the Robin Hood corpus is such a mess. Starting with the external evidence (from sources other than the ballads):
The earliest certain reference to Robin Hood is in Langland's _Piers Plowman_. In the "B" text, Passus V, line 396, we read "But I kan [ken] rymes of Robyn Hood and Randolf Erl [Earl] of Chestre" (so the text edited by A. v. C. Schmidt for the Everyman edition, but there are no major variants in this line). This was written around 1377, implying that by that date the Robin Hood legend had already entered the ballad tradition.
The earliest Robin Hood ballad manuscript, as noted, is  "Robin Hood and the Monk" [Child 119], which occurs in ms. Cambridge Ff. 5.48 of about 1450. Soon after, we find a dramatic fragment of the story of "Robin Hood and Guy of Gisborne" [Child 118] scribbled on the back of a slip of financial receipts dated 1475/6 C.E. This is not the ballad itself, but it is clearly the same story.
Robin occurs in several chronicles, but at diverse dates. Andrew de Wynton (c. 1415) dates him to 1283-1285 (reign of Edward I), and places him in "Ynglewode and Bernysdale" ("Inglewood and Barnsdale").
Walter Bower (c. 1445) dates Robin to 1266 (reign of Henry III; Holt speculates that this might make him one of the defeated followers of Simon de Montfort).
By the late fifteenth century, Robin Hood was a character in the May games. But, except that he was a bowman associated with Little John, little can be learned of from these early games (even assuming the recorded forms of the games match the traditional).
In 1521, John Major dated Robin to 1193/4 (reign of Richard I). This latter date was followed by John Leland (fl. 1530) and later by Richard Grafton (fl. 1550), who claims to have found records of Robin in the exchequer rolls -- records which, however, cannot now be found. In this connection I note that Keen, p. 129, compares the tale of Robin with the epic of the historical Fulk FitzWarrene. FitzWarrene (FitzWarin in Keen) was one of the rebels against King John, and became the subject of a romance similar in outline to the tale of Robin's foregiveness by the King; Keen implies a possibility that the tale of Robin, which apparently started as a story of one of the Edwards, might have been attracted to the Richard I/John period by the similarity in plots.
In 1632, Martin Parker published "The True Tale of Robin Hood," which lists Robin's death date as December 4, 1198 (late in the reign of Richard I). This, however, contradicts the reports of Robin's gravestone. The papers of Thomas Gale (d. 1702) report that the inscription dated Robin's death to 24 Kalends of December 1247 (this is not a legitimate Roman date, but may mean December 24; in any case the language of the inscription is far too modern for 1247).
Other sources report his grave at Kirklees, with the inscription "Here lie Roberd Hude, William Goldburgh, Thomas." This was copied by Johnston in 1665, but was no longer legible in the time of Gough (1786), although that author printed Johnson's version. Today the grave slab can no longer be found. Gough, however, transmitted a report that the ground under the slab was undisturbed, meaning that the slab was either a trick or had been moved.
(This is, of course, not the only alleged Robin Hood relic. We know of a "Robin Hood's stone," first attested in 1540, "Robin Hood's Well," mentioned in 1622; etc. But all such relics are either lost or more recent inventions.)
By the sixteenth century we find Robin becoming a nobleman. This was the report of Grafton, and was supported by the Gale inscription, paraphrased by Parker in 1598. Dr. William Stukeley, in 1746, combined inaccurate records of the peerage with a good deal of fiction to convert Robin into "Robert fitz Ooth" (=Fitzhugh?), third earl of Huntingdon, giving his death date as 1274 (just after the accession of Edward I).
In 1601 we have a book, _The Death of Robert, Earl of Huntingdon_, by Monday and Chettle. This alludes to Robin's death, but the portion I've seen has little substantial detail.
In 1795, Joseph Ritson published his "Robin Hood." In one sense this is invaluable, as it contains a vast amount of Robin Hood material not accessible elsewhere (note how many of the Child references are to Ritson) -- but it also retails a vast amount of late rubbish, making very little attempt to separate the earlier sources from later additions. It was Ritson, e.g., who is largely responsible for the notion of "robbing the rich to give to the poor."
Turning to the ballads themselves, note that, in stanza 353, 450, etc., of the "Gest," the king of England is named Edward. At first glance this would appear to be Edward I (reigned 1272-1307). Edward was the great-grandson of Henry II, the grand-nephew of Richard I, and the grandson of John, the three kings most associated in recent myth with Robin -- but though a date in the reign of Edward I does not match the common chronology, it is logical; the longbow was in much wider use in Edward's reign than in Henry's or Richard's (in whose times it was not used at all, at least outside Wales).
In 1852, however, Joseph Hunter showed that the only King Edward who made a progress resembling that of the "Geste" was Edward II, who visited Lancashire, Yorkshire, and Nottingham in 1323. This leads to other problems, though: Could a Robin Hood who was active in 1323 have become a legendary figure as early as the time Langland wrote? In addition, Edward II was deposed and murdered in 1327; is it possible that the legend would take no notice of this?
Much has been built on Hunter's speculations (Hunter also found a Robert Hood, whose wife was Matilda, in Wakefield in 1317, and a Robert/Robyn Hood among Edward's domestic servants in 1324). There is, however, absolutely no basis to believe in the authenticity of any of this. Moreover, as Holt points out, Barnsdale (Robin's base in the earliest legends) was known as a haunt of robbers as early as 1306. This does not preclude dating Robin to 1323 -- but it implies there were outlaws on the scene before his arrival.
Holt (pp. 53-61) summarizes attempts to locate the original Robin Hood; as Holt himself admits, none of them are in any way convincing. Although all can be made to fit some part of the legend, they require ignoring other parts.
Keen (pp. 137-138), referring simply to the general notion of the greenwood legend, strenuously argues that it must date from the fourteenth or fifteenth century, because of the many references to  livery and its misuse -- a common issue in that time period.
Later legends regarded Robin as a Saxon opposed to the Norman Conquest. This is patently absurd; the longbow did not exist then (Holt and others think that Robin's weapon could have been a short bow. However, Robin's exploits imply a weapon far superior to that used by the royal officialdom. This clearly requires the longbow). Robin's place as a Saxon rebel seems to be a confusion with the tale of Hereward the Wake (itself mostly legend) -- a suspicion strengthened by the parallels between "Robin Hood and the Potter" and a similar tale of Hereward's disguise.
The legend of Robin Hood is also connected with that of "Adam Bell, Clim of the Clough, and William of Cloudesly" [Child 116], first published in 1536. These three were based in Inglewood in Cumbria, not Barnsdale (though, as noted, Wynton places Robin in Inglewood), and William is married (indeed, it is a visit to his wife that motivates the largest part of the ballad) -- but almost all the incidents are paralleled in the "Gest."  An attempt to combine the two legends produced the monstrosity that is "Robin Hood's Birth, Breeding, Valor, and Marriage" [Child 149].
If the mention of the longbow requires a post-conquest date for Robin, though, it also gives a latest possible date. Keen, p. 138, dates the decline of the longbow to the Battle of Castillon in 1453. This is accurate, in a way, but it is noteworthy that the longbow first won battles for the English at Halidon Hill (1333) and Crecy (1347), when Edward III was king.
And the longbow had become widespread even earlier. During the reign of Edward I, longbow training was *required* of ordinary folk (see Desmond Seward, _The Hundred Years War_, Atheneum, 1982, p. 53). This makes it simply impossible for Robin and his men to have been active as late as the time of Edward III (even if you ignore the mention in _Piers Plowman_). Robin's men survive because of their exceptional skill with the bow -- but, by the reign of Edward III, their collective skill cannot be exceptional; while one or two might be champion archers, it is sure that other archers could compete with the rank and file of his men.
It is interesting to note (Keen, p. 139) that Edward III did command regular competitions with the bow  -- something often seen in the Robin Hood tales. But that again implies that Robin couldn't always win. For the longbow  required skill (contrary to what is implied by Keen, p. 138). Longbows required more pull than short bows, but the strongest muscles could not compete with a crossbow in power. To compete with crossbows, then, longbowmen had to aim in an arc far above their targets. This took a great deal of practice, and was the main reason no one other than the English and Welsh took to the longbow.
Another point on dating, hinted at by Keen, is the fact that peasants -- villeins -- were bound to the land (there are actually cases of them being sold; see Doris Mary Stenton, _English Society in the Early Middle Ages (1066-1307)_, Pelican, second edition, 1952, pp. 142-143). This was a situation most typical of the period from Henry III to Edward II. The Black Death changed that by producing a shortage of workers. The nobility of course tried to halt the exodus of the peasants (Wat Tyler's rebellion of 1381 was largely against these restrictions; see B. Wilkinson, _The Later Middle Ages in England, 1216-1485_, Longman, 1969, 1980, pp. 158-164), but more and more peasants were becoming free in the reign of Edward III, and effectively all were free by the early fifteenth century.
Keen, p. 140, thinks that the frequent mentions of Robin as a yeoman implies a late date, but there were always *some* yeomen in England; it seems to mne that his men are villeins, and fled to the greenwood for lack of another choice (a free man could always seek work elsewhere), so this implies an early date. Similarly, Keen, pp. 141-142, argues that the lack of offences against "vert" (the plants of the forest) dates Robin to the time of Edward III or later -- but poaching was always a worse offence than three-cutting, Indeed, tree-cutting was a worse crime in later times, when the great trees were needed for naval vessels.
Adding it all up, I think a date prior to Edward III nearly certain. But how much prior?
It could be argued that the longbow was already common as early as the time of Edward I (reigned 1272-1307), forcing us to a date in the reigns of Henry II (1154-1189), Richard I (1189-1199), John (1199-1216), or Henry III (1216-1272). This is attractive but not absolutely compelling; Edward II (1307-1327) largely turned his back on the use of the bow, which was the major reason he was defeated at Bannockburn in 1314. Thus in many ways the reign of Edward II is a likely date for the shaping of the legends that gave rise to the "Gest" and the other early ballad. But this is far from sure.
Robin's home is also problematic. Although we are accustomed to think of him as haunting Sherwood Forest (and indeed, 17 of the ballads place Robin in Sherwood or Nottingham), early sources usually place him in Barnsdale Forest , which is more than ten leagues to the north, and in Yorkshire. (As of 2004, in fact, this has become an issue in the British parliament, with Nottinghamshire posting signs saying "Robin Hood Country" and Yorkshire wanting them taken down.)
Barnsdale, it should be noted, is outside the "beat" of the Sheriff of Nottingham. Barnsdale and Sherwood are so far apart that an outlaw could not reasonably occupy both. "Guy of Gisborne" suggests still a third locale, in Lancashire (Gisburn is relatively close to the west coast of Britain, in Lancashire; if Guy lived in Robin's locality, Robin might well have lived in Bowland Forest east of the Wyre river. The chances of anyone from Sherwood, or even Barnsdale, showing up in this area are slight; Inglewood is perhaps a bit more likely. This suggests another link to "Adam Bell.")
It is likely that the Sherwood/Nottingham became Robin's home in the later legend because Nottingham is larger and better known; Barnsdale rarely even figures on modern maps.
I have to think the version of the Robin Hood saga most people know today is from Scott's _Ivanhoe_; it really shows little resemblance to the ballads or earlier legends. - RBW
File: C117
===
NAME: Get Along Home, Cindy: see Cindy (File: LxU028)
===
NAME: Get Along, John, the Day's Work's Done: see Hopalong Peter (File: CSW104)
===
NAME: Get Along, Little Dogies
DESCRIPTION: Characterized by the chorus, "Whoopee ti yi yo, get along, little dogies, It's your misfortune and none of my own. Whoopee ti yi yo, get along, little dogies,You know Wyoming will be your new home." Tells of herding cattle down the trail for slaughter
AUTHOR: unknown
EARLIEST_DATE: 1893 (journal of Owen Wister)
KEYWORDS: cowboy animal work
FOUND_IN: US(So)
REFERENCES: (14 citations)
Randolph 178, "Little Doogie" (sic) (1 fragment, 1 tune)
Sandburg, pp. 268-270 "Whoopee, Ti Yi Yo, Git Along, Little Dogies" (1 text, 1 tune)
Fife-Cowboy/West 76, "Git Along Little Dogies" (1 text, 1 tune)
Lomax-FSUSA 58, "Git Along Little Dogies" (1 text plus addenda, 1 tune)
Lomax-ABFS, pp. 385-389, "Git Along, Little Dogies" (1 text, 1 tune)
Lomax-FSNA 189, "Go On, You Little Dogies"; 190, "Run Along, You Little Dogies" (2 texts, 2 tunes, both of which appear to be mixtures of this song with something else; the chorus of 190 derives partly from "Rocking the Cradle (and the Child Not His Own)")
Larkin, pp. 98-104, "Git Along Little Dogies" (2 texts, 2 tunes)
Botkin-AmFolklr, pp. 853-854, "Git Along, Little Dogies" (1 text, 1 tune)
LPound-ABS, 80, pp. 174-175, "Whoopee Ti Yi Yo, Git Along Little Dogies" (1 text)
Arnett, pp. 126-127, "Git Along, Little Dogies" (1 text, 1 tune)
Saffel-CowboyP, pp. 174-175, "Whoopee Ti Yi Yo, Git Along Little Dogies" (1 text)
Silber-FSWB, p. 109, "Git Along, Little Dogies" (1 text)
Fuld-WFM, p. 244, "Git Along Little Dogies (Whoopee Ti Ti Yo)"
DT, GITDOGIE*
Roud #827
RECORDINGS:
Beverly Hill Billies, "Whoopee Ti Yi Yo Get Along" (Brunswick 598. 1932)
Cartwright Brothers, "Get Along Little Doggies" (Columbia 15410-D, 1929; on WhenIWas2)
Edward L. Crain, "Whoopie Ti-Yi-Yo, Git Along Little Doggies" (Crown 3275, 1932)
Girls of the Golden West, "Whoopie Ti-Yi-Yo, Get Along Little Doggies" (Bluebird B05718, 1934)
George Goebel, "Night Herding Song" (Conqueror 8157, 1933)
Woody Guthrie & Cisco Houston, "Whoopie-Ti-Yi-Yo, Get Along Little Dogies" (on Struggle2, CowFolkCD1)
Beverly Hillbillies, "Whoopie Ti Yi Yo" (Brunswick 598, c. 1931)
Kenneth Houchins, "Get Along Little Doggies" (Champion 16584, 1933)
Harry Jackson, "As I Went Walking One Morning for Pleasure" (on HJackson1)
Harry "Mac" McClintock, "Get Along, Little Doggies" (Victor V-40016, 1929, rec. 1928; Montgomery Ward M-4469 [as Harry "Mac" McClintock and his Haywire Orchestra], 1934)
Harry Stephens, "The Night Herding Song" (AFS, 1940s; on LC28)
John I. White, the Lonesome Cowboy, "Whoopee-Ti-Yi-Yo" (Banner 32179/Perfect 12709//Conqueror 7753/Romeo 1629 [as "Little Doggies"], 1931; on BackSaddle)
Marc Williams, "The Night Herding Song" (Brunswick 497/Supertone S-2263, 1931)
ALTERNATE_TITLES:
Night Herding Song
File: R178
===
NAME: Get Away Old Maids Get Away: see I Wouldn't Have an Old Man (File: R401)
===
NAME: Get Away, Old Man, Get Away: see I Wouldn't Have an Old Man (File: R401)
===
NAME: Get Me Down My Petticoat
DESCRIPTION: "Get me down my petticoat, get me down my shawl, Get me down my buttoned boots, for I'm off to Linen Hall." The singer goes to seek her love, who may have enlisted to fight the Boers. She asks the British to hold the Dubliners back
AUTHOR: unknown
EARLIEST_DATE: 1960 (MacColl & Seeger, _Singing Island_)
KEYWORDS: soldier separation love clothes
HISTORICAL_REFERENCES: 1899-1902 - Boer War
FOUND_IN: Ireland
REFERENCES: (2 citations)
DT, PETICOAT*
ADDITIONAL: Frank Harte _Songs of Dublin_, second edition, Ossian, 1993, pp. 64-65, Get Me Down My Petticoat"" (1 text, 1 tune)
Roud #2565
ALTERNATE_TITLES:
Hand Me Down My Petticoat
NOTES: For background on the Boer War and the Irish soldiers there, see "John McBride's Brigade"; also "Marching to Pretoria." - RBW
File: Hart065
===
NAME: Get Off the Track: see Clear the Track (File: SCW48)
===
NAME: Get On Board, Little Children
DESCRIPTION: "The gospel train is coming, I hear it just at hand... Get on board, little children (x3), There's room for many a more." The train will carry all who wish to board, and "the fare is cheap."
AUTHOR: possibly John Chamberlain
EARLIEST_DATE: 1872 (Seward, _Jubilee Songs_)
KEYWORDS: religious nonballad train
FOUND_IN: US(SE)
REFERENCES: (5 citations)
Cohen-LSRail, pp. 619-624, "The Gospel Train Is Coming" (2 text plus a text of "The Gospel Train (IV)"; 1 tune for each of the two songs)
BrownIII 529, "The Gospel Train" (2 texts plus a fragment; the "C" fragment is this piece; "A" and "B" are "The Gospel Train (II) and (III)")
Chappell-FSRA 82, "Get On Board, Little Children" (1 text, 1 tune)
Scarborough-NegroFS, pp. 254-255, "De Gospel Train Am Leabin'" (1 short text, 1 tune)
Silber-FSWB, p. 361, "Get On Board, Little Children" (1 text)
Roud #13948
RECORDINGS:
Alphabetical Four, "Get On Board Little Children" (Decca 7594, 1939; rec. 1938; on AlphabFour01)
Harry C. Brown, "De Gospel Train Am Comin'" (Columbia A-2255, 1917; rec. 1916)
Rev. Clayborn, Guitar Evangelist, "The Gospel Trains Coming" (Vocalion 1082, 1927; rec. 1926)
Rev. Mose Doolittle, "Get On Board" (Victor 20295, 1926)
Dunham Jubilee Singers, "Get On Board" (Columbia 14676-D, 1933; rec. 1931)
Kanawha Singers, "The Gospel Train" (Brunswick 365, 1929)
Moore Spiritual Singers, "Get On Board" (Bluebird B-8095, 1939)
Norfolk Jubilee Quartette, "Get On Board, Little Children, Get On Board" (Paramount Oriole Male Quartette, "Get On Board Little Children" (Oriole 893, 1927)
Clara Smith, "Get On Board" (Columbia 14183-D, 1927; rec. 1926; also issued as E8938, n.d.)
Sons of Israel, "Gospel Train" (Kingsport 901, n.d.)
Southern Plantation Singers, "Get On Board Little Children" (Vocalion 1414, 1929; rec. 1928)
Tuskegee Institute Singers, "Get On Board" (Victor 18446, 1918; rec. 1916)
12268, 1925; Herwin 92009 [as Southland Jubilee Singers], 1926)
T-Bone Walker, "Get On Board, Little Children" (Capitol 133, 1943; rec. 1942)
Williams Jubilee Singers, "Gospel Train is Coming" (Columbia 14457-D, 1929)
CROSS_REFERENCES:
cf. "Cindy" (tune)
cf. "I Want To See Jesus" (lyrics)
NOTES: Gail Greenwood points out that a number of sources credit this (as "The Gospel Train") to John Chamberlain (1821-1893). This includes an old (but undated) printed "ballet." It is not clear whether he was responsible for the music. Cohen mentions this attribution but without comment on its value.
The title in the ballet is "Rail Road Hymn." - RBW
File: FSWB361A
===
NAME: Get Out, Yellowskins, Get Out
DESCRIPTION: "The Yellowskins here in these hills Now know how it appears To have their gold by others stole As we have suffered for years. Get out, Yellowskins, get out (x2), We'll do it again if you don't go. Get out, Yellowskins, get out!"
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: China gold homicide
FOUND_IN: US
REFERENCES: (1 citation)
Burt, p. 157, (no title) (1 short text, 1 tune)
NOTES: Reportedly based on an incident of July 1885, in which eight white men shot up a camp where 32 Chinese were digging for gold. None of the murderers were ever punished. I must say, though, that Burt's finding a song about the incident seems awfully convenient. The flip side being, of course, that the song seems to accurately reflect the vicious and irrational anti-Chinese prejudice of the era. - RBW
File: Burt157
===
NAME: Get Up and Bar the Door [Child 275]
DESCRIPTION: Old man and old wife must bar the door; neither wants to. They agree that whoever speaks first shall bar the door. Thieves enter the house, and play tricks on the couple. At last the old (man) cries out; the (wife) orders him orders him to bar the door
AUTHOR: unknown
EARLIEST_DATE: 1769 (Herd)
KEYWORDS: humorous robbery bargaining contest
FOUND_IN: Britain(England(South),Scotland(Aber)) US(Ap,MW,NE,So) Canada(Mar,Newf)
REFERENCES: (22 citations)
Child 275, "Get Up and Bar the Door" (3 texts)
Bronson 275, "Get Up and Bar the Door" (20 versions)
BarryEckstormSmyth pp. 318-321, "Get Up and Bar the Door" (2 texts, 2 tunes) {Bronson's #17, #10}
Flanders-Ancient4, pp. 72-75, "Get Up and Bar the Door" (1 text, 1 tune)
Ford-Vagabond, pp. 148-150, "The Barrin' o' the Door" (1 text, 1 tune)
Randolph 34, "Get Up and Shut the Door" (2 fragments, 1 tune) {Bronson's #20}
Gardner/Chickering 153, "Arise and Bar the Door" (1 text, 1 tune) {Bronson's #5}
BrownII 43, "Get Up and Bar the Door" (2 texts)
Davis-Ballads 44, "Get Up and Bar the Door" (1 fragment, possibly this song)
Creighton/Senior, pp. 92-93, "Get Up and Bar the Door" (1 text, 1 tune) {Bronson's #4}
Greenleaf/Mansfield 18, "Joan and John Blount" (1 text)
Peacock, pp. 239-240, "Bar the Door O" (1 text, 1 tune)
Leach, pp. 657-658, "Get Up and Bar the Door" (1 text)
OBB 172, "Get Up and Bar the Door" (1 text)
Niles 58, "Get Up and Bar the Door" (1 text, 1 tune)
Combs/Wilgus 38, pp. 128-129, "Get Up and Bar the Door" (1 text)
JHCox 185, "Get Up and Bar the Door" (1 text)
Hodgart, p. 77, "Get up and Bar the Door" (1 text)
DBuchan 62, "Get Up and Bar the Door" (1 text)
TBB 40, "Get Up and Bar the Door" (1 text)
HarvClass-EP1, pp. 87-88, "Get Up and Bar the Door" (1 text)
DT 275, BARDOOR* BARDOOR2 JHNBLNT BARDOOR4*
Roud #115
ALTERNATE_TITLES:
The Old Man and the Door
Johnny Blunt
File: C275
===
NAME: Get Up, Jack! John, Sit Down!
DESCRIPTION: A song of the eternal tasks of the sailor, repeated from generation to generation. The sailors all enjoy their rum, find girls in the towns, get drunk, spend their money, and have to return to sea, as their fathers did before him.
AUTHOR: Words: Edward Harrigan / Music: David Braham
EARLIEST_DATE: 1885 ("Old Lavender")
KEYWORDS: sailor work drink
FOUND_IN: US(MA,NE)
REFERENCES: (5 citations)
Warner 71, "The Jolly Roving Tar" (1 text, 1 tune)
Lomax-FSNA 33, "Get Up, Jack" (1 text, 1 tune)
Lomax-ABFS, pp. 493-494, "Get Up, Jack! John, Sit Down!" (1 text)
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "We're Homeward Bound" is in Part 4, 8/4/1917.
DT, GETUPJCK JACKJOHN
Roud #2807
RECORDINGS:
Stanley Baby, "Homeward Bound" (on GreatLakes1)
Lena Bourne Fish, "Jolly Rocing Tar" (on USWarnerColl01)
CROSS_REFERENCES:
cf. "Outward and Homeward Bound"
ALTERNATE_TITLES:
Outward Bound
NOTES: Reportedly written by Edward Harrigan and his father-in-law David Braham for the play "Old Lavender," which is listed as premiering September 1, 1885. (Information supplied by Philip Harrigan Sheedy.) The song has since entered oral tradition, as known versions exhibit significant variations. - DGE, RBW
The song has cross-fertilized with "Outward and Homeward Bound"; it may be that that was the inspiration for this song.
For background on Harrigan and Braham, see the notes to "Babies on Our Block." - RBW
File: Wa071
===
NAME: Ghost of the Peanut Stand, The
DESCRIPTION: Biddie Magee owns a Jersey City peanut stand. She loves Connie O'Ryan who joins the army. Biddy takes to bed and dies, "the peanut-stand went up the spout," Connie is drummed out. Her house is haunted by the ghosts of Biddy, Connie, and the peanut stand
AUTHOR: unknown
EARLIEST_DATE: before 1879 (broadside, LOCSinging sb30417a)
KEYWORDS: courting army Civilwar separation death humorous ghost
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 70, "The Ghost of the Peanut Stand" (2 fragments, 1 tune)
Roud #2762
BROADSIDES:
LOCSinging, sb30417a, "The Peanut Stand," H. De Marsan (New York), 1864-1878 
CROSS_REFERENCES:
cf. "Joe Bowers" (tune, per broadside Bodleian Harding B 26(690))
NOTES: The De Marsan text is more complete than the Creighton-SNewBrunswick fragment, and is the basis for the description. If nothing else, the De Marsan text dates itself to the Civil War: Connie "got in with a parcel of Jersey roughs; they led him around like a toy; So, he joined the New-York Fire-Zoo-Zoos, and he went for a soger-boy."
The Union 11th [New York] Regiment Infantry "1st New York Fire Zouaves" were mustered in May 7, 1861 and mustered out June 2, 1862. (source: The Civil War Archive site); see also "Abraham's Daughter" for a reference to "the fire Zou-Zous." - BS
As the dates above show, the 11th New York was not long in service (a lucky bunch; they enlisted for two years but served only one); its only real battle was First Bull Run, though it was also involved in the early part of the Peninsular campaign. It was called the "Fire Zouaves" because many of the members were New York firemen -- skills which they put to good use in fighting a fire that threatened to consume part of Washington, D.C. Otherwise, its service was noteworthy mostly for the rowdy conduct of the troops.
The regiment was also famous for its first colonel, E. Elmer Ellsworth (1837-1861), who in 1862 led the regiment into Alexandria, Virginia, and proceeded to tear down the Confederate flag flying over the Marshall House hotel. The owner, James T. Jackson, proceeded to murder Ellsworth (and was killed in return by one of Ellsworth's soldiers), making the young soldier an instant martyr.
It will be observed that the odds of an Irish peanut vendor joining that particular regiment were pretty small -- but, of course, the unit was unusually well-known and hence a likely subject for songs. - RBW
Broadside LOCSinging sb30417a: 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: CrSNB070
===
NAME: Ghost of Willie-O: see Willy O! (File: CrMa113)
===
NAME: Ghost's Bride, The
DESCRIPTION: John Gordon comes to court Mary, saying her lover, his brother, is long dead. She agrees to marry him. She hears the dead brother speak, saying John stole his land, wife, and life. When John Gordon awakes, Mary is gone, her bones by the brother's grave
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love courting brother death homicide betrayal marriage abandonment reunion
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 58, "The Ghost's Bride" (1 text)
ST BrII058 (Full)
Roud #6567
CROSS_REFERENCES:
cf. "A Gentleman of Exeter (The Perjured Maid)" [Laws P32] (plot)
cf. "Susannah Clargy" [Laws P33] (plot)
cf. "Alonzo the Brave and Fair Imogene" (plot)
cf. "An Sgeir-Mhara (The Sea-Tangle, The Jealous Woman)" (theme)
NOTES: This song, "A Gentleman of Exeter," and "Susannah Clargy" are all essentially the same story, and looking at the titles in the Broadside Index, I wonder if they haven't cross-fertilized -- or aren't retellings of some epic original. (Note that the story is almost "Hamlet.")
The notes in Brown describe this as the best of the lot, and it is certainly vividly told. If there is any complaint against it, it is that it is a little *too* perfect, and the Brown copy seems to be the only collection. Perhaps it was composed in the family of the informant? - RBW
File: BrII058
===
NAME: Ghostly Crew, The [Laws D16]
DESCRIPTION: A sailor has endured much without fear -- until the night twelve ghosts board his ship and take stations "as if [they] had a right." They disappear as the ship passes a lighthouse. The singer is sure they are sailors drowned in a collision with his ship
AUTHOR: Harry L. Marcy
EARLIEST_DATE: 1874 ("Fisherman's Ballads and Songs of the Sea")
KEYWORDS: sea ship ghost
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (10 citations)
Laws D16, "The Ghostly Crew"
Doerflinger, pp. 180-182, "The Ghostly Crew" (2 texts, 1 tune)
Greenleaf/Mansfield 115, "The Spirit Song of George's Bank" (1 text, 1 tune)
Peacock, pp. 873-874, "The Ghostly Sailors" (1 text, 2 tunes)
Leach-Labrador 96, "Ghostly Fishermen" (1 text, 1 tune)
Creighton-NovaScotia 117, "The Ghostly Sailors" (1 text, 1 tune)
Creighton-SNewBrunswick 114, "The Ghostly Sailors" (1 text, 1 tune)
Smith/Hatt, pp. 96-99, "The Ghostly Sailors" (1 text)
Ives-DullCare, pp. 79-80, 245-246, "The Ghostly Fishermen" (1 text, 1 tune)
DT 701, GHOSCREW GHOSCRE2
Roud #1822
RECORDINGS:
Morris Houlihan, "The Ghostly Fisherman" (on NFMLeach)
CROSS_REFERENCES:
cf. "The Glen Alone" (theme)
ALTERNATE_TITLES:
The Ghostly Seamen
NOTES: Gordon Bok reports, "The story I heard was that the schooner _Haskell_, out of Gloucester, was anchored near George's [Bank] when a sudden gale parted her ground tackle and she went charging, bare-poled, down through the fleet. She cut the schooner _Johnston_ almost in two, killing all her men. On every voyage thereafter, a crew would appear on her deck at night and go through the motions of fishing. After a few trips, no crew would even sign on her, and she rotted at the wharf."
Creighton-SNewBrunswick adds more details: On March 7, 1866, the new _Charles Haskell_ rammed the _Andrew Jackson_, inspiring this song; the _Haskell_ later became known as "the ghost ship."
Some of this may be folklore; after all, we hear a lot of ghost stories about ships sunk by ramming. For example, a story very much like this took place twenty years *after* Marcy's text was published: On June 22, 1893, HMS _Camperdown_, in a confused practice maneuver involving an admiral showing off, rammed HMS _Victoria_, causing the latter to sink with the loss of 358 men including the admiral. _Camperdown_ survived, but was put into reserve roles not long after, and was broken up in 1911 although she was only 22 years old.
And there is a ghost associated with the story: According to Peter Underwood's _Gazetteer of British, Scottish & Irish Ghosts_, p. 135,  shortly after the _Victoria_ sank, the ghost of the admiral aboard, George Tryon, was seen at the home of Lady Tryon in London. - RBW
File: LD16
===
NAME: Ghostly Fisherman, The: see The Ghostly Crew [Laws D16] (File: LD16)
===
NAME: Ghostly Lover, The: see Rise Up Quickly and Let Me In (The Ghostly Lover) (File: Ord089)
===
NAME: Ghostly Sailors, The: see The Ghostly Crew [Laws D16] (File: LD16)
===
NAME: Ghostly Seamen, The: see The Ghostly Crew [Laws D16] (File: LD16)
===
NAME: Gideon's Band: see Old Uncle Noah (File: E075)
===
NAME: Giein' the Nowte Their Fother
DESCRIPTION: "As I rode in by yon bonnie waterside... there I spied a weel-faur'd maid, She was gien the nowte their fodder." He asks her to fancy him; she replies that she has no dowry. Next summer, he returns and asks again, and makes her a rich lady
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting marriage money
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 228-229, "Gien the Nowte Their Fodder" (1 text)
Roud #3934
File: Ord228
===
NAME: Gien the Nowte Their Fodder: see Giein' the Nowte Their Fother (File: Ord228)
===
NAME: Gigantic, The
DESCRIPTION: The schooner Gigantic, with a crew of six, leaves Newfoundland for Portugal and has a difficult crossing from October 22 until November 13. They land their cargo of fish and take on salt for the trip home.
AUTHOR: William Best (written 1917)
EARLIEST_DATE: 1978 (Lehr/Best)
KEYWORDS: commerce sea ship ordeal
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 42, "The Gigantic" (1 text, 1 tune)
File: LeBe042
===
NAME: Gight's Ladye: see Geordie [Child 209] (File: C209)
===
NAME: Gil Brenton [Child 5]
DESCRIPTION: A lord is preparing to wed. His bride seeks to conceal the fact that she is not a virgin, but the truth -- that she had once slept with a lord in a wood -- comes out. It is then revealed that the man she slept with was her husband-to-be.
AUTHOR: unknown
EARLIEST_DATE: 1882 (Child)
KEYWORDS: marriage seduction trick disguise
FOUND_IN: Britain(Scotland)
REFERENCES: (8 citations)
Child 5, "Gil Brenton" (8 texts)
Bronson 5, Gil Brenton" (3 versions)
Randolph 13, "The Little Page Boy" (1 fragmentary text, 1 tune, which Randolph places with "Child Waters"  though it also has lines from the "Cospatrick" version of "Gil Brenton" and is so short it might go with something else)
Leach, pp. 59-63, "Gil Brenton" (1 text)
OBB 5, "Cospatrick" (1 text)
PBB 42, "Gil Brenton" (1 text)
DBuchan 1, "Gil Brenton" (1 text, 1 tune in appendix) {Bronson's #1}
DT, GILBRENT*
Roud #22
CROSS_REFERENCES:
cf. "Willie's Lady" [Child 6] (lyrics)
NOTES: Sir Walter Scott's version of this (Child's B) names the hero "Cospatrick," which Scott lists as the name of the Earl of Dunbar around the time of Edward I of England. The name was still used in Child's time for members of the Dunbar line.
The name, however, is older; Rosalind Mitchison, _A History of Scotland_ (second edition,1983, p. 16) mentions a Cospatrick who was apparently a Saxon claimant to one or another northern English earldom in 1069, and whose son held Cumberland until William II of England conquered it in 1092. It seems unlikely that any of this has a genuine connection to the ballad.
Again, several instances of the ballad mention violence by the groom against the bride on their wedding night; this sounds much like the Thousand and One Nights, but there is unlikely to be a direct connection. - RBW
File: C005
===
NAME: Gil Morissy: see Child Maurice [Child 83] (File: C083)
===
NAME: Gila Monster Route, The
DESCRIPTION: A hobo is left behind by the train. The poem recalls his history: He and his pal, given a handout, used it for wine rather than food, got drunk, and were arrested. Set free, the hobo wanders until he catches another train
AUTHOR: L. F. Post and Glenn Norton
EARLIEST_DATE: 1934
KEYWORDS: hobo travel prison drink
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 24-26, "The Gila Monster Route" (1 text)
Roud #9924
NOTES: This is not even a song (let alone a traditional song); it is a poem published in _Railroad Man's Magazine_. I cannot for the life of me tell why the Lomaxes reprinted it; apart from a liberal use of railroad slang, it has very little to commend it. - RBW
File: LxA024
===
NAME: Gilderoy
DESCRIPTION: "Gilderoy was as bonny a boy as e'er cam tae the glen." The singer describes his charms and how lovingly he once cared for her. He taken as an outlaw. He is convicted (falsely, in her mind) and hanged because the laws were so strict
AUTHOR: unknown
EARLIEST_DATE: 1725 (an isolated stanza appears in "Westminster Drollery," 1671)
KEYWORDS: love outlaw trial execution
HISTORICAL_REFERENCES: 1636? - execution of "Gilderoy," aka Patrick McGregour, in Edinburgh
FOUND_IN: US(So) Britain(Scotland) Canada(Newf)
REFERENCES: (7 citations)
Percy/Wheatley I, pp. 318-323, "Gilderoy" (1 text)
Ford-Vagabond, pp. 27-31, "Gilderoy" (1 text, 1 tune)
Greenleaf/Mansfield 63, "Gilderoy" (1 fragment, 1 tune)
Randolph-Legman I, pp. 40-41, "Gilderoy" (1 fragmentary text, 1 tune, connected with the Scottish ballad more by the tune than the text)
BBI, ZN955, "Gilderoy was a bonny boy"; ZN1821, "My love he was as brave a man"
DT, GILDROY
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #87, "My Handsome Gilderoy" (1 text)
Roud #1486
BROADSIDES:
NLScotland, S.302b.2(020), "Gilderoy," unknown, after 1700
CROSS_REFERENCES:
cf. "Salisbury Plain" (theme)
ALTERNATE_TITLES:
I Blowed Her with My Horn
NOTES: Claude Simpson, _The British Broadside Ballad and Its Music,_ pp. 252 ff., [notes that  Gilderoy] seems to have been so glorified that he appears in historical legends not long after [his execution]. Simpson cites a broadside ballad printed "in the 1690s..."  "probably written much earlier," entitled "The Scotch Lover's Lamentation: or, Gilderoy's Last Farewell... To an excellent new Tune, much in request."  That ballad begins, "Gilderoy was a bonny boy."  It is to be found in Pepys, Craford, Bagford and _A Collection of Old Ballads,_ 1723-1725. - EC
William Rose Benet's _Reader's Encyclopedia_ has this to say:
"Gilderoy. A famous cattle-stealer and highwayman of Perthshire, who is said to have robbed Cardinal Richelieu [died 1642] in the presence of the King, picked Oliver Cromwell's pocket [Cromwell, however, was not of any note in 1636, and had not yet led his armies into Scotland], and hanged a judge. He was hanged in 1636.... Some authorities say there were two robbers by this name."
David Brandon's _Stand and Deliver: A History of Highway Robbery_ (p. 76) gives another version of this, but with a twist: the robber is named "Gilders Roy." Brandon reports that "when he stopped a judge... his gang stripped his two footmen, tied them up and threw them into a pond, whereupon they drowned. Roy himself smashed the judge's carriage, shot the horses, and then hanged his hapless victim." Right. Shoot valuable horses?
Much of this seems to be derived from Percy, but Wheatley adds a much less flattering commentary: "The subject of this ballad was a ruffian totally unworthy of the poetic honours given him.... [H]e was betrayed by his mistress Peg Cunningham, and captured after killing eight of the men sent against him, and stabbing the woman...
"He was one of the proscribed Clan Gregor, and a notorious lifter of cattle in the Highlands of Pethshire for some time before 1636. In February of that year seven of his accomplices were taken, tried, condemned, and executed at Edinburgh.... [I]n July, 1636, [he] was hanged with five accomplices at the Gallowlee."
The National Library of Scotland site, however, lists his death year as 1638.
Ford lists certain others of his exploits; he too is cautious about their veracity.
Sam Hinton notes the most likely source for the robber's name (cf. Ford): "Gilderoy" could be a corruption of Gaelic "Giolla Ruadh" ("Gillie Roy") -- "red-haired boy."
There is another piece called "Gilderoy" in the _Scots Musical Museum_ (#66); this is probably a rewrite based on the traditional tune. I strongly doubt it ever went into tradition itself; it begins "Ah! Chloris, cou'd I now but sit As unconcern'd as when Your infant beauty could beget No happiness, nor pain!" - RBW
File: RL040
===
NAME: Giles Collins: see Lady Alice [Child 85] (File: C085)
===
NAME: Giles Corey
DESCRIPTION: "Come all New England men And hearken unto me And I will tell what did befalle Upon the Gallows tree." "In Salem village was the place." "This Goody Corey was a witch." Wife and husband are accused; he is pressed to death and she is hung
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: witch execution
HISTORICAL_REFERENCES: 1692 - Salem Witch Trials
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 105-108, "Giles Corey and Goodwyfe Corey -- a Ballad of 1692" (1 text)
NOTES: Salem did not invent accusations of witchcraft; Samuel Elliot Morrison reports that there had been 44 witchcraft trials, and three executions, prior to 1692.
But in that year, 14 women and five men were hanged, with Giles Corey, as the broadside states, being pressed to death (i.e. having weights placed on him until he suffocated). Four others died in prison, and hundreds more were awaiting trial when sanity prevailed. - RBW
File: Burt105
===
NAME: Giles Scroggins
DESCRIPTION: "Giles Scroggins courted Molly Brown... If you love me as I love you, No knife can cut our love in two." "But scissors cut as well as knives... For just as they were going to wed, Fate's scissors cut poor Giles's thread." She refuses his ghost in a dream
AUTHOR: unknown
EARLIEST_DATE: 1848 (Davidson's Universal Melodist)
KEYWORDS: love courting death ghost humorous
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Davis-Ballads 25, "[Appendix to] Lady Alice" (1 text)
Roud #1620
NOTES: Davis thinks this piece "evidently a burlesque of 'Giles Collins,'" and this is certainly possible. But it is so broad, and the plot so commonplace, that it could easily have arisen independently.
Davis also has notes on the authorship and various places it has appeared, mostly in broadside or songster form. He admits that the attributions are all uncertain. It's not clear if the song ever really went into tradition, but it certainly was printed frequently. - RBW
File: DavB025
===
NAME: Gilgarrah Mountain: see Whisky in the Jar (The Irish Robber A) [Laws L13A]/The Irish Robber B (McCollister) [Laws L13B] (File: LL13)
===
NAME: Gill Morice: see Child Maurice [Child 83] (File: C083)
===
NAME: Gill Morrice: see Child Maurice [Child 83] (File: C083)
===
NAME: Gimme de Banjo
DESCRIPTION: Shanty. Characteristic line: "Dance, gal, gimme de banjo!" The singer "was sent to school fer to be a scholar," but had no success and left his books to others. (Now he is at sea picking the banjo)
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: shanty sailor music
FOUND_IN: US(MA)
REFERENCES: (2 citations)
Doerflinger, p. 45, "Gimme de Banjo" (1 text, 1 tune)
Hugill, p. 341, "Gimme de Banjo" (2 texts, 1 tune) [AbEd, pp. 256-257]
ST Doe045 (Partial)
Roud #9437
File: Doe045
===
NAME: Ginger Blue
DESCRIPTION: Walky, talky, Ginger Blue, White man run, but the nigger he flew."  "Wakin' talkin' Jinger Blue, I can tell you might true, I'm just from the Tennessee mountains. Take a drink of beer as sweet as water That flows from the Tennessee fountains."
AUTHOR: unknown
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: nonballad
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 298, "Ginger Blue" (1 fragmentary text)
BrownIII 496, "Jinger Blue" (1 fragmentary text)
Roud #11762
RECORDINGS:
Charlie Oaks, "Ginger Blue" (Vocalion 15344, 1926)
Arthur Tanner, "Dr. Ginger Blue" (Columbia 15479-D, 1929)
NOTES: The notes in Brown suggest that his text (the "Jinger Blue" version) might be derived from "Walkin' in the Parlor"  as well as the nineteenth century pop song "Ginger Blue." Possible -- but with only a fragment, it's beyond proof. - RBW
File: R298
===
NAME: Gipsies: see The Lost Lady Found [Laws Q31] (File: LQ31)
===
NAME: Girl from Clahandine
DESCRIPTION: Before the singer leaves for America he bids his friends adieu and tearfully leaves his girl. He finds no one in America as true or kind as the girl he left behind. When he has enough gold he'll return to marry her and settle in a cottage in Clahandine.
AUTHOR: Tom Flanagan (source: notes to IRClare01)
EARLIEST_DATE: 1974 (IRClare01)
KEYWORDS: poverty love parting America Ireland emigration
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #18474
RECORDINGS:
Michael Flanagan, "Girl from Clahandine" (on IRClare01)
NOTES: Notes to IRClare01: ."..it has obviously been re-written from the popular 'The Girl I Left Behind' to place its location around North Clare. Saint Bridget's Well [he was born near there] is at Liscannor a few miles south of Luogh."
The verse structure, final line of two verses, and a few other lines follow Laws P1A but the story line does not follow any "The Girl I Left Behind" that I know. - BS
File: RcGiFCla
===
NAME: Girl from Turfahun, The
DESCRIPTION: "Ye bards may sing your sweetest lays In praise of beauty's grace...." The singer went to Ballycastle fair, where he sees a beautiful girl. They meet again at a dance, and during a pause, he asks her name. He learns she is married. He laments
AUTHOR: unknown
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: love courting beauty husband wife
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H521, p. 372, "The Girl from Turfahun" (1 text, 1 tune)
Roud #6887
File: HHH521
===
NAME: Girl I Left Behind (I), The [Laws P1A/B]
DESCRIPTION: Two lovers promise to be faithful. He then sets out on a voyage. Before they can be reunited, one or the other proves unfaithful. (In Laws's "A" texts, the man marries a Scottish girl and his love dies of a broken heart; in "B" texts, the girl is untrue)
AUTHOR: unknown
EARLIEST_DATE: before 1852 (broadside, Bodleian Firth b.26(187))
KEYWORDS: courting promise infidelity separation
FOUND_IN: US(Ap,MA,MW,Ro,SE,So) Canada(Mar,Newf) Britain(Scotland) Ireland Australia
REFERENCES: (36 citations)
Laws P1A/B "The Girl I Left Behind"
Belden, pp. 198-200, "Peggy Walker" (3 texts)
Randolph 283, "The Girl I Left Behind" (4 texts, 1 tune. Laws assigns Randolph's A text to P1A and B, C, and D to P1B)
Randolph/Cohen, pp. 101-104, "The Girl I Left Behind" (1 text, 1 tune -- Randolph's 64A)
Randolph-Legman I, pp. 434-440, "The Girl I Left Behind" (5 texts, 1 tune)
BrownII 145, "The Girl I Left Behind Me" (5 texts plus 1 excerpt and mention of 1 more. Laws lists the "A" and B" texts as P1A and "C," "D," "F," and "G" as P1B)
Chappell-FSRA 79, "My Parents Reared Me Tenderly" (1 text)
Doerflinger, pp. 305-206, "The Maid I Left Behind" (1 text, 1 tune)
Wyman-Brockway I, p. 76, "Peggy Walker" (1 text, 1 tune)
FSCatskills 39, "The Girl I Left Behind" (1 text, 1 tune)
SharpAp 96, "My Parents Treated Me Tenderly" (6 texts, 6 tunes)
Cambiaire, pp. 47-49, "The Girl I Left on New River" (1 text)
SHenry H188, p. 401, "The Girl I Left Behind" (1 text, 1 tune)
Warner 148, "My Parents Raised Me Tenderly" (1 text, 1 tune)
Gardner/Chickering 28, "The Girl I Left Behind" (1 text plus mention of 1 more, 1 tune)
Dean, p. 10, "The Girl I Left Behind" (1 text)
Peacock, pp. 449-452, "The Girl I Left Behind" (2 texts, 2 tunes)
Creighton-Maritime, pp. 76-77, "The Girl I Left Behind" (1 text, 1 tune)
Creighton-SNewBrunswick 47, "Peggy Walker" (1 text, 1 tune)
Leach-Labrador 134, "Jennie Ferguson" (1 text, 1 tune); 138, "The Girl I Left Behind" (1 text, 1 tune)
Manny/Wilson 70, "the Girl I Left Behind (Janey Ferguson)" (1 text, 1 tune)
Ryan/Small, p. 134, "The Girl I Left Behind Me" (1 text, a single stanza probably of a version rewritten for seal-hunting, but with only four lines, it can hardly be separated from the main song)
McNeil-SFB1, pp. 106-109, "The Broken-hearted Boy" (1 text, 1 tune)
Meredith/Anderson, p. 50, "The Rich Old Farmer" (1 text, 1 tune)
Lomax-FSNA 165, "The Girl I Left Behind" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 38, "The Girl I Left Behind" (1 text, 1 tune)
Fife-Cowboy/West 62, "The Girl I Left Behind Me" (2 texts, 1 tune, with the "A" text, although mixed and westernized, probably belonging here and the "B" text being the lyric piece); 63, "My Parents Raised Me Tenderly" (1 text, 1 tune)
Ohrlin-HBT 84, "The Girl I Left in Missouri" (1 text, 1 tune)
JHCox 85, "My Parents Reared Me Tenderly" (1 text)
SHenry H188, pp. 401-402, "The Girl I Left Behind" (1 text, 1 tune)
Ord, pp. 45-47, "I'll Ne'er Forget the Parting" (1 text, 1 tune)
MacSeegTrav 65, "The Girl I Left Behind" (1 text, 1 tune)
Shay-SeaSongs, pp. 202-203, "The Girl I Left Behind Me" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 16-17, "The Girl I Left Behind Me" (1 text, 1 tune)
Silber-FSWB, p. 114, "The Girl I Left Behind Me" (1 text)
DT 338, GIRLEFT (GIRLEFT2* -- perhaps a mixed version, with the text of Laws P1 and the tune of the playparty?) GIRLLFT6*
Roud #262
RECORDINGS:
Jules [Verne] Allen, "The Gal I Left Behind" (Victor V-40022, 1929; on WhenIWas2)
Clint Howard et al, "Maggie Walker Blues" (on Ashley02, WatsonAshley01)
Dock Boggs, "Peggy Walker" (on Boggs3, BoggsCD1)
[G. B.] Grayson & [Henry] Whitter, "I've Always Been a Rambler" (Gennett, unissued, 1928) (Victor V-40324, 1928; on GraysonWhitter01, LostProv1, ConstSor1)
Harry Jackson, "The Gal I Left Behind" (on HJackson1)
Billie Maxwell, "The Arizona Girl I Left Behind" (Victor V-40188, 1930; on MakeMe)
Pleaz Mobley, "My Parents Raised Me Tenderly" (AFS; on LC12)
Spencer Moore, "The Girl I Left Behind" (on LomaxCD1700, LomaxCD1702)
New Lost City Ramblers, "I've Always Been a Rambler" (on NLCR13, NLCRCD2)
BROADSIDES:
Bodleian, Firth b.26(187), "Margaret Walker" ("My parents raised me tenderly having no child but me"), S. Russell (Birmingham), 1840-1851; also Firth b.25(478), "Margaret Walker"; Firth c.26(280), "Girl I Left Behind"; Harding B 11(2237), Firth c.14(210), "The Lover's Lament" or "The Girl I Left Behind Me"
Murray, Mu23-y1:050, "The Girl I Left Behind Me," James Lindsay (Glasgow), 19C, with the unhappy ending left off
NLScotland, L.C.1270(015), "The Girl I Left Behind Me" ("Now for America I am bound, Against my inclination"), unknown, c. 1880, with the unhappy ending left off
CROSS_REFERENCES:
cf. "The Girl I Left Behind Me (III)" (tune)
SAME_TUNE:
The Girl I Left Behind Me (by Thomas Davis) (Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 471-472)
NOTES: In addition to this ballad form, there is a song with this title (indexed as "The Girl I Left Behind Me (lyric)"). As the two have cross-fertilized (often, e.g., sharing the latter's tune "Brighton Camp"), the reader is advised to check both songs for completeness. - RBW
File: LP01
===
NAME: Girl I Left Behind Me (II), The
DESCRIPTION: Singer bids farewell to his beloved and departs for the war. He shares "the glory of that fight." He swears that if he does not return, "Dishonor's breath shall never stain/The name I leave behind me." The girl may tell how she will miss him if he dies
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Lloyd & Howard Massey)
LONG_DESCRIPTION: Singer bids farewell to his beloved -- "I breathed the vows that bind me" -- and departs for the war. He shares "the glory of that fight." He looks forward to the day of victory and to being reunited with his love, but swears that if he does not return, "Dishonor's breath shall never stain/The name I leave behind me." In one version the voice then shifts to the girl: "He don't come it'll break my heart/And a-almost run me crazy"
KEYWORDS: virtue love marriage promise army battle Civilwar war farewell parting return reunion separation lover wife soldier
FOUND_IN: US(SE)
REFERENCES: (1 citation)
DT, GIRLLFT7
RECORDINGS:
Dr. Lloyd & Howard Maxey [Massey], "The Girl I Left Behind Me" (OKeh 45150, 1927)
NOTES: The Digital Tradition entry assigns a keyword of "Irish" to this, but they also state that it's from "Songs of the Seventh Cavalry" (published by the Bismarck Tribune); it certainly has the ring of an American Civil War piece to my ears. As the DT entry is undated, I use the Masseys' recording for Earliest Date. - PJS
There are of course two other famous girls left behind: the lyric based on the tune "Brighton Camp," and the Laws P1, which he confusingly gives this title ("I've Always Been a Rambler" might have been a better title). The simple presence of this key line seems to cause some interchange of lyrics; best to check them all if you're looking for all instances.  - RBW
File: DtGLFT7
===
NAME: Girl I Left Behind Me (II), The (lyric)
DESCRIPTION: The singer recalls the girl he left behind, and now plans to return to her, even if it involves losing his job. He reminisces: "Oh, that girl, that sweet little girl, The girl I left behind me, With rosy cheeks and curly hair, The girl I left behind me."
AUTHOR: unknown
EARLIEST_DATE: 1855 (tune "Brighton Camp" dated by Chappell to 1758)
KEYWORDS: separation love return nonballad playparty
FOUND_IN: US(NE,So)
REFERENCES: (10 citations)
Randolph 546, "The Girl I Left Behind Me" (3 texts, 1 tune)
Hudson 98, pp. 229-230, "The Gal I Left Behind Me" (1 text)
Lomax-ABFS, pp. 280-282, "The Gal I Left Behind Me," "That Pretty Little Gal" (3 texts, 1 tune)
Fife-Cowboy/West 62, "The Girl I Left Behind Me" (2 texts, 1 tune, with the "B" text belonging here and the "A" text being a Westernized form of Laws P1)
Chappell/Wooldridge II, pp. 187-189, "Brighton Camp, or, The Girl I've Left Behind Me" (1 tune, partial text)
Linscott, pp. 79-80, "The Girl I Left Behind Me" (1 tune plus dance instructions)
Hill-CivWar, pp. 226-227, "The Girl I Left Behind Me" (1 text, a Civil War adaption)
Silber-FSWB, p. 281, "The Girl I Left Behind Me" (1 text)
Fuld-WFM, pp. 242-244, "The Girl I Left Behind Me"
DT, GIRLLFT4* GIRLLFT5* GRLBHNDZ
Roud #4497
RECORDINGS:
Anonymous singer, "The Girl I Left Behind Me" (on Unexp1)
Bull Mountain Moonshiners, "Johnny Goodwin" (Victor 21141, 1927; on TimesAint05)
Vernon Dalhart, "The Girl I Left Behind Me" (Columbia 437-D, 1925)
Uncle Dave Macon, "The Girl I Left Behind Me" (Vocalion 15034, 1925)
Pete Seeger, "Girl I Left Behind" (on PeteSeeger24) (on PeteSeeger40)
Gid Tanner & his Skillet Lickers, "The Girl I Left Behind Me" (Columbia 15170-D, 1927)
CROSS_REFERENCES:
cf. "Brighton Camp" (tune)
cf. "The Wayward Boy" (tune)
cf. "The Battle of the Windmill" (tune)
cf. "The Waxies' Dargle" (tune)
NOTES: The tune "Brighton Camp," suitable for playparties, dances, and all sorts of fun occasions, seems to have sustained a variety of texts which then became intermixed. Some may even have cross-fertilized with the ballad "The Girl I Left Behind" [Laws P1]. The reader is advised to check all these sources to get a complete cross-section.
W. Bruce Olson contributed extensive notes to the Digital Tradition regarding the origin of the tune, arguing against Chappell's date.
The Folksinger's Wordbook credits this piece to Samuel Lover, who did indeed publish a set of lyrics in 1855. But it seems likely he just touched up an existing piece, as the tune and the title are older. - RBW
File: R546
===
NAME: Girl I Left Behind Me (III), The
DESCRIPTION: The singer is bound for Baltimore but still thinks about "the girl I left behind me. My friends they sent me off for fear I'd wed a steam-loom weaver ... Sweet Helen, dear, tho' far from thee,Our hearts will ne'er be parted." He returns to Glasgow.
AUTHOR: unknown
EARLIEST_DATE: 19C (broadside, Murray Mu23-y1:050)
KEYWORDS: love emigration separation America
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Bodleian, Harding 2806 c.15(254), "Girl I Left Behind Me" ("Now for America I'm bound")," unknown, n.d.; also Harding B 26(215), "Girl I Left Behind Me"
Murray, Mu23-y1:050, "The Girl I Left Behind Me" ("Now for America I'm bound"), James Lindsay (Glasgow), 19C 
NLScotland, L.C.1270(015), "The Girl I Left Behind Me" ("Now for America I'm bound"), unknown, c.1880 
CROSS_REFERENCES:
cf. "The Girl I Left Behind Me" (tune, per broadside Bodleian Harding B 26(215))
NOTES: Broadside NLScotland L.C.1270(015) lacks the happy ending. - BS
File: BrTGILB3
===
NAME: Girl I Left Behind Me (IV), The: see The Wicklow Rangers (File: OLoc018)
===
NAME: Girl I Left in Missouri, The: see The Girl I Left Behind [Laws P1A/B] (File: LP01)
===
NAME: Girl I Left in Sunny Tennessee, The
DESCRIPTION: The singer is happily returning home to see the girl he left behind. He recalls the joyful times in Tennessee. Finally the train pulls into his hometown, and he sees his relatives but not Mary. His mother tells him that Mary is dead and in her grave
AUTHOR: Harry Braisted and Stanley Carter
EARLIEST_DATE: 1899 (copyright; first recording by Byron Harlan)
KEYWORDS: love separation return death
FOUND_IN: US(MW,So)
REFERENCES: (3 citations)
Dean, pp. 86-86. "The Girl I Loved in Sunny Tennessee" (1 text)
Randolph 810, "The Girl I Loved in Sunny Tennessee" (1 text)
Rorrer, p. 69, "The Girl I Left in Sunny Tennessee" (1 text)
Roud #4290
RECORDINGS:
Morgan Denmon, "Girl I Loved in Sunny Tennessee" (OKeh 45105, 1927)
[Byron] Harlan & [Frank] Stanley, "The Girl I Loved in Sunny Tennessee" (Columbia 257, 1901)
Byron G. Harlan, "The Girl I Loved in Sunny Tennessee" (CYL: Edison 5716, c. 1899)
Wade Mainer, "The Girl I Left In Sunny Tennessee" (King 1093, 1952)
Asa Martin & James Roberts, "Sunny Tennessee" (Banner 32306, 1931; Conqueror 7935, 1932; rec. 1931)
Peerless Quartet, "The Girl I Loved in Sunny Tennessee" (Victor 19390, 1924)
Charlie Poole and the North Carolina Ramblers, "The Girl I Left in Sunny Tennessee" (Columbia 15043-D, 1925; on CPoole04)
Red Fox Chasers, "The Girl I Loved in Sunny Tennessee" (Gennett 6930/Supertone 9497, 1929)
Walter Scanlan, "The Girl I Loved in Sunny Tennessee" (Edison 51893, 1927)
Ernest V. Stoneman "The Girl I Left in Sunny Tennessee" (Challenge 151, 1927); "The Girl I Left Behind in Sunny Tennessee" (Challenge 151/Gennett 3368/Herwin 75529, 1926)
Sweet & Zimmerman, "The Girl I Loved in Sunny Tennessee" (CYL: Edison 7414, 1900)
CROSS_REFERENCES:
cf. "Bull Dog Down in Tennessee" (tune, subject of parody)
cf. "Down on the Farm (II)" (theme)
cf. "I'll Be There, Mary Dear" (theme)
SAME_TUNE:
Bull Dog Down in Tennessee (File: RcBDDITe)
File: R810
===
NAME: Girl I Left on New River, The: see The Girl I Left Behind [Laws P1A/B] (File: LP01)
===
NAME: Girl I Loved in Sunny Tennessee, The: see The Girl I Left in Sunny Tennessee (File: R810)
===
NAME: Girl in Portland Street, The
DESCRIPTION: Sailor meets a girl and they go about courting/seducing each other. Refrain of "Fal-de-lol-day" throughout. This has some of the anatomical progression verses of "Yo Ho, Yo Ho." Harlow's version ends with the sailor discovering the girl has a cork leg.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty bawdy humorous
FOUND_IN: US Britain
REFERENCES: (2 citations)
Harlow, pp. 70-71, "A Fal-De-Lal-Day" (1 text, 1 tune)
Hugill, pp. 54-55, "The Girl In Portland Street" (1 text, 1 tune) [AbEd, pp. 50-51]
Roud #9162
ALTERNATE_TITLES:
Fol-de-lol-day
NOTES: Harlow says that the first refrain of this was often whistled rather than sung. - SL
File: Hugi054
===
NAME: Girl in the Army, A: see Bonnie Jean O' Aberdeen, She Lang'd for a Baby (File: OOx2183)
===
NAME: Girl in the Blue Velvet Band, The: see The Black Velvet Band (I) (File: R672)
===
NAME: Girl of Constant Sorrow
DESCRIPTION: Singer tells of leaving her mother (now dead) and her home in Kentucky so that her children could be fed. She then describes the coal miners' poor food, homes and clothing; she is sure "if there's a heaven/That the miners will be there"
AUTHOR: Words: Sara Ogan Gunning / tune "Man of Constant Sorrow" (Emry Arthur?)
EARLIEST_DATE: before 1950 (recording by author)
KEYWORDS: separation mining hardtimes poverty family worker derivative
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Greenway-AFP, pp. 1168-169, "I Am a Girl of Constant Sorrow" (1 text, 1 tune)
Silber-FSWB, p. 128, "Girl of Constant Sorrow" (1 text)
DT, CONSTSR2*
Roud #499
CROSS_REFERENCES:
cf. "Man of Constant Sorrow" (structure, tune)
NOTES: Although the source lists a copyright date of 1965, I'm certain [this] was recorded on a Library of Congress field recording in the 1930s or 1940s. - PJS
File: FSWB128B
===
NAME: Girl on the Greenbriar Shore, The
DESCRIPTION: Singer leaves his home, despite his brokenhearted mother's warnings, for the girl on the greenbriar shore. The girl leaves him, and he remembers his mother's words -- "Never trust a girl on the greenbriar shore."
AUTHOR: unknown
EARLIEST_DATE: 1941 (recording, Carter Family)
KEYWORDS: love warning abandonment 
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Cohen/Seeger/Wood, pp. 54-55, "The Girl on the Greenbriar Shore" (1 text, 1 tune)
Silber-FSWB, p. 165, "The Girl On The Greenbriar Shore" (1 text)
DT, GRNBRIR3*
RECORDINGS:
The Carter Family, "The Girl On The Greenbriar Shore" (Bluebird B-8947, 1941)
NOTES: For the (fragile) relationship between this piece and "The New River Shore (The Green Brier Shore; The Red River Shore)" [Laws M26], see the notes on that piece. - RBW
File: CSW054
===
NAME: Girl that Wore a Waterfall, The [Laws H26]
DESCRIPTION: The singer sees a pretty girl who "wore a waterfall." Eventually he walks her home, where he encounters her husband. The singer is beaten black and blue and relieved of watch and money. He says he will no longer approach girls with waterfalls!
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: courting hair punishment fight
FOUND_IN: US(Ap,SE,So)
REFERENCES: (5 citations)
Laws H26, "The Girl That Wore a Waterfall"
Randolph 389, "The Girl with the Waterfall" (1 text, 1 tune)
McNeil-SFB2, pp. 44-46, "The Girl That Wore a Waterfall" (1 text, 1 tune)
Fife-Cowboy/West 64, "The Girl That Wore a Waterfall" (1 text, 1 tune)
DT, WATERFL2
Roud #2189
NOTES: The "waterfall" as a hair style came into vogue in 1845, and continued to be used until shortly after the Civil War. Randolph describes it as "a mass of artificially curled hair, worn at the back of the head, arranged about a nucleus of false hair known as a 'rat.'" The word can also refer to a neck scarf.
The popularity of the song is evidenced by a reference to it in the Canadian song "Hogan's Lake." - RBW
File: LH26
===
NAME: Girl Volunteer, The (The Cruel War Is Raging) [Laws O33]
DESCRIPTION: (Johnny) has been ordered off to war. His sweetheart begs to go with him. He refuses her; military service would fade her beauty. She offers to buy his release; this too fails. (In some versions Johnny relents and allows her to come.)
AUTHOR: unknown
EARLIEST_DATE: 1914 (Brown)
KEYWORDS: war soldier separation love cross-dressing
FOUND_IN: US(Ap,SE,So)
REFERENCES: (11 citations)
Laws O33, "The Girl Volunteer"
Belden, pp. 177-180, "Lisbon" (3 texts, of which this is the third, to which Belden does not assign a letter; the first two are "William and Nancy (I) (Lisbon; Men's Clothing I'll Put On I)" [Laws N8])
Randolph 44, "Johnny Must Fight" (2 texts, 2 tunes)
Randolph/Cohen, pp. 94-95, "Johnny Must Fight" (1 text, 1 tune -- Randolph's 44B)
BrownII 100, "The Girl Volunteer" (1 text)
SharpAp 113, "The Warfare is Raging" (2 texts, 2 tunes)
Combs/Wilgus 109, pp. 178-179, "I'm Going to Join the Army" (1 text)
Fuson, p. 104, "Johnny" (1 text)
Silber-FSWB, p. 272, "The Cruel War Is Raging" (1 text)
Darling-NAS, pp. 131-132, "May I Go With You, Johnny?" (1 text)
DT 487, CRUELWAR* CRUELWR2*
Roud #401
RECORDINGS:
Louise Foreacre, "The War Is A-Raging" (on Stonemans01)
 Aunt Polly Joines, "The Warfare is A-Raging" (on Persis1)
Pete Steele, "The War Is A-Ragin' For Johnny" (on PSteele01)
CROSS_REFERENCES:
cf. "The Manchester Angel"
cf. "Jack Monroe" [Laws N7]
cf. "William and Nancy (I) (Lisbon; Men's Clothing I'll Put On I)" [Laws N8]
cf. "The Banks of the Nile (Men's Clothing I'll Put On II)" [Laws N9]
cf. "High Germany"
ALTERNATE_TITLES:
The Cruel War
NOTES: The Combs version of this song contains a reference to Pensacola -- the port from which many American troops set out for Cuba during the Spanish-American war (1898). The song is clearly much older than that, however. - RBW
File: LO33
===
NAME: Girl Who Never Would Wed, The: see The Courting Case (File: R361)
===
NAME: Girl Who Was Drowned at Onslow, The
DESCRIPTION: What mournful news that we did hear." A girl is drowned in an icy stream. After a three day search her body is found. Her true love and parents mourn.
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: drowning mourning family river
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Mackenzie 154, "The Girl Who Was Drowned at Onslow" (1 text)
Roud #3287
NOTES: Mackenzie says this "true song" is about an accident in the farming community of Onslow "at the head of Cobequid Bay in Colchester County" Nova Scotia.
This song is item dG42 in Laws's Appendix II. - BS
File: Mack154
===
NAME: Girl with the Black Velvet Band, The: see The Black Velvet Band (I) (File: R672)
===
NAME: Girl with the Blue Velvet Band, The: see The Black Velvet Band (I) (File: R672)
===
NAME: Girl with the Flowing Hair, The
DESCRIPTION: "My heart went pitty pitty patty As she passed me by so beautiful and fair. Oh, she winked at me with her soft blue eye, The girl with the flowing hair."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: hair beauty
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 175-176, "The Girl with the Flowing Hair" (1 tune, fragment of text)
File: MA175
===
NAME: Girl with the Waterfall, The: see The Girl that Wore a Waterfall [Laws H26] (File: LH26)
===
NAME: Girls of Coleraine, The
DESCRIPTION: The singer talks of "a sweet little spot in the county of Derry." He says there is no such town in all Ireland. He warns against girls of the city, or places like Killarney. But girls and boys of Coleraine never change. He blesses the town
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H64, pp. 161-162, "The Girls from [of] Coleraine" (1 text, 1 tune)
ADDITIONAL: Richard Hayward, Ireland Calling (Glasgow,n.d.), p. 20, "The Girls of Coleraine" (text, music and reference to Decca F-2603 recorded Oct 4, 1931)
Roud #13460
CROSS_REFERENCES:
cf. "Teddy O'Neill" (tune)
NOTES: The date and master id (GB-3357-1) for Hayward's record is provided by Bill Dean-Myatt, MPhil. compiler of the Scottish National Discography. - BS
File: HHH064
===
NAME: Girls of Newfoundland, The
DESCRIPTION: The singer sailed from "a hot and sunny clime" for Harbour Grace thinking about "those girls from Newfoundland." Now the crew are home and "drink a health to all seamen bold" and enjoy the girls.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: homesickness sex sea ship drink sailor
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 875-876, "The Girls of Newfoundland" (1 text, 1 tune)
Roud #9804
File: Pea875
===
NAME: Girls of the Shamrock Shore
DESCRIPTION: "It being in the spring when the small birds sing And the lambs do sport and play, I entered as a passenger To New South Wales sailed o'er...." Sentenced to transportation for fourteen years, the singer bids farewell to the girls of the Shamrock Shore
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: transportation separation parting
FOUND_IN: Australia
REFERENCES: (3 citations)
Meredith/Anderson, p. 171, "The Girls of the Shamrock Shore" (1 text, 1 tune)
Fahey-Eureka, pp. 40-41, "The Girls of the Shamrock Shore" (1 text, 1 tune)
DT, GIRLSHAM*
Roud #3365
CROSS_REFERENCES:
cf. "Van Dieman's Land (II -- Young Henry's Downfall)" (floating lyrics)
cf. cf. "Scarborough Settler's Lament" (theme) and references there
cf. "The Shamrock Shore (The Maid of Mullaghmore)" (theme of separation -- not transportation -- and one verse)
File: MA171
===
NAME: Girls of Ulan, The
DESCRIPTION: "The girls from Ulan need no schoolin' For blucher boots are all the go. And how their hobnail boots they rattle On that hard and slippery floor, Like a mob of Queensland cattle On the rush at four...."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: clothes
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Anderson, pp. 213-214, "The Girls of Ulan" (1 text)
Meredith/Covell/Brown, p. 291, "Ulan Girls" (1 text, 1 tune)
NOTES: It's not entirely clear whether these two songs are the same -- particularly since both are fragmentary. The first insults the Ulan girls, and has no tune; the second praises them. One may be a parody, or they may be complimentary fragments. For the moment, pending fuller versions, I'm lumping them together on the principle that they're about the same subject. - RBW
File: MA213
===
NAME: Girls of Valparaiso, The: see Rounding the Horn (File: VWL090)
===
NAME: Girls Won't Do to Trust, The: see The Boys Won't Do to Trust (File: R461)
===
NAME: Git Along, Josie: see Jim Along Josie (File: R575)
===
NAME: Git Along, Little Dogies: see Get Along, Little Dogies (File: R178)
===
NAME: Git Away, Old Man: see I Wouldn't Have an Old Man (File: R401)
===
NAME: Git Back Blues: see Black, Brown, and White (File: SBoA350)
===
NAME: Give Me a Hut
DESCRIPTION: "Oh, give me a hut in my own native land... I don't care how far in the bush it may be, If there's one faithful heart that will share it with me." The singer praises Australia and the life there, and hopes that someone will be willing to share said life
AUTHOR: unknown
EARLIEST_DATE: 1924 (Paterson's _Old Bush Songs_)
KEYWORDS: Australia marriage loneliness
FOUND_IN: Australia
REFERENCES: (5 citations)
Meredith/Anderson, p. 137, "Native Mate" (1 text, 1 tune)
Fahey-Eureka, pp. 118-119, "Oh, Give Me a Hut" (1 text, 1 tune)
Manifold-PASB, p. 103, "Oh, Give Me a Hut" (1 text, 1 tune)
Meredith/Covell/Brown, pp. 255-256, "Australia for Me" (1 text, probably deliberately modified, 1 tune)
Paterson/Fahey/Seal, pp. 155-157, "Oh, Give Me a Hut in My Own Native Land" (1 text)
CROSS_REFERENCES:
cf. "My Gumtree Canoe" (tune)
File: MA137
===
NAME: Give Me That Old Time Religion: see That Old Time Religion (File: R628)
===
NAME: Give Me the Roses While I Live
DESCRIPTION: "Wonderful things of men are said, When they have passed away, Roses adorn the narrow bed, Over the sleeping clay. Give me the roses while I live... Useless are flowers that you give After the soul is gone." Encouraging companionship while still alive
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sacred Harp, Denson Revision)
KEYWORDS: friend flowers religious nonballad death
FOUND_IN: US
REFERENCES: (1 citation)
DT, GIVEROSE*
RECORDINGS:
The Carter Family, "Give Me Roses While I Live" (Victor Vi-23821)
CROSS_REFERENCES:
cf. "When I Leave These Earthly Shores" (theme of giving roses)
NOTES: In the Sacred Harp, this is given the tune-name Odem, after a friend of editor Thomas Denson. - RBW
File: RcGMTRWL
===
NAME: Give Me Three Grains of Corn, Mother: see Three Grains of Corn (File: San041)
===
NAME: Give the Dutch Room
DESCRIPTION: "Stand back, boys, and give the Dutch room." The singer describes how the Dutch fight hard in the campaign which culminates in the capture of Fort Smith.
AUTHOR: unknown
EARLIEST_DATE: 1916 (Belden)
KEYWORDS: Civilwar
HISTORICAL_REFERENCES: December 1862 - first campaign against Fort Smith, including the battles of Cane Hill (Nov. 28) and Prairie Grove (Dec. 7). The Union troops, though they occupied Fort Smith, could not hold it; they gained control of the town "for keeps" on Sept. 1, 1863
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 373-374, "Give the Dutch Room" (1 text)
Roud #7762
CROSS_REFERENCES:
cf. "Prairie Grove" (subject)
NOTES: This is a strange, and perhaps confused, little song. The first verse refers to a battle at "Cahound." Belden suggests that this is the Battle of Cane Hill (which he misdates to Dec. 5), and I have no better suggestion.
Belden's notes also suggest that the "Lane" of the song was James H. Lane. This seems a little dubious. There were two James H. Lanes in the war: A Unionist Sernator from Kansas (1814-1866) and a Confederate brigadier (1833-1907). The latter served only in the east, however, and the former, although he had fought for "bleeding Kansas," is not listed as a Civil War general.
My own guess is that Lane is Walter P. Lane (1817-1892), a Confederate officer who served in the west throughout the war, though he didn't earn his brigadier's star until March 1865.
The other curiosity is the use of the word "Dutch." The "Dutch" were actually Germans, and the name was used in a derogatory way by non-Germans. But here they are praised. So who wrote the piece?
The purpose may have been somewhat political, to encourage the German soldiers. Their record in the war was not particularly good overall, though through no fault of their own.
At Wilson's Creek, Sigel's "Dutch" brigade had been routed. Troops under Sigel had suffered badly at the hands of Stonewall Jackson in the Shenandoah Valley. And those same troops, now the XI Corps, had been outflanked and routed at Chancellorsville and Gettysburg. At no point had the soldiers done wrong; it was the officers' fault. But they had a terrible reputation. This might have been an attempt to perk them up. - RBW
File: Beld373
===
NAME: Give Us a Flag
DESCRIPTION: "Oh, Fremont he told them when the war it first begun How to save the Union and the way it should be done, But... Old Abe he had his fears Till ev'ry hope was lost but the colored volunteers." The war went badly until Black troops were used
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Civilwar Black(s) battle soldier
FOUND_IN: 
REFERENCES: (1 citation)
Silber-CivWar, p. 64-65, "Give Us a Flag" (1 text, 1 tune)
Roud #11631
NOTES: The Union first began enlisting black troops (informally) in 1862. By the end of that year, four regiments were raised, only to have Lincoln shut them down. After the issuance of the Emancipation Proclamation, however, Lincoln allowed the formation of (segregated) "colored" regiments.
In the end, over a hundred and fifty such regiments were raised. Their performance was mixed -- but this was probably the fault of the (white) officers rather than the black troops. A large fraction of the officers in the "colored" regiments were soldiers who had given up on promotion in the white army, and shifted to the "Colored" troops to get ahead.
The "colored" troops had other reasons for bad morale; their pay was much lower than their white counterparts, and their equipment less good. And soldiers from both sides looked down on them.
Among the references in this song are:
"Fremont he told them when the war was just begun" -- General John C. Fremont was the first theatre commander west of the Mississippi. He was a bad general but a good Free Soiler, and proposed the raising of Black regiments.
"McClellan went to Richmond with two hundred thousand brave" -- refers to McClellan's Peninsular Campaign of 1862. McClellan was a conservative Democrat, and did not want the war to interfere with slavery. The song exaggerates his forces (he had about 120,000 men in the Peninsula), but correctly notes that his campaign failed.
"The 54th" presumably refers to the 54th Massachusetts, perhaps the most distinguished of the "colored" regiments. It fought in the unsuccessful assault on Fort Wagner (outside Charleston; July 18, 1863), and suffered roughly 40% casualties.
The phrase "Give Us a Flag" is a request for a regimental standard. - RBW
File: SCW064
===
NAME: Gladys Kincaid (I)
DESCRIPTION: "Little Gladys Kincaid" is talking with a friend. Her brother finds he rbody, and instantly concludes that Brodus Miller killed her. A reward is offered. The community is outraged that a "Negro beast" could do such a thing causes him to be hunted down
AUTHOR: unknown
EARLIEST_DATE: 1932 (Henry, collected from Hazel Winters)
KEYWORDS: abduction rape homicide death punishment
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 57-58, "Gladys Kincaid" (1 text)
NOTES: To tell this song from Gladys Kincaid (II), consider this opening stanza:
Little Gladys Kincaird,
A girl we all knew well,
She started back to her home
To where her mother dwell
And on on her way she met a girl
And stopped her for a talk
And while they was a-standing there
Up Brodus Miller walked.
It sounds to me as if this version is based on "The Knoxville Girl" or something like it. Henry's version -- the only one extant -- seems to have lost at least one crucial verse describing her abduction, and presumably her rape. The racism of the text is palpable; in the song, it appears that the only evidence against Brodus Miller was that he was Black.
Although this murder inspired two ballads (this one and one in Brown, neither widespread), the editors of Brown were unable to determine anything about the story behind the ballad.
A correspondent who signs herself "Amanda" tells me the murder took place in Morganton, North Carolina. Her grandmother apparently knew Gladys Kincaid, and sang one of the songs (probably Gladys Kincaid II).
This is item dF41 in Laws's Appendix II (Gladys Kinkaid II is dF42). - RBW
File: MHAp057
===
NAME: Gladys Kincaid (II)
DESCRIPTION: Gladys is on her way gome from work in the hosiery mill when "the negro... did this awful deed Too horrible to tell" (i.e. rape and murder). Miller, the alleged perpetrator, is hunted down and shot; his body is displayed
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: abduction rape homicide death punishment
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 297, "Gladys Kincaid" (1 text)
ST BrII297 (Full)
Roud #4114
CROSS_REFERENCES:
cf. "Gladys Kincaid (I)" (subject)
NOTES: To tell this song from Gladys Kincaid (I), consider this opening stanza:
Come all of you good people
And listen if you will
Of the fate of Gladys Kincaid
Who worked in the hosiery mill.
Although this murder inspired two ballads (this one and one in Henry, neither widespread), the editors of Brown were unable to determine anything about the story behind the ballad.
A correspondent who signs herself "Amanda" tells me the murder took place in Morganton, North Carolina. Her grandmother apparently knew Gladys Kincaid, and sang one of the songs (probably this one).
This is item dF42 in Laws's Appendix II (Gladys Kinkaid I is dF41). - RBW
File: BrII297
===
NAME: Glasgerion [Child 67]
DESCRIPTION: The king's daughter declares her love for Glasgerion and invites him to her bed. He tells his servant of the tryst. The boy sneaks in in his stead. When the lady learns this, she kills herself. Glasgerion kills the lad, (then himself)
AUTHOR: unknown
EARLIEST_DATE: c. 1640
KEYWORDS: nightvisit love sex betrayal death suicide homicide trick
FOUND_IN: Britain(Scotland,Wales)
REFERENCES: (10 citations)
Child 67, "Glasgerion" (3 texts)
Bronson 67, "Glenkindie" (1 version)
Percy/Wheatley III, pp. 45-49, "Glasgerion" (1 text)
Leach, pp. 222-229, "Glasgerion" (2 texts plus one "analogy")
OBB 40, "Glasgerion" (1 text)
Friedman, p. 71, "Glasgerion" (1 text, 1 fragment)
PBB 41, "Glasgerion" (1 text)
Gummere, pp. 340-342, "Glasgerion" (1 text, printed in the notes to "Lord Randal")
TBB 16, "Glasgerion" (1 text)
DT 67, GLENKIND
Roud #145
RECORDINGS:
A. L. Lloyd, "Jack Orion" (on Lloyd2, Lloyd3, ESFB2)
CROSS_REFERENCES:
cf. "Jack the Jolly Tar (I) (Tarry Sailor)" [Laws K40] (theme)
ALTERNATE_TITLES:
Jack O'Ryan
Jack Orion
Jack O'Rion
Glenkindie
NOTES: "Glasgerion" is believed to be an anglicisation of "Glas Keraint," a legendary Welsh harper said to be able to harp "a fish out o' saut water Or water out o' a stane." - RBW
File: C067
===
NAME: Glasgow Barber, The
DESCRIPTION: Pat from Belfast stops at a Glasgow barbershop for a Mayo haircut but is given a Scottish haircut instead. When Pat refuses to pay the barber calls two bobbies. Pat takes down bobbies and barbers with his stick. Enough of Scottish barbers and haircuts.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: fight Ireland Scotland humorous police hair
FOUND_IN: Ireland
REFERENCES: (2 citations)
Morton-Ulster 30, "The Glasgow Barber" (1 text, 1 tune)
Morton-Maguire 29, pp. 71-72,116,168, "The Glasgow Barber" (1 text, 1 tune)
Roud #2908
File: MorU030
===
NAME: Glasgow Peggy [Child 228]
DESCRIPTION: A Highland man comes to Glasgow and falls in love with Peggy. Her parents declare themselves against his suit; they will guard her more than all their other property. But she chooses to go with him, and he reveals that he is a rich nobleman
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: courting disguise
FOUND_IN: Britain(Scotland(Aber,Bord))
REFERENCES: (5 citations)
Child 228, "Glasgow Peggy" (7 texts, 1 tune)
Bronson 228, "Glasgow Peggy" (14 versions+1 in addenda)
Leach, pp. 588-589, "Glasgow Peggy" (1 text)
Montgomerie-ScottishNR 160, "(Oh Sandy is a Highland lad)" (1 short text)
DT 228, GLASGPEG*
Roud #95
RECORDINGS:
Ewan MacColl and Peggy Seeger, "Glasgow Peggy" (on SCMacCollSeeger01) {cf. Bronson's #2, taken from a different recording and with a few lyric variations but mostly the same}
CROSS_REFERENCES:
cf. "Bonny Lizie Baillie" [Child 227] (theme)
cf. "The Blaeberry Courtship" [Laws N19] (plot)
File: C228
===
NAME: Glasgow, The
DESCRIPTION: John Williams is banished from Coot-hill. "They tore me from the arms of my charming Sally Greer." His friends take him to Liverpool and pay his passage to New York on Glasgow. The mate lets the ship run aground. Twenty-five men are lost.
AUTHOR: unknown
EARLIEST_DATE: 1937 (Ranson)
KEYWORDS: drowning sea ship wreck sailor emigration separation lover
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 110-111, "The Glasgow" (1 text, 1 tune)
Roud #7346
CROSS_REFERENCES:
cf. "Sally Greer" (theme, plus the girl's name)
NOTES: February 14, 1837: "... sunk after striking the Barrells .... lost her rudder and drove over the rocks.... Altogether 82 were rescued by the Alacia [under Captain Walsh] at considerable risk" (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 44)
Is this "Coot-hill" or Courtown? 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." For more on "coot-hill" see notes for "The Champion of Coute Hill."- BS
An even more interesting question is the relationship of this song to "Sally Greer." Both are songs involving an emigrant who is aboard a wrecked ship, and both involve a girl named Sally Greer who is left behind.
On the other hand, the ship is different (_Glasgow_ versus _Monatch of Aberdeen_), the motivations are slightly different, "Sally Greer" never mentions Liverpool, and this song describes a lesser disaster (in "Sally Greer," over 90% of the people on the ship are lost).
My best guess is that one is a rework of the other, with "Sally Greer" perhaps slightly more likely to be the original, since it's more widespread. - RBW
File: Ran110
===
NAME: Glashen-Glora
DESCRIPTION: The singer describes the mountain stream and thinks of happier days. Wherever he travels he will think about this stream. "Thy course and mine alike have been Both restless, rocky, seldom green"
AUTHOR: unknown
EARLIEST_DATE: 1824 (_Cork Constitution_, according to Croker-PopularSongs)
KEYWORDS: lyric river
FOUND_IN: 
REFERENCES: (2 citations)
Croker-PopularSongs, pp. 189-191, "Glashen-Glora" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859 (reprint of 1855 London edition)), Vol I, pp. 51-52, "Glashen-Glora"
NOTES: Croker-PopularSongs: "This lyric originally appeared with the signature W.___ .... 'Glashen-glora,' adds the author, 'is a mountain torrent, which finds its way into the Atlantic Ocean through Glengariff, in the west of this count (Cork).' The Editor may add that the name, literally translated, signifies 'the noisy green water:' glas, green; en, water; glorach, noisy." - BS
File: CrPS189
===
NAME: Glass of Whisky, The
DESCRIPTION: Murrough O'Monaghan, home from the wars minus a leg, begs along a road. He wishes he had been a marine that had retired with a full pay pension. Good whisky gives him strength to face illness and weather. He wishes Merry Christmas and whisky for all.
AUTHOR: William Paulet Carey (source: Croker-PopularSongs)
EARLIEST_DATE: 1793 (_The Sentimental and Masonic Magazine_, according to Croker-PopularSongs)
KEYWORDS: drink begging injury disability soldier
FOUND_IN: Ireland
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 80-82, "The Glass of Whisky" (1 text)
CROSS_REFERENCES:
cf. "When I Was a Young Man in Sweet Tipperary" (tune, according to Croker-PopularSongs)
NOTES: Croker-PopularSongs details Carey's background, including his turn as witness for the Crown. "Considering the political apostasy of the author -- a crime seldom forgotten or forgiven in Ireland -- it is singular that any song known to have been of his writing should have become popular, which Murrough O'Monaghan's aspiration respecting a glass of whisky certainly did; and it has continued to be so to the present time -- upwards of forty years. This, however, has been accounted for to the Editor by the statement that the character of Murrough O'Monaghan was a sketch from life" of a well known character said "to have been a faithful emissary of the United Irishmen." - BS
File: CrPS080
===
NAME: Glaw, Keser, Ergh Ow-cul Yma: see Let Me In This Ae Nicht (File: DTaenich)
===
NAME: Gleanntan Araglain Aobhinn (Happy Glen of Araglin)
DESCRIPTION: Gaelic. The singer bids farewell, across the waves, to the Glen of Araglin. He recalls the wine and beer, baying hounds, magic music, plough-teams, horses, cattle, birds, deer, "and the beautiful fair-breasted maiden"
AUTHOR: unknown
EARLIEST_DATE: 1971 (OCanainn)
KEYWORDS: foreignlanguage farewell lyric nonballad  animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 82-83, "Gleanntan Araglain Aobhinn" (1 text, 1 tune)
NOTES: The description is from O Canainn's translation.
OCanainn: "The Araglin is a river in County Cork." - BS
File: OCan082
===
NAME: Glen Alone, The
DESCRIPTION: The crew lowers a boat to investigate "an ugly form" in the moonlit. It's the Glen Alone, "rugged yards and splintered spars, her mainmast and mizzen gone," six skeletons and a note that food is gone. We row away: "her deck seemed swarmed with shadows"
AUTHOR: unknown
EARLIEST_DATE: 1983 (Lehr/Best)
KEYWORDS: death sea ship sailor ghost food starvation wreck
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 43, "The Glen Alone" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Ghostly Crew" [Laws D16] (theme)
NOTES: See "The Ghostly Crew" [Laws D16] for another Newfoundland ballad of haunting at sea. - BS
File: LeBe043
===
NAME: Glen O'Lee
DESCRIPTION: The exile recalls leaving Donegal. He tells of leaving his friends. He mentions all the things he can no longer do: Play the fiddle at balls, dance the jig with the girls, etc. From ten thousand miles away, he wishes peace and contentment to his old home
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: homesickness emigration
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H672, p. 212, "Glen O'Lee" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Scarborough Settler's Lament" (theme) and references there
File: HHH672
===
NAME: Glenariffe
DESCRIPTION: The singer praises his home in Glenariffe, saying, "The beauty of our lovely glen is straight from God's own hand." He describes the local waterfall, the heights, the hallowed ground at Kilmore. He blesses his home
AUTHOR: unknown
EARLIEST_DATE: 1939 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H801, pp. 164-165, "Glenariffe" (1 text, 1 tune)
Roud #13474
File: HHH801
===
NAME: Glenarm Bay
DESCRIPTION: The singer sees a pretty girl along Glenarm Bay. He asks what she is doing. She answers, in effect, "Looking for boys. What else would I be doing up so early." He asks her if she will marry. Being assured he is serious and will be faithful, she consents
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love courting marriage beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H102, p. 464, "Glenarm Bay" (1 text, 1 tune)
Roud #3575
File: HHH102
===
NAME: Glencoe: see MacDonald's Return to Glencoe (The Pride of Glencoe) [Laws N39] (File: LN39)
===
NAME: Glendy Burk, The
DESCRIPTION: The singer complains, "I can't stay here 'cause they work too hard; I'm bound to leave this town; I'll take my duds and tote 'em on my back when the Glendy Burk comes down." He describes the "funny" boat and promises to take his girl to Louisiana
AUTHOR: Stephen C. Foster
EARLIEST_DATE: 1860 (sheet music)
KEYWORDS: ship work hardtimes travel
FOUND_IN: US Australia
REFERENCES: (3 citations)
Meredith/Anderson, pp. 109-110, "When the New York Boat Comes Down" (1 text, 1 tune -- a heavily localized version sung to the tune of "Year of Jubilo"; also fragments of another version)
Saunders/Root-Foster 2, pp. 93-96+427, "The Glendy Burk" (1 text, 1 tune)
DT, GLNDYBRK*
ST MA109 (Full)
NOTES: This song, for some reason, seems to have done particularly well in Australia, with several localized versions ("The New York Boat," "The Bundaberg") known. These versions on their faces often bear little resemblance to Foster's song -- but in almost all cases (as the titles show), the errors are simple errors of hearing.
It's also worth noting that the tune I learned for this song (from Debby McClatchy) is not the same as Foster's sheet music. Thus this text has acquired at least two new tunes over the years. Highly unusual, given that Foster is credited with more tunes than texts, and that very many of his texts are in fact quite poor.
I have to suspect, in fact, that this song sat on a shelf somewhere for several years. Note that Saunders/Root firmly date the sheet music to 1860. And yet, there was a real ship, the _Glendy Burk_ which went into service on the Ohio and the lower Mississippi in 1851 (according to scattered Internet sources). But Bruce D. Berman's _Encyclopedia of American Shipwrecks_, p. 245, says that this _Glendy Burk_ was snagged and sunk at Cairo, Illinois in 1855. I find no record of a replacement built in the period after that. The logical conclusion -- though it is obviously not certain -- is that Foster wrote this song prior to the boat's sinking, or at least five years before the song was published. - RBW
File: MA109
===
NAME: Glendy Burke, The: see The Glendy Burk (File: MA109)
===
NAME: Glenelly
DESCRIPTION: "There is no other spot in the land of the Gael Where my young heart the full strains of pleasure could feel." The singer recalls his poor but happy home, his friends, his dreams. He prays that he may return to Glenelly before he dies
AUTHOR: unknown
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: home rambling
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H720, p. 165, "Glenelly" (1 text, 1 tune)
Roud #13475
File: HHH720
===
NAME: Glenkindie: see Glasgerion [Child 67] (File: C067)
===
NAME: Glenlogie, or, Jean o Bethelnie [Child 238]
DESCRIPTION: Jean o Bethelnie is enraptured with handsome Glenlogie; he wants someone richer. Jean takes to her bed; her father's chaplain appeals to Glenlogie. Glenlogie changes his mind and marries Jean
AUTHOR: unknown
EARLIEST_DATE: 1768 (Percy collection)
KEYWORDS: love rejection marriage
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (5 citations)
Child 238, "Glenlogie, or, Jean o Bethelnie" (9 texts)
Bronson 238, "Glenlogie, or, Jean o Bethelnie" (21 versions+1 in addenda)
Ord, pp. 412-415, "Bonnie Jean o' Bethelnie" (1 text)
OBB 85, "Glenlogie" (1 text)
DT 238, GLENLOG GLENLOG2*
Roud #101
RECORDINGS:
John Strachan, "Glenlogie" [fragment] (on Lomax43, LomaxCD1743); "Glenlogie (Jean o' Bethelnie)" (on FSB5, FSBBAL2)
CROSS_REFERENCES:
cf. "A Rich Irish Lady (The Fair Damsel from London; Sally and Billy; The Sailor from Dover; Pretty Sally; etc.)" [Laws P9] (lyrics in some texts)
ALTERNATE_TITLES:
Bonnie Jeannie o Bethelnie
NOTES: Reported to be the story of Jean Meldrum and Sir George Gordon of Glenlogie. Meldrum became a servant of Mary Stewart in 1562. Some versions of the song follow the details of the story very closely, implying either that the song is of broadside origin or that the alleged history is just that: Alleged.
(For details, see the notes in Ord, which quote an article by Dr. Shearer in the _Huntly Express_ of January 24, 1882). - RBW
File: C238
===
NAME: Glenora, The
DESCRIPTION: Tom Warren is captain of Glenora out of Burgeo. This day Warren stays on shore and Glenora runs into a gale which the crew rides out. After the wind dies Warren came out in a motor boat and gives loud and obvious orders before going to sleep.
AUTHOR: unknown
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: sea ship storm
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 44, "The Glenora" (1 text, 1 tune)
NOTES: Burgeo is on the south coast of Newfoundland, about 70 miles east of Port-aux-Basques by sea. - BS
File: LeBe044
===
NAME: Glenorchy Maid, The
DESCRIPTION: "When spring spread her green velvet claes on the common, When summer wi' flow'rs decks the heather braes," even then, there is nothing "more inviting, to me more delighting" than the Glenorchy maid. The singer expects to live with her in bliss
AUTHOR: unknown
EARLIEST_DATE: 1899 (Ford)
KEYWORDS: love beauty nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 135-137, "The Glenorchy Maid" (1 text, 1 tune)
Roud #13115
File: FVS135
===
NAME: Glenrannel's Plains: see Owenreagh's Banks (File: HHH100b)
===
NAME: Glenshesk Waterside, The
DESCRIPTION: The singer recalls wandering along the Glenshesk water, but now he must sadly depart. He wishes he were still there, "But fate proposes I must go, in foreign lands abide."  He describes all the things he won't see again
AUTHOR: P. C. J. McAuley (?)
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: emigration homesickness
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H19a, p. 194, "The Glenshesk Waterside" (1 text,  2 tunes, one a corrected version of the other)
Roud #9510
CROSS_REFERENCES:
cf. "Scarborough Settler's Lament" (theme) and references there
File: HHH019a
===
NAME: Glenswilly: see The Hills of Glensuili (File: TST097)
===
NAME: Gloamin' Star at E'en, The
DESCRIPTION: The singer tells of his hard work all day, but is happy when it's through: "But I maun haste awa' Where the tryst was set yestreen To meet my bonnie lassie Neath the gloamin' star at e'en." He blesses the star, and cares not for riches when he has her.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting work
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, pp. 66-67, "'Neath the Gloamin' Star at E'en" (1 text)
DT, GLOAMSTR
Roud #5569
NOTES: Quite a few versions of this open with a reference to Phoebus (Apollo); I have to think it started as a broadside somewhere. - RBW
File: Ord066
===
NAME: Glorious Exertion of Man, The
DESCRIPTION: "Gallia burst her vile shackles on this glorious day, And we dare to applaud the great deed." "Columbia ... was cleared ... Chains disappeared." "'Mong our neighbors, now, Liberty dwells ... On the rock of Man's Rights she a fortress has planned."
AUTHOR: unknown
EARLIEST_DATE: 1796 (_Paddy's Resource_(Philadelphia), according to Moylan)
KEYWORDS: America France nonballad patriotic freedom
HISTORICAL_REFERENCES: July 14, 1789 - The Bastille is taken, marking the beginning of the French Revolution
1791-1792 - Thomas Paine publishes _The Rights of Man_
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 15, "The Glorious Exertion of Man" (1 text)
CROSS_REFERENCES:
cf. "Man is Free by Nature" (subject of the French Revolution)
File: Moyl015
===
NAME: Glorious Meeting of Dublin, The
DESCRIPTION: October 10, 1869 many thousands gather, without disturbance, "to use all legal means to set these brave men free." Butt and Moor speak. "Five hundred thousand did stand" across Ireland in support. "No separation do we want we only seek our rights"
AUTHOR: unknown
EARLIEST_DATE: c.1867 [after October 1869] (broadside, Bodleian Harding B 26(219))
KEYWORDS: prisoner Ireland political
HISTORICAL_REFERENCES: Oct 10, 1869 - Peaceful demonstration in Dublin of about 40000 people in support of amnesty for Fenian prisoners (source: _The Times_ Oct 11, 1869, pg. 5, col. D, Issue 26565. Copyright 2002 The Gale Group)
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Harding B 26(219), "The Glorious Meeting of Dublin Held in Cabra ," P. Brereton (Dublin), c.1867
NOTES: October 2, 1869 at Youghall a petition for amnesty for Fenian prisoners held for sedition was presented by the Town Commissioners to John-Poyntz Earl Spencer, Lord Lieutenant General and General Governor of Ireland, without response. The meeting at Dublin followed and drew up a petition to Gladstone. Mr Butt presided and other speakers included Mr Moore M.P., Rev Mr Leverett, Mr Russell and Mr O'Donnell President of the Trade Association. (sources: The Times Oct 4, 1869, pg. 9, col. C, Issue 26559. The Times Oct 11, 1869, pg. 5, col. D, Issue 26565. Copyright 2002 The Gale Group)
The following year Isaac Butt founded the Home Government Association, which was soon replaced by the more agressive Home Rule League. (source: "Home Rule" on the Irelandseye site).
January 5, 1871 - "33 Fenian prisoners, including Devoy, Rossa, O'Leary and Luby, are released by the British in a general amnesty" (source: Irish Culture and Customs site)
See "Rossa's Farewell to Erin" for another example about the Amnesty Movement; Rossa is one of the prisoners mentioned in the Bodleian broadside and freed January 5, 1871. Others are General Thomas F Burke (as "Burk"; see "Thomas F Burke" in _Speeches from the Dock, Part I_ at the FullBooks site [also 
Burke's Dream" [Laws J16] - RBW]), McSweeney (who also appears in Brereton's broadside "Exile's Return" in Hugh Anderson, _Farewell to Judges & Juries_, pp. 396-397) and a difficult to read name beginning "O'Ne." - BS
File: BrdTGMoD
===
NAME: Glorious Repeal Meeting Held at Tara Hill
DESCRIPTION: Dan and Steele at the Tara meeting say they won't yield without repeal of the Union. "God bless our Queen ... But in spite of all the tory clan We will repeal the Union." "In spite of Wellington and Peel We'll gain our liberation"
AUTHOR: unknown
EARLIEST_DATE: 1843 (Zimmermann)
KEYWORDS: 
HISTORICAL_REFERENCES: Aug 15, 1843 - Repeal meeting at Tara (source: Zimmermann)
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 50A, "Glorious Repeal Meeting Held at Tara Hill" (1 text)
CROSS_REFERENCES:
cf. "The Meeting of Tara" (subject)
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: Daniel O'Connell founded National Association of Ireland for full and prompt Justice and Repeal April 1840 (In January the Association was renamed the Loyal National Repeal Association). O'Connell argued that the Union Act of 1801 was invalid. In October Young Ireland established The Nation which supported Repeal. In 1843 O'Connell spoke to "monster" meetings attended by 100,000 or more supporters in favor of Repeal. The June meeting at Mallow was followed in August by the meeting at Tara and, in September, by a meeting at Mullaghmast. Finally, on October 7 [my sources all say October 4 - RBW], the government prohibited the meeting scheduled at Clontarf the following day. O'Connell issued a notice that the meeting was "abandoned." That ended the Repeal meetings. (source: The Princess Grace Irish Library (Monaco) site entry for Daniel O'Connell; O'Connell's notice for the Clontarff meeting can be read at 1169 and Counting site)
Zimmermann 50: "Thomas Steele, although a protestant landlord, was one of O'Connell's lieutenants."
The commentary for broadside NLScotland L.C.Fol.178.A.2(065) states "The meeting at Tara, Co. Meath in the summer of 1843, is now estimated to have been attended by 750,000 people." - BS
A number which should inspire some skepticism -- 750,000 people was a tenth of the population of Ireland! Robert Kee (p. 208 of _The Most Distressful Country_, which is volume I of _The Green Flag_) mentions this estimate, but notes that it was from _The Nation_, which was pro-Irish. O'Connell's estimate was an even more absurd million and a half.  A more realistic estimate is a quarter of a million (from Cecil Woodham-Smith, _The Great Hunger_, p. 11).
For additional information on the context, see the notes on "The Meeting of Tara." - RBW
File: Zimm050A
===
NAME: Glorious Thing of Thee are Spoken
DESCRIPTION: "Glorious thing of thee are spoken, Zion, city of our God. He whose word cannot be broken, Formed thee for his own abode." Hearers are reminded that God is an unshakable foundation. the source of living water, seen in cloud and fire
AUTHOR: Words; John Newton (1732-1809) / Music: Franz Joseph Hadyn
EARLIEST_DATE: 
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), p, 51, "Glorious Things of Thee Are Spoken" (1 text, 1 tune)
Roud #7112
NOTES: For background on JohN Newton, see the notes to "Amazing Grace." - RBW
File: BdGTOTAS
===
NAME: Glorious Wedding, A
DESCRIPTION: "I will sing you a song of a comical style... It's all about a wedding, a glorious affair; As I was the bridegroom, I happened to be there." The singer reports all the wild events at the wedding, and all the peculiar guests who were present
AUTHOR: unknown
EARLIEST_DATE: 1925 (Cox)
KEYWORDS: marriage humorous wedding drink
FOUND_IN: 
REFERENCES: (1 citation)
JHCox 182, "A Glorious Wedding" (1 text)
ST JHCox182 (Full)
Roud #5158
CROSS_REFERENCES:
cf. "The Blythesome Bridal" (theme)
NOTES: This seems to be sort of an American version of "The Blythesome Bridal" -- not the same song, but the same idea, of a wild party. The wedding is not really part of the plot; it's just the occasion for the party. - RBW
File: JHCox182
===
NAME: Glory Trail, The (High Chin Bob)
DESCRIPTION: 'Way high up the Mogollons... A lion cleaned a yearlin's bones." High-Chin Bob, who wants to ride the "glory trail," ropes the lion. But the lion is healthy, and keeps fighting. Even today, Bob's ghost(?) and the lion continue their struggle
AUTHOR: Words: Charles Badger Clark
EARLIEST_DATE: 1919
KEYWORDS: cowboy talltale fight animal
FOUND_IN: US(SW)
REFERENCES: (4 citations)
Fife-Cowboy/West 124, "The Glory Trail" (1 text, 1 tune)
Ohrlin-HBT 49, "High Chin Bob" (1 text, 1 tune)
Saffel-CowboyP, p. 155-157, "The Glory Trail" (1 text)
DT, HIGHCHIN*
Roud #12499
RECORDINGS:
Glenn Ohrlin, "High Chin Bob" (on Ohrlin01)
File: FCW124
===
NAME: Gloucestershire Wassailers' Song
DESCRIPTION: "Wassail! wassail! all over the town, Our (pledge/toast) it is white, our ale it is brown." Health to the master's (animal's) body parts that he be sent a good present. Butler, "bring us a bowl of the best" else "down fall butler, and bowl and all"
AUTHOR: unknown
EARLIEST_DATE: 1857 (Bell)
KEYWORDS: request drink nonballad wassail animal horse sheep
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #92, "Wassail, Wassail, All Over the Town [The Gloucester Wassail]" (1 composite text)
Roud #209
RECORDINGS:
Billy Buckingham, "The Waysailing Bowl" (on Voice16)
CROSS_REFERENCES:
cf. "Somerset Wassail" (subject, one verse) and references there
NOTES: The opening verse seems common to "Somerset Wassail" and "Gloucestershire Wassailers' Song." The rest of the text seems distinct enough to warrant splitting the two.
The Billy Buckingham version on Voice16 includes verses of which this is a typical example:
Now here's a health to my master and to his right eye.
Pray God send our master a good Xmas pies,
And a good Xmas pie that we may all see.
To my wassailing bowl I'll bring unto thee.
The "right eye" is replaced by "right ear," "right arm," "right hip" and "right leg" with gifts of "happy New Year," "good crop of corn," "good flock of sheep" and "a good fatted pig." 
Bell's "Gloucestershire Wassailers' Song" ("Wassail! wassail! all over the town") is like Buckingham's except that the body parts belong to named animals rather than "master." For example, "Here's to our mare, and to her right eye, God send our mistress a good Christmas pie." Bell's footnote 46: "the name of the horse is generally inserted by the singer [for 'our mare']; and 'Filpail' is often substituted for 'the cow' in a subsequent verse." (source: Robert Bell, editor, [The Project Gutenberg EBook (1996) of] _Ancient Poems, Ballads and Songs of the Peasantry of England_ (1857)). - BS
File: RcGlWasS
===
NAME: Glove and the Lions, The: see The Lady of Carlisle [Laws O25] (File: LO25)
===
NAME: Glove, The: see The Lady of Carlisle [Laws O25] (File: LO25)
===
NAME: Glow-Worm (Gluhwurrmchen)
DESCRIPTION: Obnoxious little piece beginning, in English, "Glow little glow-worm, glimmer, glimmer." The rest is equally pointless.
AUTHOR: Music: Paul Linke (German words by Bolten-Backers0
EARLIEST_DATE: 1902
KEYWORDS: animal nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Fuld-WFM, p. 246, "Glow-Worm"
SAME_TUNE:
Down by the Seashore (I) (Pankake-PHCFSB, p. 149)
Down by the Seashore (II) (Pankake-PHCFSB, p. 149)
Grow Little Boobies (Pankake-PHCFSB, p. 149)
We Are the Girls from Concordia College (Pankake-PHCFSB, p. 150)
We Are the Smurthwaite Kewpie Dolls (Pankake-PHCFSB, p. 150)
Glow Li'l Glow-Worm (DT, GLOWRM2)
NOTES: Emphatically not a folk-song, but the number of parodies caused me to list it here. - RBW
File: xxGluhw
===
NAME: Glowerowerum: see Bonnie Buchairn (File: KinBB20)
===
NAME: Go 'Way From Mah Window
DESCRIPTION: Woodchopping song: "Go 'way from mah window, Go 'way from mah door, Go 'way from mah bedside, Don't you tease me no mo'." "Go 'way in de springtime, Come back in de fall, Bring you back mo' money Dan we bofe can haul."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: work separation
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
BrownIII 439, "Go 'Way from My Window" (1 text)
Sandburg, p. 377, "Go 'Way F'om Mah Window" (1 short text, 1 tune)
Lomax-ABFS, p. 198, "Go Way f'om Mah Window" (1 text, 1 tune)
Roud #11017
File: San377
===
NAME: Go 'Way from My Window: see Go 'Way From Mah Window (File: San377)
===
NAME: Go And Dig My Grave
DESCRIPTION: "Go and dig my grave both long and narrow, Make my coffin neat and strong... Two, two to my head, two, two to my feet, Two to carry me, Lord,when I die." "My soul's gonna shine lie a star... I'm bound for heaven when I die."
AUTHOR: unknown
EARLIEST_DATE: 1935 (recording, men from Andros Island)
KEYWORDS: religious nonballad
FOUND_IN: Bahamas
REFERENCES: (2 citations)
Silber-FSWB, p. 350, "Dig My Grave" (1 text)
DT, GO&DIG
Roud #15633
RECORDINGS:
Unidentified men from Andros Island, "Dig My Grave" (AAFS 502 B1, 1935; on LomaxCD1822-2)
David Pryor, Henry Lundy et al, "Dig My Grave" (AFS, 1935; on LC05)
John Roberts & group, "Dig My Grave Both Long and Narrow" (on MuBahamas2)
Pete Seeger, "Dig My Grave" (on PeteSeeger04)
CROSS_REFERENCES:
cf. "The Little Beggar Boy" (floating verses)
NOTES: Fred W. Allsopp, in _Folklore of Romantic Arkansas_, Volume II, p. 159, reports an item in _Harper's Magazine_ in 1878 with the chorus
Soul shall shine lak a star in de mornin',
Soul shall shine lak a star in de mornin';
Oh, my little soul's gwine to rise an' shine,
Oh, my little soul's gwine to rise an' shine.
Whether that is related to this I do not know. - RBW
File: FSWB350B
===
NAME: Go and Leave Me If You Wish To: see Dear Companion (The Broken Heart; Go and Leave Me If You Wish To, Fond Affection) (File: R755)
===
NAME: Go Away Sister Nancy
DESCRIPTION: "Go 'way! Sister Nancy, go 'way! I don't want you to hold me. Got sugar and 'lasses in my soul, And I want brother Honeycutt to hold me!"
AUTHOR: unknown
EARLIEST_DATE: 1937 (Scarborough)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-SongCatcher, p. 74, "(Go Away Sister Nancy)" (1 short text; tune on p. 386)
Roud #8811
NOTES: Reportedly the cry of an ecstatic in church. In Pentecostal sorts of denominations, shouting during a service is common, and in this denomination, it was usual for a neighbor to hold onto the shouter. Reportedly this woman wanted the handsome Brother Honeycutt to assume that duty rather than the female Sister Nancy. - RBW
File: ScSC074A
===
NAME: Go Bring Me Back My Blue-Eyed Boy: see The Butcher Boy [Laws P24]; also My Blue-Eyed Boy (File: LP24)
===
NAME: Go Down, Moses
DESCRIPTION: Moses is commissioned to free the Israelites: "Go down, Moses, Way down in Egypt's land. Tell old Pharaoh to let my people go." The firstborn of Egypt are specifically threatened; the rest is more general
AUTHOR: unknown
EARLIEST_DATE: 1861 (sheet music published under title "The Song of the Contrabands 'O Let My People Go'")
KEYWORDS: religious Bible freedom escape death
FOUND_IN: US(SE)
REFERENCES: (8 citations)
BrownIII 570, "Go Down, Moses" (1 text)
Silber-CivWar, pp. 26-27, "Go Down, Moses" (1 text, 1 tune)
Lomax-FSUSA 109, "Go Down, Moses" (1 text, 1 tune)
Courlander-NFM, p. 42, "Go Down, Moses" (partial text)
Darling-NAS, pp. 354-355, "O! Let My People Go" (1 text -- an excerpt)
Silber-FSWB, p. 294, "Go Down Moses" (1 text)
Fuld-WFM, p. 247, "Go Down, Moses"
DT, GOMOSES* GOMOSES2*
Roud #5434
RECORDINGS:
Marian Anderson, "Go Down Moses" (Victor 19370, 1924) (Victor 1799, 1937)
Bentley Ball, "Go Down Moses" (Columbia A3085, 1920)
Big Bethel Choir, "Go Down Moses" (Victor 20498, 1927)
Charioteers, "Go Down Moses" (Columbia 35718, 1940; rec. 1939)
Cotton Belt Quartet, "Go Down Moses" (Vocalion 1024, 1926)
Ebony Three, "Go Down Moses" (Decca 7527, 1938)
Rev. Fullbosom, "Moses Go Down into Pharoahland" (Paramount 13078, 1931 -- possibly a recorded song/sermon)
Hampton Institute Quartette, "Go Down Moses" (RCA 27472, 1941)
Harmonizing Four, "Go Down Moses" (Vee Jay 864, rec. 1958)
Roland Hayes, "Go Down Moses" (Vocalion 1073, 1927; Vocalion 21002, n.d.; Supertone S-2238, 1931)
Rev. H. B. Jackson, "Go Down Moses" (OKeh 8804, 1930; rec. 1929)
Reed Miller, "Go Down, Moses" (CYL: Edison [BA] 3574, n.d.)
Pete Seeger, "Go Down Moses" (on PeteSeeger31)
Noble Sissle & his Southland Singers, "Go Down Moses" (Pathe 20488, 1921)
Southern Sons, "Go Down Moses" (Bluebird B-8808, 1941)
Edna Thomas, "Go Down, Moses" (Columbia 1606-D, 1928)
Tuskegee Institute Singers, "Go Down Moses" (Victor 17688, 1915; rec. 1914)
Tuskegee Quartet, "Go Down Moses" (Victor 20518, 1927; rec. 1926)
University of North Carolina Club, "Go Down, Moses" (Brunswick 3161, 1926)
University Singers, "Go Down Moses" (Cameo 530, 1924)
Virginia Female [Jubilee] Singers, "Go Down Moses in Egyptland" (OKeh 4437, 1921)
Wheat Street Female Quartet, "Go Down Moses" (Columbia 14067-D, 1925)
ALTERNATE_TITLES:
The Song of the Contrabands
NOTES: Rev. L. C. Lockwood, described as "Chaplain of the 'Contrabands' at Fortress Munroe," [sic. -- the fort's name was Fort Monroe - RBW] collected the song, reporting that "This Song has been sung for about nine years by the Slaves of Virginia." The original has 11 verses, only a few of which seem to have made it into tradition. - PJS
Moses's specific threat against the firstborn of Egypt is made in Exodus 11:4f. and is carried out in 12:29f. The rest of this song is based loosely on the background in Exodus. - RBW
File: LxU109
===
NAME: Go Down, Old Hannah
DESCRIPTION: "Go down, old Hannah, well, well, well! Don't you rise no mo'. If you rise in the mornin', Bring Judgment Day." The singer describes the dreadful conditions in the Brazos River prisons, and hopes for release in any form
AUTHOR: unknown
EARLIEST_DATE: 1933 (recording, unknown artists, AFS CYL-7-1)
KEYWORDS: prison hardtimes work worksong
FOUND_IN: US(So)
REFERENCES: (5 citations)
Lomax-FSNA 286, "Go Down, Old Hannah" (1 text, 1 tune)
Botkin-SoFolklr, p. 745, "Go Down, Old Hannah" (1 text, 1 tune)
Courlander-NFM, p. 142, "Go Down Old Hannah" (1 text, 1 tune)
Silber-FSWB, p. 71, "Old Hannah" (1 text)
DT, OLDHANN2*
Roud #6710
RECORDINGS:
James "Iron Head" Baker, Will Crosby, R. D. Allen & Mose "Clear Rock" Platt, "Go Down Old Hannah" (AFS 195 A2, 1933; on LC08) [note: the AFS reissue identified this as 196 A2; this listing comes from Dixon/Godrich/Rye] (AFS 617 A3, 685 A2, 696 A1, 717 B, all 1936)
Mose "Clear Rock" Platt, "Go Down Old Hannah" (AFS 2643 A1, 1939)
Dock Reese, "Go Down, Old Hannah" (on AschRec2)
Texas state farm prisoners, "Go Down, Old Hannah" (on NPCWork)
Unknown artists, "Go Down Old Hannah" (AFS CYL-7-1, 1933)
CROSS_REFERENCES:
cf. "Ain't No More Cane on this Brazos"
NOTES: The amount of common material in this song and "Ain't No More Cane on this Brazos" makes it certain they have cross-fertilized. They may be descendants of a common ancestor. But the stanzaic forms are different, so I list them separately.
The name "Hannah" refers to the sun. - RBW
File: LoF286
===
NAME: Go From My Window (I)
DESCRIPTION: Characterized by the line "Go (away) from my window, my love, (go/do)." Rain or other difficulties may trouble the swain, but he usually gains admittance in the end: "Come up to my window, love... The wind nor rain shall not trouble thee again...."
AUTHOR: unknown
EARLIEST_DATE: 1611 (The Knight of the Burning Pestle)
KEYWORDS: courting rejection nightvisit nightvisit
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
Chappell/Wooldridge I, pp. 146-147, "Go From My Window" (3 fragments of text, 1 tune)
DT, GOWINDOW*
CROSS_REFERENCES:
cf. "The Drowsy Sleeper" [Laws M4]
cf. "One Night As I Lay on My Bed"
NOTES: This piece was obviously very popular in the sixteenth and early seventeenth centuries (Chappell reports eight sources from that period, though presumably most of these are the tune). The earliest dated text (partial, of course) appears to be that in John Fletcher and Francis Beaumont's 1611 play "The Knight of the Burning Pestle," Act III, scene v:
Go from my window, love, go;
Go from my wimdow, my dear;
The wind and rain
Will drive you back again:
You cannot be lodged here. - RBW
File: ChWI146
===
NAME: Go From My Window (II): see One Night As I Lay On My Bed (File: VWL079)
===
NAME: Go Get the Ax
DESCRIPTION: "Peepin' through the knot-hole Of grandpa's wooden leg, Who'll wind the clock when I am gone? Go get the ax, There's a fly in Lizzie's ear, For a boy's best friend is his mother." The remainder of the song is equally farfetched
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonsense nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Sandburg, p. 332, "Go Get the Ax" (1 text, 1 tune)
NOTES: According to Sandburg, this was collected from a girl who was forced to sing it to be initiated into a sorority. One hopes it was nothing worse than that. - RBW
File: San332
===
NAME: Go In and Out the Window
DESCRIPTION: "Go in and out the window (x3) As we have done before (or: "For we have gained the day")." "Go round and round the levee..." "Go forth and face your lover..." "I kneel because I love you..." "One kiss before I leave you..."
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: playparty courting nonballad
FOUND_IN: US(Ap,MW,NE,SE,So) Britain(England(All)) Ireland
REFERENCES: (9 citations)
Randolph 538, "Round and Round the Levee" (3 texts plus an excerpt, 1 tune)
BrownIII 76, "In and Out the Window" (1 text)
Hudson 140, pp. 287-288, "Marching Round the Levee" (1 text)
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"); p. 131, "I Measure My Love to Show You" (1 text, with unusual verses but the "For we have gained the day" chorus")
MHenry-Appalachians, p. 243, (no title) (1 fragment, probably this)
Linscott, pp. 9-10, "Go In and Out the Windows" (1 text, 1 tune)
Fuson, p. 175, "Go Out and Meet Your Lover" (1 text)
Chase, pp. 191-193, "We're Marchin' 'Round the Levee" (1 text, 1 tune)
Leyden 22, "Round About the Ladies" (1 text, 1 tune)
ST R538 (Full)
Roud #4320
RECORDINGS:
Kelly Harrell, "Cave Love Has Gained the Day" (Victor 23649, 1929; on KHarrell02)
Louise Massey & the Westerners, "Go In and Out the Window" (Vocalion 05361, 1939)
Pete Seeger, "Go In and Out the Window" (on PeteSeeger21)
ALTERNATE_TITLES:
Go Round and Round the Valley
Round and Round the Village
Marching Round the Valley
NOTES: Chase explains, "'Levee' here has no connection with flood control! It must mean a morning party or reception. (See Webster.) Such levees were held during the War Between the States to celebrate victories... 'For we have gained the day.'"
Maybe this explains why I've never heard the "levee" verses in the north. But the notes in Brown claim "Levee" is an error for "Valley."
Harrell's recording gained its odd name by studio incompetence. He sang the chorus as "Caze [='Cause] love has gained the day." The studio people couldn't figure out "Caze," and interpreted it as "Cave"!
It appears that the "Go In and Out the Window" title is rare in tradition. But that's the first verse of the song as I learned it in my youth, so there. - RBW
File: R538
===
NAME: Go in the Wilderness
DESCRIPTION: "If you want to go to heaven/go in the wilderness (3x)/...and wait upon the Lord." "If you want to see Jesus..." "Lord, my feet looked new when I come out the wilderness..." [secular playparty version:] "First little lady go in the wilderness..."
AUTHOR: unknown
EARLIEST_DATE: 1867 (W. F. Allen, Slave Songs of the United States)
KEYWORDS: nonballad religious playparty Jesus
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #11846
RECORDINGS:
Famous Blue Jay Singers, "I'm Leaning on the Lord" (Paramount 13119/Crown 3329, 1932; Champion 50056, c. 1935; Decca 7446, 1938; on Babylon)
CROSS_REFERENCES:
cf. "The Old Gray Mare (I) (The Old Gray Horse; The Little Black Bull)" (tune, structure)
ALTERNATE_TITLES:
I Wait Upon the Lord
How Did You Feel When You Came Out of the Wilderness?
Ain't I Glad I Got Out of the Wilderness
NOTES: This is the song which is ancestral to "The Old Gray Mare (I) (The Old Gray Horse; The Little Black Bull)" and its kin. - PJS
File: RcGITW
===
NAME: Go On, You Little Dogies: see Get Along, Little Dogies (File: R178)
===
NAME: Go Out and Meet  Your Lover: see Go In and Out the Window (File: R538)
===
NAME: Go Round and Round the Valley: see Go In and Out the Window (File: R538)
===
NAME: Go Slow, Boys (Banjo Pickin')
DESCRIPTION: "Go slow, boys, don't make no noise, For old Massa's sleepin'. Go down to the barnyard an' wake up the boys, An' let's have a little banjo pickin'. For oh, it's almost mornin', Don't you hear the old cock crowin'?" The slaves (?) sneak off to a dance
AUTHOR: unknown
EARLIEST_DATE: 1928
KEYWORDS: music slavery
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 278, "Go Slow, Boys" (1 text, 1 tune)
BrownIII 427, "Have a Little Banjo Beating" (1 text); also probably  118, "Hush, Honey, Hush" (1 fragment)
Roud #7783
ALTERNATE_TITLES:
The Banjo Picking
File: R278
===
NAME: Go Tell Aunt Patsy: see Go Tell Aunt Rhody (File: R270)
===
NAME: Go Tell Aunt Rhody
DESCRIPTION: "Go tell Aunt (Rhody) (x3) The old gray goose is dead. The one she'd been saving (x3) to make a feather bed." The cause of death varies; "a pain in the head"; "somebody... knocked it on the head"; "from standing on its head"
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection); +1913 (JAFL26)
KEYWORDS: bird death mourning
FOUND_IN: US(MW,NE,SE,So)
REFERENCES: (16 citations)
Randolph 270, "Go Tell Aunt Rhody" (2 texts plus 2 excerpts, 1 tune)
Randolph/Cohen, pp. 230-231, "Go Tell Aunt Rhody" (1 text, 1 tune -- Randolph's 270A)
BrownIII 128, "Go Tell Aunt Patsy" (1 text)
Scarborough-NegroFS, p. 8, (no title, but the goose's owner is Aunt Patsy) (1 text); pp. 195-196, "Go Tell Aunt Tabby" (1 text, 1 tune)
SharpAp 236, "The Old Grey Goose" (1 text, 1 tune)
Gardner/Chickering 193, "Aunt Tabbie" (1 text plus an excerpt)
Creighton/Senior, pp. 257, "The Old Grey Goose" (1 text, 1 tune)
Linscott, p. 207, "Go Tell Aunt Rhody" (1 text, 1 tune)
Lomax-FSUSA 3, "Go Tell Aunt Nancy" (1 text, 1 tune)
Lomax-ABFS, pp. 305-306, "The Old Gray Goose" (1 text, 1 tune)
Arnett, p. 39, "Go Tell Aunt Rhody" (1 text, 1 tune)
Chase, pp. 176-177, "The Old Gray Goose is Dead" (1 text, 2 tunes)
PSeeger-AFB, p. 45, "Go Tell Aunt Rhody" (1 text, 1 tune)
Pankake-PHCFSB, p. 275, "Go Tell Aunt Rhody" (1 text)
Silber-FSWB, p. 404, "Aunt Rhody" (1 text)
DT, AUNTRODY
Roud #3346
RECORDINGS:
Perry Bechtel's Colonels, "Go Tell Aunt Tabby" (Brunswick 498, c. 1930)
Pickard Family, "The Old Gray Goose is Dead" (Conqueror 7517, 1930; Melotone M-12129, 1931; on CrowTold01)
Edna & Jean Ritchie, "Go Tell Aunt Rhodie" (on Ritchie03)
Pete Seeger, "Go Tell Aunt Rhody" (on GrowOn2) (on PeteSeeger47); "Aunt Rhody" (on PeteSeeger18)
CROSS_REFERENCES:
cf. "Come Ye Sinners Poor and Needy" (tune)
SAME_TUNE:
Go Tell Young Henry [Ford] (Greenway-AFP, p. 229)
NOTES: Randolph quotes Chase to the effect that this tune was used in an opera by Jean Jacques Rousseau in 1750. The situation is rather more complex than this would imply. The most recent, and most significant, work on this subject is Murl Sickbert, Jr.'s "Go Tell Aunt Rhody She's Rousseau's Dream" (published 2000). Norm Cohen reports the following:
"In 1752, Rousseau composed 'Le Devin du village,' a pastoral opera bouffe....  [The Aunt Rhody tune appears] as a gavotte in the pantomime no. 8 (divertissement or ballet).  It is danced by 'la villageoise,' a shepherdess or country girl, to music without words."
Sickbert observes that the Rousseau composition is more elaborate than the folk tune, with "two addditional parts or reprises, not one as Lomax gives it."
The tune came to be called "Rousseau's Dream," apparently by confusion: Another Rousseau score allegedly came to him while he was suffering from delirium. The title, according to Percy A. Scholes in _The Oxford Companion to Music_, was given by J. B. Cramer. - RBW
File: R270
===
NAME: Go Tell Aunt Tabbie: see Go Tell Aunt Rhody (File: R270)
===
NAME: Go Tell It on the Mountain (I -- Christmas)
DESCRIPTION: "Go tell it on the mountain, Over the hills and everywhere, Go tell it on the mountain That Jesus Christ is born." The singer describes the revelation of Jesus's birth to the shepherds and notes how God "made me a watchman"
AUTHOR: unknown
EARLIEST_DATE: 1907 (Fisk Jubilee Singers repertoire)
KEYWORDS: religious Christmas Jesus
FOUND_IN: US
REFERENCES: (3 citations)
Silber-FSWB, p. 381, "Go Tell It On The Mountain" (1 text)
DT, GOTELLMT*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #25, "Go, Tell It on the Mountain" (1 text)
RECORDINGS:
Elizabeth Bivens, "Go Tell It On the Mountain" (on HandMeDown2)
CROSS_REFERENCES:
cf. "Go Tell It on the Mountain (II -- Freedom)"
cf. "Jesus Setta Me Free" (lyrics)
File: FSWB381A
===
NAME: Go Tell It on the Mountain (II -- Freedom)
DESCRIPTION: "Go tell it on the mountain, Over the hills and everywhere, Go tell it on the mountain To let my people go." The singer describes the people, clothed in various colors, coming out of bondage
AUTHOR: unknown
EARLIEST_DATE: 1963 (recorded by Fannie Lou Hamer)
KEYWORDS: religious freedom nonballad travel
FOUND_IN: US Jamaica
REFERENCES: (1 citation)
DT, GOTELMT2
Roud #15220
CROSS_REFERENCES:
cf. "Go Tell It on the Mountain (I -- Christmas)"
cf. "Jesus Setta Me Free" (lyrics)
NOTES: The "freedom" adaptation of "Go Tell It on the Mountain" came out of the civil rights movement of the early 1960s. I list "Jamaica" as a location in the "FOUND IN" field because this version was recorded by Bob Marley long before he became an internationally-known star, when reggae was still arguably an indigenous folk style. Does this qualify within the "folk tradition"? Eyes of the beholder, perhaps, but I wanted the fact noted. - PJS
File: DTgotelm
===
NAME: Go to Berwick, Johnny
DESCRIPTION: "Go, go, go, Go to Berwick, Johnny, You shall have the horse, I shall have the pony."
AUTHOR: unknown
EARLIEST_DATE: 1969 (Montgomerie)
KEYWORDS: animal travel
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 9, "(Go, go, go)" (1 fragment)
Roud #8693
File: MSNR009
===
NAME: Go to Helen Hunt for It
DESCRIPTION: "Miss Helen Hunt knows all the spooks, And calls them out of dusty nooks." In case of uncertainty or loss, one is advised to turn to Miss Hunt. The song concludes when "Spain wanted money very bad." Spain had to "go to hell and hunt for it."
AUTHOR: Harry Connor?
EARLIEST_DATE: 1898? (Copyright listed on undated sheet music)
KEYWORDS: political magic war
HISTORICAL_REFERENCES: 1898 -- Spanish-American War
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 502, "Go to Helen Hunt for It" (1 text)
Roud #7641
NOTES: The final verse of this song, which reveals the true reading of the name "Helen Hunt," refers clearly to the Spanish-American War. Spain, faced with insurrection in Cuba, tried to get international support, and failed. Isolated, Spain could not give in to American demands fast enough, and the U.S. went to war -- with disastrous results for Spain. Meanwhile, the American press has utterly besmirched the Spanish reputation, leading to scornful remarks such as those found here. - RBW
File: R502
===
NAME: Go To Saint Pether
DESCRIPTION: The singer orders that news be carried to "Saint Pether" (i.e. the Papacy) of the troubles facing the Catholic cause. The Pope is distressed to hear that his armies are defeated. Mary of Hungary calls for "liquor to temper me pain."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Eddy)
KEYWORDS: battle religious
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 149, "Go to Saint Pether" (1 text, 1 tune)
ST E149 (Full)
Roud #5346
NOTES: This is truly a difficult song to figure out, because so few details survive in the text. The one seemingly-identifiable figure is Mary of Hungary. The most notable woman of that name and title is Mary of Hungary and Bohemia (1505-1558), the sister of the Holy Roman Emperor Charles V and the wife of Louis II of Hungary.
In 1531, Mary was appointed regent of the Low Countries by Charles V. Charles was becoming involved in his great wars against Protestantism (this is, of course, shortly after Luther began his revolt, and the period in which Calvin was forming his opinions). That being the case, Mary of Hungary was involved in the persecution of Protestants. But they were Dutch Protestants, and for the most part she kept them under control. Thus it is hard to see how this song, presumably of English or Irish origin, could refer to her.
Another possibility occurring to me is that this song describes the Catholic distress after the defeat at the Battle of the Boyne (July 11, 1690). Catholics supported the former King James II (reigned 1685-1688/9) against the protestant William III of Orange, but were defeated. It may be that "Mary of Hungary" is Mary of Modena, James II's second wife, who bore him his son James the Old Pretender (it was the birth of this child that led to the Glorious Revolution of 1688; the nobility was not prepared to allow James to raise his son as a Catholic). - RBW
File: E149
===
NAME: Go to Sea No More: see Dixie Brown [Laws D7] (File: LD07)
===
NAME: Go to Sea Once More: see Dixie Brown [Laws D7] (File: LD07)
===
NAME: Go to Sleep Little Baby: see All the Pretty Little Horses (File: LxU002)
===
NAME: Go to Sleep, My Little Pickaninny
DESCRIPTION: The "little Alabama coon" is told, "Go to sleep, my little pickaninny, Brother Fox will catch you if you don't...." Fuller forms may describe the child's life and ambitions for when he grows up
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: lullaby nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 116, "Go to Sleep, My Little Pickaninny" (2 texts plus mention of 1 more)
NOTES: Brown gives two forms of this song, one a genuine song in which the baby describes its aspirations (such as they are), the second probably a pure lullaby. The full form, which is strongly racist, is probably a minstrel piece which wore down to the somewhat less offensive lullaby version. - RBW
File: Br3116
===
NAME: Go To Sleepy: see All the Pretty Little Horses (File: LxU002)
===
NAME: Go to Sleepy Little Baby: see All the Pretty Little Horses (File: LxU002)
===
NAME: Go Wash in the Beautiful Stream
DESCRIPTION: "Go wash in the beautiful stream, Go wash in the beautiful stream, Oh, Naaman, oh, Naaman, Go down and wash, Go wash in the beautiful stream."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Chappell)
KEYWORDS: religious Bible river
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 575, "Go Wash in the Beautiful Stream" (1 fragment)
Chappell-FSRA 97, "O Naaman" (1 fragment, 1 tune)
Roud #7875
NOTES: An allusion to 2 King 5. Naaman, a soldier of Damascus, comes to Israel seeking a cure for his leprosy. He is eventually referred to the prophet Elisha. Elisha tells him to wash himself in the Jordan. Naaman argues, asking why he can't wash in the rivers of Damascus, but eventually does as he's told and is cured.
Naaman did have something of a point: The Jordan valley is not "beautiful"; it is drab, dusty, and very, very hot. - RBW
File: Br3575
===
NAME: Goat's Will, The
DESCRIPTION: "Concerning a battle.. Between Larry's black goat and brave Mary McCloy." The goat, tethered outside its proper territory, will die to make amends. It makes its will (e.g. giving its teeth to a man who has none), curses McCloy, and bids farewell
AUTHOR: Hugh McCann (1869?)
EARLIEST_DATE: 1926 (Sam Henry collection)
KEYWORDS: animal death lastwill
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H119, p. 21, "The Goat's Will" (1 text, 1 tune)
Roud #13343
File: HHH119
===
NAME: God Bles the Moonshiners: see Moonshiner (File: San142)
===
NAME: God Bless the Master of this House
DESCRIPTION: "God bless the master of this house with a gold chain round his neck, O where his body sleeps or wakes, Lord send his soul to rest." The listener is reminded of Christ's crucifixion, death, and redeeming blood. (A New Year's blessing is given.)
AUTHOR: unknown
EARLIEST_DATE: 1955 (recording, Frank Bond)
KEYWORDS: religious Jesus nonballad
FOUND_IN: Britain(England(South)
REFERENCES: (1 citation)
Copper-SoBreeze, pp. 272-273, "God Bless the Master of this House" (1 text, 1 tune)
Roud #1066
RECORDINGS:
Frank Bond, "God Bless the Master Of This House" (on Voice16)
CROSS_REFERENCES:
cf. "The Bellman's Song (The Moon Shone Bright)" (lyrics)
NOTES: This piece shares many of its words with "The Moon Shone Bright," and the general sense of the piece is very similar. But the tune and stanza form are different, so -- barring a "missing link" -- I list them separately. - RBW
File: CoSB272
===
NAME: God Dawg My Lousy Soul
DESCRIPTION: "God dawg my lousy soul (x2), I'm goin' down the river And I couldn't git cross, God dawg..." Bluesy song; only the third and fourth lines change, e.g. "She put me in the bed And she covered up my head," "I'm goin' to Missouri To git me another dame"
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: work love nonballad
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, p. 25-26, "God Dawg My Lousy Soul" (1 text, 1 tune)
Roud #10002
NOTES: Yes, you know and I know what the title of the song should really be. But it's not clear whether Wheeler or her informant (Uncle Tom Wall) cleaned it up. If the latter, it's possible that it circulated in tradition in this form. - RBW
File: MWhee025
===
NAME: God Don't Like It
DESCRIPTION: A warning against drink: "Well, God don't like it, no, no!... It's a-scandalous and a shame!" "Some people stay in the churches... Tney drinkin' beer and whisky, And they say that they don't care."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: religious drink nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 73-74, "(God Don't Like It)" (1 text)
Roud #15642
File: CNFM073
===
NAME: God Is at de Pulpit
DESCRIPTION: "God is at de pulpit, God is at de do', GOd is always over me, While He is in de middle of de flo'. God is a God, GOd don't neber change, 'Cause He always will be king."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 568, "God Is at de Pulpit" (1 short text)
Roud #11888
File: Br3568
===
NAME: God Moves on the Water: see The Titanic (III) ("God Moves on the Water") (Titanic #3) (File: CNFM076)
===
NAME: God Rest Ye Merry, Gentlemen: see God Rest You Merry, Gentlemen (File: FSWB378A)
===
NAME: God Rest You Merry, Gentlemen
DESCRIPTION: "God rest you merry, gentlemen, Let nothing you dismay, Remember Christ our savior Was born on Christmas day... Oh tidings of comfort and joy." The birth of Jesus is recounted and listeners urged to sing praise and rejoice in the new year
AUTHOR: unknown
EARLIEST_DATE: 1820 ("A Political Christmas Carol" is an undeniable parody of this piece)
KEYWORDS: religious carol Christmas Jesus nonballad
FOUND_IN: Britain(England)
REFERENCES: (5 citations)
OBC 11, "God Rest You Merry"; 12, "God Rest You Merry" (2 texts, 2 tunes)
Silber-FSWB, p. 378, "God Rest You Merry Gentlemen" (1 text)
Fuld-WFM, p. 249, "God Rest You Merry, Gentlemen"
DT, GODREST*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #26, "God Rest You Merry, Gentlemen" (1 text)
Roud #394
CROSS_REFERENCES:
cf. "Somerset Carol"
SAME_TUNE:
A Political Chrismas Carol (William Hone's 1820 satire on Lord Castlereigh) (Ian Bradley, _The Penguin Book of Carols_, pp. 101-102)
NOTES: Although this song is often sung in America as if punctuated, "God rest you, merry gentlemen," there is agreement that the correct reading is "God rest you merry, gentlemen." The gentlemen are being wished merriment, not being called merry.
Bradley in the _Penguin Book of Carols_ notes several other problems with the song: sexist language, non-Biblical details (common in traditional carols, of course), and the bad theology that "this holy tide of Christmas all others doth deface." I'm not sure I buy that last one -- yes, the essence of the Christian message is the Atonement, which is celebrated in Good Friday and Easter. But Christmas celebrates the *beginning* of the Incarnation, so surely it would be more important than any day in the calendar except Good Friday, Easter, and maybe Ascencion Sunday. So Christmas would seem to deface at least 99% of other days. Good enough for ordinary engineering purpose.
Bradley notes that this song seems to have been sung to several tunes in its early years. The common tune (the so-called "London Tune") was collected by RImbault in 1846 and seemingly first printed in connection with these words by Bramley and Stainer in 1871. - RBW
File: FSWB378A
===
NAME: God Save Ireland
DESCRIPTION: "High upon the gallows tree swung the noble-hearted three, By the vengeful tyrants stricken in their bloom." The three declare, "God Save Ireland" as they prepare to die, and say that their deaths don't matter. Listeners are encouraged to remember
AUTHOR: Timothy Daniel Sullivan (1827-1914)
EARLIEST_DATE: 1867 (_The Nation_ Dec 7, 1867, according to Zimmermann)
KEYWORDS: Ireland rebellion execution
HISTORICAL_REFERENCES: 1867 - Imprisonment of the Fenian leaders Kelly and Deasy, and the bungled rescue
FOUND_IN: Ireland
REFERENCES: (6 citations)
PGalvin, pp. 83-84, "God Save Ireland" (1 text, 1 tune)
Zimmermann 74, "God Save Ireland" (1 text, 1 tune)
Healy-OISBv2, pp. 137-138, "God Save Ireland" (1 text)
DT, GSAVILD*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 522-523, "God Save Ireland"  (1 text)
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 9-10, 508, "God Save Ireland"
CROSS_REFERENCES:
cf. "Tramp! Tramp! Tramp!" (tune) and reference there
cf. "The Smashing of the Van (I)" (subject: The Manchester Martyrs)
cf. "Allen, Larkin and O'Brien" (subject: The Manchester Martyrs)
cf. "The Manchester Martyrs" (subject: The Manchester Martyrs)
NOTES: Edward Condon was one of five men tried in 1867 for the death of Charles Brett. (For this incident and the story of the "Manchester Martyrs," see the notes to The Smashing of the Van.") One of those on trial was not connected to the crime. Three others were sentenced to death. Condon was allowed to live.
At the end of his trial, Condon cried out "God save Ireland." It became a Fenian slogan.
Sullivan is the author of a number of Irish patriotic poems, of which this is probably the best-known. - RBW
File: PGa083
===
NAME: God Save the King (God Save the Queen, etc.)
DESCRIPTION: Good wishes for the King of England: "God save (our Lord, or any monarch's name) the King, Long live our noble king, God save the King. Send him victorious, Happy and glorious, Long to reign over us, God save the King." Other verses equally insipid
AUTHOR: unknown
EARLIEST_DATE: c. 1744 ("Harmonia Anglicana")
KEYWORDS: royalty political nonballad
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
Chappell/Wooldridge II, pp. 194-200, "God Save the King" (1 tune plus variants, 1 partial text)
Fuld-WFM, pp. 249-251+, "God Save the King"
DT, GODSAVE*
CROSS_REFERENCES:
cf. "America (My Country 'Tis of Thee)" (tune)
SAME_TUNE:
Heil Dir in Siegerkranz
O Deus Optime (cf. Chappell/Wooldridge II, p. 195)
America (My Country 'Tis of Thee) (File: RJ19006)
My Country (Greenway-AFP, pp. 88-89)
God Save the King (The King He Had a Date) (Pankake-PHCFSB, p. 115)
My Country's Tired of Me (Pankake-PHCFSB, p. 159)
Can Opener, 'Tis of Thee (Pankake-PHCFSB, p. 159)
Our Land Is Free (celebrating the end of transportation to Van Diemen's Land) (Robert Hughes, _The Fatal Shore_, p. 572)
God Save the Rights of Man (1798 Irish revolutionary song) (mentioned in Thomas Pakenham, _The Year of Liberty_, p. 193)
NOTES: This, obviously, has never been a true popular or traditional tune.
Given the number of songs derived from it, as well as the parodies (e.g. "The King he had a date, He stayed out very late, He was the King. The Queen she paced the floor, She paced till half past four, She met him at the door, God save the King"), it seems to me that it belongs here.
Fuld tells an interesting anecdote showing that this was once a political song. As first printed, the opening line read "God save our Lord the King." When Bonnie Prince Charlie landed in 1745, this was hastily amended to "God Save great GEORGE our King" -- with "George" printed in large type.
Prior to its adoption in Georgian times, the English used "The Roast Beef of Old England" as their anthem.
The phrase "God Save the King" is officially listed as Biblical (1 Sam. 10:24, 1 Kings 1:25, 34, 39, 2 Kings 11:12, 2 Ch. 23:11, etc.). One has to note that this is an inaccurate translation in the King James version, leading to the speculation that the acclamation actually predates the KJV. The Hebrew phrase correctly translates as "let the King live," and so is rendered "Long live the King" in almost all modern Bible translations. - RBW
File: ChWII194
===
NAME: God's Going to Set This World on Fire: see Welcome Table (Streets of Glory, God's Going to Set This World on Fire) (File: San478)
===
NAME: Godalmighty Drag
DESCRIPTION: "Mama and papa, O lawdy, Mama and papa, O my Lord, Done told me a lie...." "Done told me they'd pardon me... by next July." "July and August... done come and gone." "Left me here rolling... On this ole farm." "Gonna write to the Governor...."
AUTHOR: unknown
EARLIEST_DATE: 1941
KEYWORDS: prison family lie pardon worksong
FOUND_IN: US
REFERENCES: (1 citation)
Scott-BoA, pp. 309-311, "Godalmighty Drag" (1 text, 1 tune)
File: SBoA309
===
NAME: Goin' Cross the Mountain
DESCRIPTION: "Goin' 'cross the mountain, Oh, fare thee well, Goin' 'cross the mountain, Hear my banjo tell." The singer has his kit ready, and is going to join the Union army "to give Jeff's men a little taste of my rifle ball." He promises to return at the war's end
AUTHOR: unknown
EARLIEST_DATE: 1959 (Warner)
KEYWORDS: Civilwar fight parting
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 121, "Goin' Cross the Mountain" (1 text, 1 tune)
ST Wa121 (Partial)
Roud #4624
NOTES: Although large parts of the Appalachians were in Confederate territory, the rough terrain did not encourage slaveholding, and most of the residents remained loyal to the Union. Kentucky stayed with the North, West Virginia seceded from Virginia, and eastern Tennessee welcomed Federal occupying troops. One suspects this song came from one of those regions. - RBW
File: Wa121
===
NAME: Goin' Down the Road Feelin' Bad: see Going Down this Road Feeling Bad (File: LxU072)
===
NAME: Goin' Down to Cairo: see Black Them Boots (Goin' Down to Cairo) (File: R550)
===
NAME: Goin' Down to Town: see Lynchburg Town (File: Wa181)
===
NAME: Goin' from the Cotton Fields
DESCRIPTION: "I'm goin' from the cotton fields, I'm goin' from the cane, I'm goin' from the old log hut That stands in the lane." Hard times force the singer to move north even though Dinah fears the cold. He regrets home and the old master's grave, but must go
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson), from a manuscript apparently dated before 1895
KEYWORDS: hardtimes home emigration slave travel
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, pp. 121-122, "Goin' from the Cotton Fields" (1 text)
ST Fus121 (Partial)
Roud #16368
NOTES: This has something of a minstrel feel, given that the singer talks about the "little patch of ground That good old master give me 'Fore the Yankee troops come down," as well as the former slave caring for Master's grave. And yet, the overall feel is quite authentic: Hard times and a hard migration. I've no idea what to make of it. - RBW
File: Fus121
===
NAME: Goin' Home
DESCRIPTION: Sung to the swinging of a pick. "Ev'rywhere I look (hanh!), Where I look this mornin'... Look like rain." The singer describes his prowess wit the pick, tells how his girl wants him home, and hopes he can win a pardon from the governor
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: prisoner chaingang work separation pardon
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, pp. 84-86, Goin' Home" (1 text, 1 tune)
Roud #15035
File: LxA084
===
NAME: Goin' to Have a Talk with the Chief of Police
DESCRIPTION: The singer goes to talk with the police chief, apparently with regard to his "good girl" who has been avoiding him. He looks for her on boats and trains, hopes she will come to love him, and wishes she were not in trouble
AUTHOR: unknown
EARLIEST_DATE: 950 (recording, Peelee Hatchee)
KEYWORDS: police love separation
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, p. 98, "Goin' to Have a Talk With the Chief of Police" (1 text); pp. 271-272, "I'm Going Uptown" (1 tune, partial text)
Roud #10993
RECORDINGS:
Peelee Hatchee [pseud. for Emanuel Jones], "Talk with the Chief of Police" (on NFMAla6)
NOTES: This song is so confused that I suspect it is composite. Some of it is reminiscent of "Corinna, Corinna" -- but some of it, well, isn't. - RBW
File: CNFM098
===
NAME: Goin' to Shout All over God's Heaven: see All God's Children Got Shoes (File: CNFM067A)
===
NAME: Going Across the Sea
DESCRIPTION: Floating lyrics, bound by the chorus, "Going (across the sea/to Italy) before long (x3) To see that gal of mine." Sample verses: "Yonder comes a pretty little girl, How do you reckon I know..."; "Finger ring, finger ring, shines like glittering gold..."
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Uncle Dave Macon), but some of the floating verses show up in SharpAp 88, "Betty Anne", which was collected in 1916.
LONG_DESCRIPTION: Floating lyrics, held together by the chorus, "(across the sea/to Italy) (x3) To see that gal of mine." Sample verses: "Yonder comes a pretty little girl, How do you reckon I know..."; "Finger ring, finger ring, shines like glittering gold..."; "I asked that gal to marry me... She said she wouldn't marry me If all the rest was dead."
KEYWORDS: floatingverses courting travel love nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 111, "Wish I Had a Needle and Thread" (7 text, of which only "E" is really substantial; it is certainly the "Italy" version of "Going Across the Sea." The other fragments contain verses typical of "Shady Grove," "Old Joe Clark," and others)
SharpAp 88, "Betty Anne" (1 text, 1 tune, with lyrics from "Shady Grove," "Fly Around, My Pretty Little Miss" and "Going Across the Sea")
Roud #11516
RECORDINGS:
Henry L. Bandy, "Going Across the Sea" (Gennett test pressing GEx14360, 1928; unissued; on KMM)
R. D. Burnett & Lynn Woodard, "Going Across the Sea" (recorded for Gennett 1929, but unissued; on BurnRuth01)
Crook Brothers String Band, "Going Across the Sea" (Victor V-40099, 1929)
Zeb Harrelson & M. B. Padgett, "Finger Ring" (OKeh 45078, 1927; rec. 1926)
Bascom Lamar Lunsford, "Italy" (Brunswick 227/Vocalion 5246, 1928) (on BLLunsford01)
Uncle Dave Macon, "Going Across the Sea" (Vocalion 15192, 1926)
CROSS_REFERENCES:
cf. "Train on the Island (June Apple/June Appal)" (floating lyrics)
cf. "Shady Grove" (floating lyrics)
cf. "Troubled In My Mind" (floating lyrics)
cf. "Took My Gal a-Walkin'" (floating lyrics)
cf. "Chilly Winds" (floating lyrics)
NOTES: Given that both songs are almost pure collections of floating verses, it may seem improbable to link "Italy" with "Going Across the Sea." The tunes, however, are the same; under the circumstances, that seems reason enough. - RBW
File: RcItaly
===
NAME: Going Around the World (Banjo Pickin' Girl, Baby Mine)
DESCRIPTION: "I'm going across the ocean (friends of mine/baby mine) (x3) If I don't change my notion." "I'm going across the sea... Say you'll love no one but me." "I'm going around the world... (with/I'm) a banjo-pickin' girl." Verses usually about courting
AUTHOR: unknown
EARLIEST_DATE: c. 1929 (recording, Burnett & Woodard)
KEYWORDS: courting love nonballad travel music money rambling
FOUND_IN: US
REFERENCES: (1 citation)
Silber-FSWB, p. 54, "Baby Mine" (1 text)
Roud #11519
RECORDINGS:
R. D. Burnett & Lynn Woodard, "Going Around the World" (recorded for Gennett 1929, but unissued; on BurnRuth01)
Coon Creek Girls, "Banjo-Pickin' Girl" (Vocalion 04413/OKeh 04413, 1938; on GoingDown)
Pete Steele, "Goin' Around This World, Baby Mine" (on PSteele01)
CROSS_REFERENCES:
cf. "Crawdad" (floating lyrics)
cf. "New River Train" (floating lyrics)
NOTES: Old-time singers in the Revival era tend to sing this as "Banjo Pickin' Girl," with a much more feminist feel than the earliest version known to me (sung by Burnett and Woodard). I have to suspect that someone (presumably one of the all-girl groups) touched the song up slightly. It is still clearly the same song, however. - RBW
Your suspicion is right on the nose -- it was the Coon Creek Girls. I suspect there are antecedents, possibly by Samantha Bumgarner, but I'm still looking. Incidentally, it's been much more commonly recorded as "Banjo-Pickin' Girl." - (PJS)
File: RcGAtW
===
NAME: Going Back West 'fore Long: see Going West (File: FCW053)
===
NAME: Going Down the River
DESCRIPTION: Floating verses: "Hey, little girl, if you don't give me dinner/I'll buy me a boat and sail down the river" "Coon Creek's up, Coon Creek's muddy/I'm so drunk I can't stand steady" "Goodbye wife, goodbye baby/Goodbye biscuits sopped in gravy"
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Dr. Smith's Champion Hoss Hair Pullers)
KEYWORDS: marriage food river dancetune floatingverses nonballad
FOUND_IN: 
REFERENCES: (1 citation)
DT, DOWNRIVE
RECORDINGS:
Dr. Smith's Champion Hoss Hair Pullers, "Going Down the River" (Victor 21711, 1928)
New Lost City Ramblers, "Going Down the River" (NLCR13)
NOTES: This shouldn't be confused with any of the other "Down the River" songs. - PJS
File: RcGDtRy1
===
NAME: Going Down This Road Feeling Bad
DESCRIPTION: A series of complaints, all ending "And I ain't gonna be treated this a-way." Examples: "I'm going down this road feeling bad." "I'm going where the climate suits my clothes." "I'm tired of lying in this jail." "They feed me on cornbread and beans."
AUTHOR: Unknown, although the credits for Whitter's first recording read "Austin-Mills"
EARLIEST_DATE: 1923 (recording, Henry Whitter)
KEYWORDS: prison hardtimes rambling
FOUND_IN: US(SE)
REFERENCES: (7 citations)
BrownIII 441, "I'm Going Down This Road Feeling Bad" (1 text)
Lomax-FSUSA 72, "Goin' Down the Road Feelin' Bad" (1 text, 1 tune)
Scott-BoA, pp. 346-347, "Goin' Down the Road" (1 text, 1 tune)
Botkin-AmFolklr, pp. 876-877, "I'm A-Goin' down This Road Feelin' Bad" (1 text, 1 tune)
Greenway-AFP, pp. 206-207, "Goin' Down the Road Feelin' Bad" (1 text)
Silber-FSWB, p. 60, "I'm Going Down This Road Feeling Bad" (1 text)
DT, GOINDOWN
Roud #4958
RECORDINGS:
H. M. Barnes & his Blue Ridge Ramblers, "Goin' Down the Road Feelin' Bad" (Brunswick 327, 1929)
James Barton, "I'm Going Where The Climate Fits My Clothes" (OKeh 40136, 1924)
Big Bill Broonzy, "Goin' Down the Road" (on Broonzy01)
Samantha Bumgarner & Eva Davis, "Worried Blues/Georgia Blues" (Columbia 166-D, 1924)
Jack Burchett, "Chilly Winds (Lonesome Road Blues" (on WatsonAshley01)
Cliff Carlisle, "Goin' Down the Road Feelin' Bad" (Perfect 12935, 1933)
Fiddlin' John Carson, "Goin' Where the Climate Suits My Clothes" (OKeh 45498, 1930)
Dillard Chandler, "Going Down The Road Feeling Bad" (on Chandler01)
Cherokee Ramblers, "Goin' Down the Road Feelin' Bad" (Decca 5138, 1935)
George Childers, "Goin' Down This Road Feelin' Bad" (on FolkVisions2)
Elizabeth Cotten, "Going Down the Road Feeling Bad" (on Cotten01)
Cousin Emmy [Cynthia May Carver], "Lonesome Road Blues" (Decca 24215, 1941)
Crazy Hillbillies Band, "Going Down the Road Feeling Bad" (OKeh 45579, 1934)
Ollie Crownover & group "Goin' Down the Road Feelin' Bad" (AAFS 3562 B2)
Warde Ford, "I'm going down this road feelin' bad / I ain't gonna be treated this a-way / Goin' down that road feelin' bad" (AFS 4206 A2, 1938; tr.; in AMMEM/Cowell)
Woody Guthrie, "Blowin' Down This Road" (Victor 26619, 1940); "I'm Goin' Down That Road Feelin' Bad" (AAFS 3418 A1)
Roy Hall's Cohutta Mountain Boys, "Going Down the Road Feeling Bad" (Fortune 170)
Rex & James Hardie, "Goin' Down the Road Feelin' Bad" (AAFS 3566 A1)
Sid Harkreader, "Way Down In Jail On My Knees" (Broadway 8115, c. 1930)
The Hillbillies, "Goin' Down the Road Feelin' Bad" (Vocalion 5021, c. 1926)
Theophilus G. Hoskins "Goin' Down the Road Feelin' Bad" (AAFS 1519 A3)
Bascom Lamar Lunsford, "Goin' Down the Road Feelin' Bad" (AAFS 1805 B1)
Ray Melton, "Goin' Down the Road Feelin' Bad" (AAFS 1347 A2)
David Miller, "Way Down in Jail On My Knees" (Perfect 12697 [as Blind Soldier]/Conqueror 7709, 1931)
John D. Mounce et al, "I'm a-Goin' Down This Road Feelin' Bad" (on MusOzarks01)
J. J. Nesse, J. C. Sutphin & Vernon Sutphin, "Lonesome Road Blues" [instrumental version] (on Stonemans01)
Pie Plant Pete [pseud. for Claude Moye], "Goin' Down the Road" (Decca 5030, 1934)
Joe Rakestraw, "Leavin' Here, Don't Know Where I'm Goin'" (on FolkVisions2)
George Reneau, "Lonesome Road Blues" (Vocalion 5029, c. 1926) 
Robert Ricker, "Goin' Down This Road Feelin' Bad" (AAFS 3903 B5)
Roe Bros. & Morrell, "Goin' Down the Road Feelin' Bad" (Columbia 15199-D, 1927)
 Smith & Irvine, "Lonesome Road Blues" [instrumental version] (Champion 16518, 1932; on StuffDreams1)
Soco Gap Band, "Lonesome Road Blues" (AAFS 3256 B3)
Gussie Ward Stine, "Goin' Down the Road Feelin' Bad" (AAFS 4103 B1)
Ernest Stoneman, "Lonesome Road Blues" (OKeh 45094, 1927; on TimesAint02)
Gordon Tanner, Smokey Joe Miller & Uncle John Patterson, "Goin' Down the Road Feelin' Bad" (on DownYonder)
Henry Whitter's Virginia Breakdowners, "Lonesome Road Blues" (OKeh 40015, 1924, rec. 1923); "Goin' Down the Road Feelin' Bad" (OKeh 40169, 1924)
Williamson Bros. & Curry, "Lonesome Road Blues" (OKeh 45146, 1927)
ALTERNATE_TITLES:
Goin' Down this Old Dusty Road
NOTES: Botkin credits the words of this piece to Woody Guthrie, and certainly Woody sang the song. But there is every reason to believe it predates him. - RBW
Indeed it does; the Skillet Lickers included it in their skit "A Corn Likker Still in Georgia" in about 1930, and it may have been present in Black tradition before then.
Confusingly, [Warde] Ford's version is listed in the song catalog as, "I ain't gonna be treated this a-way," although the page is headed "I'm going down this road feelin' bad." He credits learning it from "Kaintucks" in Wisconsin. 
Both "Worried Blues" and "Georgia Blues," as recorded by Samantha Bumgarner & Eva Davis, incorporate enough elements of "Goin' Down This Road Feeling Bad" that I classify them here.
I place the Barton record here tentatively, as I have not heard it. The title, however, is far too suggestive to ignore. - PJS
File: LxU072
===
NAME: Going for a Pardon
DESCRIPTION: The pretty little girl on the train has no ticket. Her father is in prison and going blind; she is going for a pardon. The conductor lets her stay on the train. She meets the governor and is granted a pardon for her father
AUTHOR: Words: James Thornton and Clara Hauenschild / Music: James Thornton
EARLIEST_DATE: 1896 (copyright)
KEYWORDS: prison father disability pardon family children train
FOUND_IN: US(So)
REFERENCES: (2 citations)
Cohen-LSRail, pp. 316-320, "Going for a Pardon/The Eastbound Train" (2 texts, 1 tune)
Randolph 721, "Going for a Pardon" (2 texts)
Roud #7390
RECORDINGS:
Mac & Bob (Lester McFarland & Robert Gardner), "The East Bound Train" (Vocalion 5174, 1927)
Riley Puckett, "East Bound Train" (Columbia 15747-D, 1931)
Ernest V. Stoneman, "East Bound Train" (Edison 52299, 1928) (CYL: Edison [BA] 5548, 1928)
"Dock" Walsh, "The East Bound Train" (Columbia 15047-D, 19270
CROSS_REFERENCES:
cf. "Please, Mister Conductor (The Lightning Express)" (plot)
NOTES: According to Sigmund Spaeth, _A History of Popular Music in America_, pp. 255-256, James Thornton was a very popular songwriter from about 1892 to 1898, producing such songs as "My Sweetheart's the Man in the Moon," "Don't Give Up the Old Love for the New," "She May Have Seen Better Days," and (especially) "When You Were Sweet Sixteen." - RBW
File: R721
===
NAME: Going to Boston
DESCRIPTION: Playparty: "Goodbye girls, I'm going to Boston, (x3) Early in the morning." "Rights and lefts and play the better." "Won't you look pretty in the ballroom." The verses may describe the girls following the boys, or may just be about dancing
AUTHOR: unknown
EARLIEST_DATE: 1907 (JAFL 20)
KEYWORDS: playparty dancing travel
FOUND_IN: US(Ap,So)
REFERENCES: (8 citations)
Randolph 526, "We'll All Go to Boston" (2 texts, 1 tune)
Lomax-ABFS, pp. 297-298, "Going to Boston" (1 text, 1 tune)
Sharp/Karpeles-80E 67, "Going to Boston" (1 text, 1 tune)
Ritchie-SingFam, pp. 62-64, "[Goin' to Boston]" (1 text, 1 tune)
Ritchie-Southern, p. 19, "Goin' to Boston" (1 text, 1 tune)
SharpAp 261, "Going to Boston" (1 text, 1 tune)
Silber-FSWB, p. 391, "Going To Boston" (1 text)
DT, GOINBSTN
Roud #3595
RECORDINGS:
Pete Seeger, "Going to Boston" (on PeteSeeger21)
Art Thieme, "Going to Cairo" (on Thieme05)
CROSS_REFERENCES:
cf. "The Paw-Paw Patch" (lyrics)
File: SKE67
===
NAME: Going to Cairo: see Going to Boston (File: SKE67)
===
NAME: Going to Church Last Sunday: see Farewell Ballymoney (Loving Hannah; Lovely Molly) (File: R749)
===
NAME: Going to Clonakilty the Other Day
DESCRIPTION: The singer "was going to Clonakilty" and met "Dan and Miley ... and Gerry Connors and his hair." They step into a pub: "we'll fix it here." At the end the singer still has a fiver and claims someone should not brag, having been "born in the wagon"
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: drink money hair
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #16694
RECORDINGS:
Mary Delaney, "Going to Clonakilty the Other Day" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "One of numerous pieces made up by Travellers concerning a small incident among themselves ... the details of which are probably long forgotten, leaving only a handful of verses."
I assume "being born in the wagon" is equivalent to being a Traveller. - BS
File: RcGtCtOD
===
NAME: Going to Heaven by the Light of the Moon: see In the Morning by the Bright Light (File: R304)
===
NAME: Going to Leave Old Texas (Old Texas, Texas Song, The Cowman's Lament)
DESCRIPTION: "I'm going to leave old Texas now, They've got no use for the longhorn cow...." The singer departs to "make his home on the wide wide range." When he dies, he will "take [his] chance on the holy one."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: cowboy travel death
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 66, "The Trail to Mexico" (5 texts, 1 tune, of which only the "E" text goes here; "A" and "B" are "The Trail to Mexico" and "C" and "D" are "Early, Early in the Spring")
DT, OLDTEXAS
Roud #12711
RECORDINGS:
Harry Jackson, "I'm Gonna Leave Old Texas Now" (on HJackson1)
CROSS_REFERENCES:
cf. "Bury Me Not on the Lone Prairie" (tune)
NOTES: Often sung to the tune of "Bury Me Not on the Lone Prairie," but Gordon Bok's family tradition includes a different tune. - RBW
File: FCW066E
===
NAME: Going to Mass Last Sunday: see Farewell Ballymoney (Loving Hannah; Lovely Molly) (File: R749)
===
NAME: Going to See My Girl: see When I Get On My Bran' New Suit (File: Fus158A)
===
NAME: Going to See My True Love (Jenny Get Around)
DESCRIPTION: "The days are long and lonesome, The nights are gettin' cold, I'm goin' to see my true love 'Fore I get too old. O get around, Jenny, get around, O get around I say... long summer's day." Mostly floating verses, mostly about courting
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: love courting dancing floatingverses
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Ritchie-SingFam, pp. 192-193, "[Goin' to See My True Love]" (1 text, 1 tune)
Roud #9175
NOTES: This is one of those Great Floating Verse collections; every line of this song (as printed by Jean Ritchie) can be found somewhere else: "The days are long and lonesome, The nights are gettin' cold, I'm goin' to see my true love 'Fore I get too old." "I went up on the mountain, Give my horn a blow, Thought I heard that pretty girl say Yonder comes my beau!" "Asked that girl to marry me, Tell you what she did, Picked her up a knotty pine stick And like to broke my head." And so forth.
The result reminds me most of "Train on the Island (June Apple)," but the tune is utterly different. Jean Ritchie mentions a comparison to "Napoleon Crossing the Rockies." - RBW
File: JRSF192
===
NAME: Going to the Mexican War: see Coffee Grows (Four in the Middle); also Little Pink, etc. (File: R524)
===
NAME: Going Up (Golden Slippers II)
DESCRIPTION: "What kind of shoes are you going to wear? Golden slippers (x2) Golden slippers, I'm a-going away... To live with the Lord. Goin' up (x13) to live with the Lord." "What kind of robes are you going to wear? Long white robes." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1909 (recording, Fisk Univ. Jubilee Quartet)
KEYWORDS: religious nonballad clothes
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 571, "Golden Slippers" (1 text)
Roud #11835
RECORDINGS:
Fisk University Jubilee Quartet, "Golden Slippers" (Victor 16453, 1910; rec. 1909)
CROSS_REFERENCES:
cf. "What Kind of Crowns Do the Angels Wear?" (floating verses)
NOTES: Although the editors of Brown seem to think this is the same as the standard "Golden Slippers," it clearly is something else again, though perhaps inspired by memories of the other. - RBW
File: Br3571
===
NAME: Going West
DESCRIPTION: "I'm going out west before long (x2), I'm going out west where times are best." "My boy, he's gone west... and he'll never come back." "Little girlie, don't cry when I tell you goodbye." "You promised you'd marry me." "Lay your hand in mine...."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: love courting separation travel
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 53, "Going West" (1 text, 1 tune)
BrownIII 296, "Going Back West 'fore Long" (1 fragment, too short to classify but it might well be this piece)
Roud #5113
NOTES: Roud lumps this with "I Am Going to the West." That song, however, is a parting song, with the singer leaving because his land is ruined. The only common element is the migration theme. - RBW
File: FCW053
===
NAME: Gol-Darned Wheel, The
DESCRIPTION: The cowboy boasts of his skill with horses. But a tenderfoot brings in a "gol-darned wheel" (bicycle). The cowboys get the singer to ride it, but it won't stop when he pulls on the handles. He crashes, but is glad that the "wheel" is even more damaged
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: humorous cowboy technology injury
FOUND_IN: US(SW)
REFERENCES: (3 citations)
Ohrlin-HBT 16, "The Gol-Darned Wheel" (1 text, 1 tune)
DT, GDWHEEL*
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, pp. 10-11, "The Gol-Darned Wheel" (1 text)
Roud #4043
RECORDINGS:
Glenn Ohrlin, "Gol Darn Wheel" (on Ohrlin01)
Marc Williams, "The Gol-Durned Wheel" (on BackSaddle)
NOTES: This song is item dB38 in Laws's Appendix II. - RBW
File: Ohr016
===
NAME: Gold
DESCRIPTION: "When the gold fever ranged I was doing well," but nonetheless the singer sets out (for California). He meets hard times, and misses his wife and family. He imagines himself at home, but wakes to find it was a dream. He returns to his miserable mining
AUTHOR: Enuel Davis?
EARLIEST_DATE: 1912 (Belden)
KEYWORDS: hardtimes family loneliness dream gold warning
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 346-347, "Gold" (1 text)
Roud #7774
NOTES: Belden mentions that this was written "by Enuel Davis," who contributed other complaints about the trail to California, and sung to the tune of "Lily Dale." But in context, it appears possible that Davis was the transcriber or publisher. - RBW
File: Beld346
===
NAME: Gold Band, The
DESCRIPTION: "Goin' to march away in the gold band, in the army, bye and bye (x2) Sinner, what you gonna on that day (x2), When the fire's a-rolling behind you, In the army, bye and bye." "Sister Mary's goin' to hand down the robe... the robe and the gold band"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: religious army
FOUND_IN: 
REFERENCES: (1 citation)
Silber-CivWar, p. 74, "The Gold Band" (1 text, 1 tune)
Roud #11632
File: SCW74
===
NAME: Gold Dust Fire, The
DESCRIPTION: "Ain't that a pity, oh Lord (x3), Ain't that a pity 'bout the Gold Dust men. Some got scalded, some got drowned, Some got burnt up in the Gold Dust fire"
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: river ship disaster fire
HISTORICAL_REFERENCES: Aug 7, 1882 - Explosion of the packet Gold Dust, killing 17 and wounding 47
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, p. 41-43, "The Gold Dust Fire" (1 text, 1 tune)
Roud #10011
File: MWhee041
===
NAME: Gold Watch [Laws K41]
DESCRIPTION: A sailor sees a girl and asks her to sleep with him. After an initial show of reluctance, she agrees to a fee of five guineas. They go to supper and then to bed. When he awakens, the girl is gone -- as are his money and his gold watch
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: sex seduction robbery whore humorous
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Laws K41, "Gold Watch"
Greenleaf/Mansfield 52, "Gold Watch" (1 text, 1 tune)
DT 417, RMBSAIL2*
Roud #1901
CROSS_REFERENCES:
cf. "The Shirt and the Apron" [Laws K42] (plot)
cf. "Maggie May" (plot)
cf. "Can't You Dance the Polka (New York Girls)" (plot)
cf. "Dixie Brown" [Laws D7] (plot)
cf. "The Poor Chronic Man" (plot)
cf. "The Winnipeg Whore" (plot)
cf. "The Red Plaid Shawl" (plot)
cf. "The Rookery" (plot)
cf. "The Young Man Badly Walked" (plot)
cf. "Roving Jack the Baker" (plot, with sex roles reversed)
File: LK41
===
NAME: Gold Watch and Chain (I)
DESCRIPTION: Singer tells girl that he would pawn his gold watch and chain, his ring, and his heart if she would love him again. He demands that she give back the gifts he's given her, including a lock of hair and a picture, and laments her unfaithfulness
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Ephraim Woodie & The Henpecked Husbands)
KEYWORDS: love betrayal floatingverses gift
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
DT, GOLDWTCH
RECORDINGS:
Carter Family, "Gold Watch and Chain" (Victor 23821, 1933; Montgomery Ward M-7354, c. 1937)
New Lost City Ramblers, "Gold Watch and Chain" (on NLCR13, NLCREP2)
Ephraim Woodie & The Henpecked Husbands, "Last Gold Dollar" (Columbia 15564-D, 1930; rec. 1929; on LostProv1)
File: DTgoldwt
===
NAME: Gold Watch and Chain (II): see The Female Highwayman [Laws N21] (File: LN21)
===
NAME: Golden Axe, The
DESCRIPTION: Recitation: "What you goin' to do?" Sung: "Why, knock you in the head with a golden axe!"
AUTHOR: unknown
EARLIEST_DATE: 1922 (Randolph)
KEYWORDS: violence
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 284, "The Golden Axe" (1 fragment, 1 tune)
Roud #7785
File: R284
===
NAME: Golden Ball, The: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Golden Carol, The (The Three Kings)
DESCRIPTION: "Now is Christemas y-come, Father and Son together in one, Holy Ghost us be on...." The song announces Christmas, then tells the story of the "three kings" who came, visited Herod, saw Jesus, offered their gifts, and went home another way
AUTHOR: unknown
EARLIEST_DATE: c. 1475 (Bodleian ms. Eng. Poet. e. 1)
KEYWORDS: Jesus Bible Christmas carol religious
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
OBB 107, "The Three Kings" (1 text)
OBC 173, "The Golden Carol" (1 text plus a tune by Vaughan Williams)
ST OBB107 (Partial)
CROSS_REFERENCES:
cf. "We Three Kings (Kings of Orient)" (subject)
NOTES: This is essentially the story told in Matt. 2:1-12. It should be noted, however, that
1. There is no reason to believe that there were three visitors. All we know is that they gave three gifts.
2. The visitors were not kings and were not wise men. They were "magi" -- Babylonian mystics and perhaps astrologers. Jews would generally consider magi to be evil sorcerers (the Greek word "magos," apart from the uses in Matt. 2:1, 7, 16, is used only in Acts 13:6, 8 of Simon Magus, a magician who claimed to be "the great power of God"). - RBW
File: OBB107
===
NAME: Golden Glove, The (Dog and Gun) [Laws N20]
DESCRIPTION: A lady is to be married, but finds she prefers the farmer who is to give her away. She pleads illness and calls off the wedding. She claims she has lost a glove (which she placed on the farmer's land) and will marry whoever finds it. The rest is obvious
AUTHOR: unknown
EARLIEST_DATE: 1830
KEYWORDS: clothes courting marriage trick
FOUND_IN: Britain(England,Scotland) US(Ap,MW,NE,SE,So) Canada(Mar,Newf,Ont) Ireland
REFERENCES: (21 citations)
Laws N20, "The Golden Glove (Dog and Gun)"
Belden, pp. 229-231, "Dog and Gun (The Golden Glove)" (1 text plus 2 extracts and fragments of 2 more, 1 tune)
Randolph 71, "With Her Dog and Gun" (2 texts, 1 tune)
Randolph/Cohen, pp. 95-97, "With Her Dog and Gun" (1 text, 1 tune -- Randolph's 71A)
Eddy 64, "Dog and Gun" (2 texts)
Gardner/Chickering 73, "The Dog and the Gun" (1 text plus an excerpt and mention of 1 more, 1 tune)
Flanders/Brown, pp. 117-118, "The Dog and Gun" (1 text, 1 tune)
BrownII 197, "Dog and Gun" (1 text plus mention of 1 more)
Chappell-FSRA 60, "The Golden Glove" (1 text, 1 tune)
Hudson 43, pp. 158-159, "The Golden Glove" (1 text, lacking the beginning explaining the reason for the lady's behavior)
Scarborough-SongCatcher, pp. 227-230, "The Golden Glove" (1 text plus a fragment, with local titles "Lady Lost Her Glove," "The Dog and Gun"; 2 tunes on pp. 416-417)
Wyman-Brockway I, p. 49, "The Lady and the Glove" (1 text, 1 tune)
Warner 145, "The Golden Glove (or, The Dog and the Gun)" (1 text, 1 tune)
SHenry H524, p. 328, "The Squire's Bride" (1 text, 1 (non-traditional) tune)
JHCox 121, "Dog and Gun" (1 text plus mention of 4 more, 1 tune -- but for one of the unprinted texts!)
JHCoxIIA, #20, pp. 83-84, "The Farmer and His Bride" (1 text, 1 tune)
SharpAp 62, "The Golden Glove" (1 text, 2 tunes)
Creighton/Senior, pp. 147-150, "The Dog and the Gun" (2 texts, 1 tune)
Mackenzie 21, "The Golden Glove" (1 text, 1 tune)
Peacock, pp. 340-341, "The Golden Glove" (1 text, 1 tune)
DT 332, DOGGUN*
Roud #141
RECORDINGS:
O. J. Abbott, "Dog and Gun" (on Abbott1)
Logan English, "The Lady and the Glove" (on LEnglish1 -- several verses filled in from Wyman-Brockway I)
Martin Howley, "Golden Glove" (on IRClare01)
Bradley Kincaid, "Dog and Gun" (Bluebird B-5255, 1933)
BROADSIDES:
Bodleian, Harding B 28(181), "The Golden Glove," W. Armstrong (Liverpool), 1820-1824; also Firth b.33(35), Harding B 11(3656), Firth c.17(304), 2806 c.16(12), Harding B 11(1360), Harding B 15(121b), Harding B 11(1355), Harding B 11(1357), Harding B 11(1358), Harding B 11(1359), Harding B 11(384), Johnson Ballads 1093, 2806 c.17(149), Harding B 26(221), Johnson Ballads fol. 381 View 1 of 2, Firth b.27(457/458) View 1 of 4 [torn], Harding B 17(114b), Harding B 17(115a), Harding B 11(3909), Harding B 16(331b), Harding B 25(755), Harding B 26(222), Harding B 11(1356), Firth c.18(165), Firth c.18(164), "The Golden Glove"; 2806 c.8(213), "The Lady Went a Hunting With Her Dog and Her Gun" 
Murray, Mu23-y1:041, "The Golden Glove," James Lindsay Jr. (Glasgow), 19C; also Murray, Mu23-y3:046, "The Golden Glove" (also by Lindsay)
LOCSinging, as104640, "The Golden Glove," E. Hodge's (From Pitts), 19C; also as109080, "My Dog and Gun" 
NLScotland, L.C.Fol70(140b), "Golden Glove," unknown, c. 1845; also L.C.Fol.178.A.(035), "Golden Glove," James Lindsay (Glasgow), 1852-1859
ALTERNATE_TITLES:
The Squire
The Rich Esquire
Waistcoat and Britches
NOTES: When they are married the lady expects that she will "milk my own cows." The motif of the rich woman enjoying wifely chores not common among the wealthy is also in "The Rich Lady Gay." - BS
I'll bet that lasted about a week.... Many of the versions I've seen omit that. - RBW
File: LN20
===
NAME: Golden Gullies of the Palmer, The
DESCRIPTION: "Then roll the swag and blanket up, and let us haste away To the Golden Palmer, boys, where everyone they say Can get his ounce of gold, or it may be more, a day...." A cheerful call to set out for the gold fields of the Palmer River
AUTHOR: unknown
EARLIEST_DATE: 1984
KEYWORDS: river gold
HISTORICAL_REFERENCES: 1875 - Discovery of gold in the Palmer River in Queensland. The influx of people from all over the world meant that few grew rich -- and many starved in the inhospitable terrain
FOUND_IN: Australia
REFERENCES: (1 citation)
Fahey-Eureka, pp. 100-101, "The Golden Gullies of the Palmer" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Marching Through Georgia" (tune & meter)
File: FaE100
===
NAME: Golden Hind, The
DESCRIPTION: Jim Harding ships on board the Golden Hind bound for Bahia. On the return trip with a cargo from Barbados the Golden Hind runs into a snow storm off Cape Race. Harding dies in the storm as the Golden Hind makes St John's.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: grief death sea ship storm sailor
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 922-924, "The Golden Hind" (1 text, 1 tune)
Roud #9938
NOTES: Obviously not Francis Drake's Golden Hind. Bahia is on the coast of Brazil. - BS
File: Pea922
===
NAME: Golden Ring Around My Susan Girl
DESCRIPTION: "Golden ring around (the/my) Susan Girl (x3), All the way around the Susan girl." "Take a little girl and give her a whirl...." "Round and around, Susan girl...." "Do-si-do left, Susan Girl...." "All run away with the Susan girl...."
AUTHOR: unknown
EARLIEST_DATE: 1963 (recording, Jean Ritchie)
KEYWORDS: dancing nonballad
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Ritchie-Southern, p. 29, "Golden Ring Around Susan Girl" (1 text, 1 tune)
DT, GOLDRING
Roud #7405
File: RitS029
===
NAME: Golden Ring Around Susan Girl: see Golden Ring Around My Susan Girl (File: RitS029)
===
NAME: Golden Slippers (I)
DESCRIPTION: "Oh. my golden slippers am laid away, Kase I don't 'spect to wear 'em till my weddin' day... O 'dem golden slippers... Golden slippers Ise gwine to wear To walk de golden street." The singer reflects on things he cannot have now but will have in heaven
AUTHOR: James A. Bland
EARLIEST_DATE: 1879
KEYWORDS: clothes religious nonballad
FOUND_IN: US
REFERENCES: (5 citations)
RJackson-19CPop, pp. 144-147, "Oh, dem Golden Slippers!" (1 text, 1 tune)
Scarborough-NegroFS, p. 172, "Raccoon Up in de 'Simmon Tree" (1 text, 1 tune, with the chorus of "Golden Slippers (I)" though the sole verse is "Raccoon up in de 'simmon tree, Possum on de ground...."); this is followed by two more versions of the 'simmon tree verse
Silber-FSWB, p. 250, "Golden Slippers" (1 text)
Fuld-WFM, p. 399, "Oh dem Golden Slippers"
DT, GOLDSLIP*
ST RJ19144 (Full)
Roud #13941
RECORDINGS:
Wolfe Ballard & Claude Samuels, "Golden Slippers" (Broadway 8036, late 1920s)
H. M. Barnes & his Blue Ridge Ramblers, "Golden Slippers" (Brunswick 313, 1929)
Harry C. Browne w. the Knickerbocker Male Quartet, "Oh! Dem Golden Slippers" (Columbia A-2116, 1916)
Vernon Dalhart, "Golden Slippers" (Durium [UK] 9-4, 1933)
Vernon Dalhart & Co. "O Dem Golden Slippers" (Edison 52174, 1928)
Vernon Dalhart & Carson Robison, "Golden Slippers" (Victor 20539, 1927) (Columbia 15181-D [as Vernon Dalhart & Charlie Wells], 1927) (Romeo 464, 1927; Conqueror 7062, 1928) (Regal 8408, 1927) (Champion 15567 [as "Oh Dem Golden Slippers"], 1928)
Dykes Magic City Trio, "Golden Slippers" (Brunswick 128, 1927)
Roy Harvey & the North Carolina Ramblers, "Oh Dem Golden Slippers" (Champion 45017, 1931)
Kanawha Singers, "Them Golden Slippers" (Brunswick 189/Vocalion 5173, 1927)
Minster Singers, "Oh! Dem Golden Slippers" (Gramophone Co. [UK] GC-4466, n.d.)
Chubby Parker, "Oh Dem Golden Slippers" (Silvertone 25102, c. 1927)
[John Wallace "Babe"] Spangler & [Dave] Pearson, "Golden Slippers" (OKeh, unissued, 1929)
West Virginia Ramblers, "Golden Slippers" (Champion 45017, 1935)
SAME_TUNE:
Golden City (MWheeler, pp. 51-52)
NOTES: James A. Bland also composed "Carry Me Back to Old Virginny" and "In the Evening by the Moonlight"; for more about him, see those entries. - RBW
File: RJ19144
===
NAME: Golden Slippers (II): see Going Up (Golden Slippers II) (File: Br3571)
===
NAME: Golden Vallady: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Golden Vanitee: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Golden Vanity, The [Child 286]
DESCRIPTION: A ship is threatened by a foreign galley. The ship's cabin boy, promised gold and the captain's daughter as wife, sinks the galley. He comes back to his ship; the captain will not take him from the water. (The ending is variable)
AUTHOR: unknown
EARLIEST_DATE: c. 1685 (broadside)
KEYWORDS: sea battle death promise lie abandonment
HISTORICAL_REFERENCES: c. 1552-1618 - Life of Sir Walter Raleigh (one of whose ships was named "The Sweet Trinity")
FOUND_IN: Britain(England(All),Scotland(Aber,Bord)) Ireland US(All) Canada(Mar,Newf,Ont)
REFERENCES: (58 citations)
Child 286, "The Sweet Trinity (The Golden Vanity)" (3 texts, 2 tunes) {Bronson's #52, #55}
Bronson 286, "The Sweet Trinity (The Golden Vanity)" (111 versions+1 in addenda)
BarryEckstormSmyth pp. 339-347, "The Golden Vanity" (4 texts plus 2 fragments, 2 tunes) {Bronson's #108, #66}
Flanders-Ancient4, pp. ,188-263 "The Sweet Trinity or the Golden Vanity" (39 texts plus 11 fragments, 18 tunes) {E=Bronson's #71, HH=#64}
Ford-Vagabond, pp. 103-106, "The Goulden Vanitee" (1 text, 1 tune) {Bronson's #53}
Belden, pp. 97-100, "The Golden Vanity" (3 texts)
Randolph 38, "The Lowlands Low" (4 texts plus a fragment, 3 tunes)  {A=Bronson's #69, D=#48, E=#51}
Randolph/Cohen, pp. 56-59, "The Lowlands Low" (1 text, 1 tune -- Randolph's 38A) {Bronson's #69}
Davis-Ballads 47, "The Sweet Trinity (The Golden Vanity)" (4 texts plus 2 fragments, 1 tune entitled "The Turkish-Rogherlee and the Yellow Golden Tree, or Lowlands Low") {Bronson's #109}
Davis-More 43, pp. 339-343, "The Sweet Trinity (The Golden Vanity)" (1 text, 1 tune)
BrownII 47, "The Sweet Trinity (The Golden Vanity)" (3 texts plus mention of 2 more)
Chappell-FSRA 21, "The Green Willow Tree" (2 texts, 1 tune) {Bronson's #50}
Hudson 25, pp. 125-127, "The Sweet Trinity (The Golden Vanity)" (1 text)
Scarborough-SongCatcher, pp. 184-189, "The Sweet Trinity; The Golden Vanity" (2 texts; the first, with no title, is from Randolph; the second has local title "The Golden Willow Tree"; 1 tune on pp. 406-407) {Bronson's #107}
Shellans, pp. 62-63, "The Lonesome Sea Ballad" (1 text, 1 tune)
Brewster 25, "The Sweet Trinity (The Golden Vanity)" (3 texts, 1 tune) {Bronson's #68}
Gardner/Chickering 82, "The Lowlands Low" (1 text, 1 tune) {Bronson's #110, related to "The Arkansas Traveller"}
Flanders/Brown, pp. 230-231, "The Green Willow Trees" (1 text)
Linscott, pp. 136-137, "The Gallant Victory or Lowlands Low" (1 short text, with no hint of the Captain's refusal to save the boy; he is hauled aboard and dies, 1 tune)
Creighton/Senior, pp. 101-106, "The Sweet Trinity, or The Golden Vanity" (3 texts plus 2 fragments, 4 tunes) {Bronson's #44, #17, #19, #18}
Creighton-NovaScotia 10, "Sweet Trinity; or The Golden Vanity" (1 text, called "Golden Vallady" by the singer, 1 tune) {Bronson's #21}
Creighton-SNewBrunswick 6, "The Golden Vanity" (2 texts, 2 tunes)
Greenleaf/Mansfield 19, "The Golden Vanitie" (2 fragments)
Colcord, pp. 154-156, "The Golden Vanity" (1 text, 1 tune) {Bronson's #45}
Harlow, pp. 35-36, "Golden Vanitee" (1 text, 1 tune)
Hugill, pp. 62-64, "Lowlands Low" (3 texts, 3 tunes) [AbEd, pp. 58-60]
Logan, pp. 42-46, "The Goulden Vanitie (Golden Vanity, or the Low Lands Low)" (2 texts)
Leach, pp. 667-670, "The Sweet Trinity or The Golden Vanity" (3 texts)
Leach-Labrador 8, "The Golden Vanity" (1 text, 1 tune)
Wyman-Brockway I, p. 72, "The Mary Golden Tree, or The Lonesome Low" (1 text, 1 tune) {Bronson's #37}
Cambiaire, pp. 93-94, "The Merry Golden Tree" (1 text)
Ritchie-Southern, pp. 74-75, "Lonesome Sea" (1 text, 1 tune) {cf. Bronson's #41, which is also by Jean Ritchie and uses the same tune but a different title and slightly different words}
McNeil-SFB1, pp. 34-36, "The Green Willow Tree" (1 text, 1 tune)
Friedman, p. 409, "The Golden Vanity" (1 text)
FSCatskills 67, "The Bold Trellitee" (1 text, 1 tune)
OBB 132, "The 'Golden Vanity'" (1 text)
Warner 104, "Lowland Low (or, The Golden Willow Tree)" (1 text, 1 tune)
SharpAp 41, "The Golden Vanity" (7 texts plus 3 fragments, 11 tunes) {Bronson's #94, #93, #88, #104, #43, #46, #78, #90, #99, #39, #106}
Sharp-100E 14, "The Golden Vanity" (1 text, 1 tune) {Bronson's #1}
Niles 61, "The Sweet Trinity (The Golden Vanity)" (1 text, 1 tune)
Sharp/Karpeles-80E 28, "The Weeping Willow Tree (The Golden Vanity)" (1 text, 1 tune) {Bronson's #94}
Ord, pp. 450-451, "The Lowlands Low" (1 text)
Vaughan Williams/Lloyd, pp. 46-47, "The Golden Vanity" (1 text, 1 tune) {Bronson's #35}
Scott-BoA, pp. 138-139, "The Golden Vanity" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 38-40, "The Golden Vanity" (1 text, 1 tune)
Fowke/MacMillan 82, "The 'Green Willow Tree'" (1 text, 1 tune)
Karpeles-Newfoundland 23, "The Golden Vanity" (1 text fragment, 1 tune)
Lomax-FSNA 95, "The Golden Vanity" (1 text, 1 tune) {should be Bronson's #73, but heavily reworked}
Chase, pp. 120-121, "The Merry Golden Tree" (1 text, 1 tune) {Bronson's #74}
Abrahams/Foss, pp. 79-80, "Golden Willow Tree" (1 text, 1 tune)
LPound-ABS, 10, pp. 24-26, "The Lowlands Low" (1 text)
JHCox 32, "The Sweet Trinity (The Golden Vanity)" (2 texts plus a fragment)
JHCoxIIA, #15A-C, pp. 64-69, "The Golden Vanity," "The Mary Golden Lee," "The Green Willow Tree" (3 texts, 1 tune) {Bronson's #38, which -- despite Cox -- he calls "The Weeping Willow Tree"; this version has two American ships "The Weeping Willow Tree" and "The Golden Silveree"}
Darling-NAS, pp. 64-66, "The Sweet Trinity"; "The Golden Willow Tree" (1 text plus a fragment)
Silber-FSWB, p. 213, "The Golden Vanity" (1 text)
BBI, ZN2370, "Sir Walter Rawleigh ha's built a Ship"
DT 286, VANTYGL1* VANTIGL2* VANTIGL3* VANTIGL4* (VANTYGL9)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #411, "The Golden Vanity" (1 text)
ST C286 (Full)
Roud #122
RECORDINGS:
Almanac Singers, "The Golden Vanity" (General 5016B, 1941; on Almanac02, Almanac03, AlmanacCD1)
Horton Barker, "The Turkish Rebilee" (on Barker01) {Bronson's #74}
Justus Begley, "Golden Willow Tree" (AFS, 1937; on KMM)
Bill Cameron, "The Golden Vanity" (on FSB5) {Bronson's #10}
The Carter Family, "Sinking In The Lonesome Sea" (Conqueror 8644/Okeh 03160, 1936; Columbia 37756) {Bronson's #73}
Dodie Chalmers, "The Golden Victory (The Golden Vanity) (on FSBBAL2) {Bronson's #33}
Johnny Doughty, "The Golden Vanity" (on JDoughty01, HiddenE)
Warde Ford, "The Lowlands Low" [fragment] (AFS 4194 A2, 1938; in AMMEM/Cowell) {Bronson's #20}
Sam Hazel, "The Golden Willow Tree" (AFS 2095 B2, 3096 A, 3096 B1, 1939)
[Mrs.?] Ollie Jacobs, "A Ship Set Sail for North America" (AFS, 1941; on LC58) {Bronson's #86}
Paul Joines, "Green Willow Tree" (on Persis1)
Joe Kelly, "The Golden Vanity" (on Ontario1)
Paralee McCloud, "The Little Ship" (on FolkVisions1)
Jimmy Morris, "The Golden Willow Tree" (AFS, 1937; on LC58) {Bronson's #105}
New Lost City Ramblers, "Sinking in the Lonesome Sea" (on NLCR06, NLCR11)
Frank Proffitt, "Lowlands Low" [excerpt] (on USWarnerColl01)
Almeda Riddle, "Merry Golden Tree" (on LomaxCD1707)
Jean Ritchie, "The Merry Golden Tree" (on JRitchie01) {Bronson's #41}
Pete Seeger, "The Golden Vanity" (on PeteSeeger16) (Commodore 3006, n.d. -- but this may be the same recording as the General disc by the Almanac Singers)
Rob Walker, "The Lowlands Low" [fragment] (AFS 4194 A3, 1938; in AMMEM/Cowell) {Bronson's #49}
Doug Wallin, "The Golden Vanity" (on Wallins1)
BROADSIDES:
Bodleian, Harding B 11(1086), "The Golden Vanity" or "The Low Lands Low," H. Such (London), 1849-1862 
NLScotland, L.C.Fol.70(122a), "Lowlands Low," Poet's Box (Glasgow), 1877; also L.C.Fol.70(103b), "Lowlands Low"
CROSS_REFERENCES:
cf. "Louisiana Lowlands" (lyrics)
SAME_TUNE:
Sinking of the Great Ship (BrownII, #287, pp. 662-663, the "A" text)
ALTERNATE_TITLES:
The Lonesome Low
The Merry Golden Tree
The Sweet Kumadee
The Weep-Willow Tree
The Turkish Revoloo
Cabin Boy
Lowland Sea
NOTES: Connecting this song with actual events is impossible even if one accepts Sir Walter Raleigh as the murderous captain. The following dates may, however, provide some guidelines:
1453 - Fall of Constantinople gives the Turks good access to the Mediterranean (Lowland) Sea.
1571 -  Battle of Lepanto cripples the Turkish navy.
1588 - Voyage of the Spanish Armada. Spanish navy crippled.
As far as I know, every version lists the enemy as Spanish, Turkish, or French. It should be noted, however, that the Barbary pirates were often called "Turks," since the Ottoman Empire had (often nominal) soveriegnty over them.
Incidentally, while this song does not have a historical setting, the plot has historical antecedents; Fredson Bowers, in _Elizabethan Revenge Tragedy_, mentions a 1605 pamphlet, "Two most unnatural and bloodie Murthers: The one by  Maister Cauerly... the other by mistris Browne and her servant Peter." Apparently Peter, a servant, had been promised land and the girl's hand; when her father reneged, the young couple turned to murder. 
The sinking of a ship by a youth is also apparently attested: N. A. M. Rodger reports, in _The Safeguard of the Sea_, p. 46, that a Saracen vessel threatened the fleet of Richard I on his way to the third crusade, but that one report claims it was sunk by a boy with an auger. Unfortunately, Rodger does not cite any primary sources for this account, and I don't believe sinking a ship with an auger is actually possible (by that time, ships had pumps and carpenters to plug leaks). I suspect that one of Rodger's sources actually heard a distorted version of this song. - RBW
File: C286
===
NAME: Gone Long Ago
DESCRIPTION: "Where are the friends that to me were so dear? Gone long ago... Hopes that I cherished are fled from me now, I am degraded for rum was my foe, Gone long ago, long ago." The singer looks back on what drink has cost him: His wife, his youth, his virtue
AUTHOR: (based on "Long, Long Ago by Thomas H. Bayly)
EARLIEST_DATE: 1938 (Randolph)
KEYWORDS: drink warning parody
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 315, "Gone Long Ago" (1 text, 1 tune)
Roud #7791
CROSS_REFERENCES:
cf. "Long, Long Ago!" (tune)
File: R315
===
NAME: Gone to Cripple Creek: see Cripple Creek (I) (?) (File: San320)
===
NAME: Gonesome Scenes of Winter, The: see The Lonesome (Stormy) Scenes of Winter [Laws H12] (File: LH12)
===
NAME: Gonna Die With My Hammer In My Hand: see John Henry [Laws I1] (File: LI01)
===
NAME: Gonna Keep My Skillet Greasy: see Keep My Skillet Good and Greasy (File: Wa122)
===
NAME: Gonna Tie My Pecker to My Leg
DESCRIPTION: Usually short fragments of "The Chisholm Trail" distinguished by the unique chorus which gives this variant its title.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy
FOUND_IN: US(Ap,MW,So)
REFERENCES: (4 citations)
Cray, pp. 192-194, "Gonna Tie My Pecker to My Leg" (3 texts)
Randolph-Legman I, pp. 203-204, "The Old Chisholm Trail"
Logsdon 9, pp. 60-69, "Jimmie Tucker" (2 texts, 1 tune, both of which are really "The Old Chisholm Trail (II)," but in his notes are excerpts from "Gonna Tie My Pecker to My Leg")
DT, (CHISHLM)
Roud #3438
CROSS_REFERENCES:
cf. "The Chisholm Trail (II)"
NOTES: Versions are lumped with the similar "Old Chisholm Trail" in Randolph-Legman I. - EC
File: EM192
===
NAME: Goober Peas
DESCRIPTION: "Sitting by the roadside, on a summer's day... Lying in the shadows underneath the trees, Goodness how delicious, Eating goober peas." The southern soldier complains about army life, the battles, and the poor equipment; goober peas are his chief comfort
AUTHOR: unknown
EARLIEST_DATE: 1866
KEYWORDS: food Civilwar nonballad
FOUND_IN: US(SE)
REFERENCES: (8 citations)
RJackson-19CPop, pp. 73-75, "Goober Peas" (1 text, 1 tune)
Silber-CivWar, pp. 54-55, "Goober Peas" (1 text, 1 tune)
Arnett, p. 82, "Goober Peas" (1 text, 1 tune)
Botkin-SoFolklr, p. 715, "Eating Goober Peas" (1 text, 1 tune)
Darling-NAS, p. 351, "Goober Peas" (1 text)
Pankake-PHCFSB, p. 10, "Goober Peas" (1 text)
Silber-FSWB, p. 276, "Goober Peas" (1 text)
DT, GOOBPEAS
ST RJ19073 (Full)
Roud #11628
RECORDINGS:
New Lost City Ramblers, "Goober Peas" (on NLCREP4)
NOTES: First published in 1866 (with words credited to A. Pindar and music to "P. Nutt"!), we know from outside references that this song was popular with southern soldiers in the Civil War. It is particularly accurate as a description of the last few years of the war, when the complete breakdown of Confederate industry left the soldier ragged, and the loss of farmland and rail lines left them starving. Peanuts -- "goober peas" -- often served as an emergency ration for soldiers in Georgia and other parts of the south. - RBW
File: RJ19073
===
NAME: Good Ale
DESCRIPTION: "Oh, good ale, thou art my darling, Thou art my joy both night and morning."  Drink encourages the singer to work, to dream, to enjoy. But also "It is you that makes my friends my foes, It is you that makes me (wear old/pawn my) clothes...."
AUTHOR: unknown
EARLIEST_DATE: 1790 (The Banquet of Thalia)
KEYWORDS: drink hardtimes poverty
FOUND_IN: Britain(England(South))
REFERENCES: (3 citations)
Kennedy 273, "Good Ale" (1 text, 1 tune)
Chappell/Wooldridge II, p. 179, "Good Ale, Thou Art My Darling" (1 text, 1 tune)
DT, GOODALE*
Roud #203
File: K273
===
NAME: Good Ale, Thou Art My Darling: see Good Ale (File: K273)
===
NAME: Good Boy, The
DESCRIPTION: "I have led a good life, full of peace and quiet. I shall have an old age, full of rum and riot. I have been a good boy, wed to work and study. I shall be an old man, ribald, coarse, and bloody." The once-good boy describes what he will now do
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: rebellion age virtue
FOUND_IN: US(MA)
REFERENCES: (3 citations)
Sandburg, p. 203, "The Good Boy" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 80-81, [no title] (1 text, tune referenced)
DT, GOODBOY
Roud #13612
NOTES: Various authors have claimed this piece (the Digital Tradition lists Lemuel F. Parton, though Sandburg merely describes him as a source; Spaeth offers Malcolm Ross and Ralph Albertson). Since versions differ dramatically in character, with only the first line or two being constant, one suspects that all these alleged "authors" are in fact customizing a generic piece. - RBW
File: San203
===
NAME: Good bye Mursheen Durkin
DESCRIPTION: Molly Durkin marries Tim O'Shea. Cooney, "to keep my heart from breakin', I sailed to Americay." He finds no work in New York. He goes to San Francisco, finds gold and heads back to Ireland where "I'll marry Miss O'Kelly, Molly Durkin for to spite"
AUTHOR: unknown
EARLIEST_DATE: 1929 (for USBallinsloeFair, according to site irishtune.info, Irish Traditional Music Tune Index: Alan Ng's Tunography, ref. Ng #1331)
KEYWORDS: travel gold work drink America Ireland humorous rake emigration betrayal return
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 36, "Good bye Mursheen Durkin" (1 text, 1 tune)
DT, MRSHDRK
Roud #9753
RECORDINGS:
Murty Rabbett, "Molly Durkin" (on USBallinsloeFair)
ALTERNATE_TITLES:
Muirsheen Durkin
Muirton Durkin
NOTES: O Lochlainn says "I learnt the last verse in childhood and 'invented' the other two finding nothing else but a fragment 'And now to end my story, I'll marry Queen Victorey'." What O Lochlainn remembers as the last verse appears to be the chorus. That fragment ending beats "I'll marry Miss O'Kelly" but otherwise "Molly Durkin" (on USBallinsloeFair) seems more authoritative.
In any case the description I used is from USBallinsloeFair. Here though is the description for O Lochlainn's version: Corney tires of courting and drinking locally. He goes off to roam the world. Then he tires "of all this pleasure" in Ireland and heads for New York. Now "good-bye Mursheen Durkin, Sure, I'm sick and tired of workin'" and heads for gold in California.
In Murty Rabbett's version the singer "landed in Castle Garden" in New York. That may be useful in bracketing the dates on that version. Castle Garden, before and again "Castle Clinton" at The Battery in New York, was the 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 thirteen years after that building became home to captive fish.
For a similar Castle Garden(s) reference see the notes to "Castle Gardens (I)." - BS
Although O Lochlainn's text seems to be the source for almost every version known today, it seems to have been pretty heavily folk processed by revival singers. And I'm not talking about the zillion ways of spelling "Mursheen/Muirsheen."
According to Soodlum's Irish Ballad Book, the tune is "Cailini Deas Mhuigheo" ("The Beautiful Girls of Mayo").
I seem to recall reading somewhere that "Murisheen Durkin" is another name for Ireland. Of course, if you read enough Irish books, *everything* is a disguised name for Ireland. - RBW
File: OLcM036
===
NAME: Good for a Rush or a Rally
DESCRIPTION: "They are good for a rush or a rally, But they have no bottom to stay, But when I go out for a tally, I shear two hundred a day."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: work Australia sheep
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 276, "Good for a Rush or a Rally" (1 text, 1 tune)
NOTES: For comparison: A "gun" shearer was one who could consistently shear a "century" -- 100 sheep. The all-time record, which will likely never be broken, is held by Jackie Howe, who once sheared 328 sheep in an eight hour day. - RBW
File: MA276
===
NAME: Good King Wenceslas
DESCRIPTION: On St. Stephen's Day, Wenceslas sees a poor man gathering wood, and decides to help the peasant. Wenceslas and his servant go out in the bad weather. Returning home, the servant suffers from the cold but Wenceslas miraculously keeps him warm
AUTHOR: Words: J. M. Neale / Music: unknown
EARLIEST_DATE: 1853 (tune from Piae Cantiones, 1582)
KEYWORDS: religious royalty
FOUND_IN: US(Ap)
REFERENCES: (5 citations)
OBC 136, "Good King Wenceslas" (1 text, 1 tune)
Silber-FSWB, p. 382, "Good King Wenceslas" (1 text)
Fuld-WFM, pp. 254-255, "Good King Wenceslas"
DT, GOODKING*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #29, "Good Kin Wenceslas" (1 text)
CROSS_REFERENCES:
cf. "The Flower Carol (Spring Has Now Unwrapped the Flowers)" (tune)
SAME_TUNE:
Good King Wences (Pankake-PHCFSB, p. 115)
NOTES: Fuld gives details of how J. M. Neale created words (which the editors of the _Oxford Book of Carols_ call, with reason, "one of his less happy pieces") to the tune "Tempus adest floridum" ("Spring Has Unwrapped Her Flowers"), which had appeared in the published version of the _Piae Cantiones_ the previous year.
Wenceslas is Saint Wenceslaus (or Vaclav, to use the non-Latinate form) of Bohemia (c. 905-c. 932), properly a Duke (since Bohemia was a duchy), who succeeded to the throne of Bohemia c. 920 and took over from the regency c. 924 but was murdered in 935.
Wenceslaus's kingdom was beset by religious conflict, and this contributed to his fall. His grandmother was Christian, as was his dead father, but his mother Dragomira and his brother Boleslav (who murdered him) were pagan. As a ruler, Wenceslaus does not seem to have amounted to much; his later reputation probably derives from his martyrdom. He is the Catholic saint of the Czech Republic (which includes Bohemia). Several later kings shared his name, including the famously incompetent Wenceslaus IV of Bohemia (1361-1419, Holy Roman Emperor from 1378 but deposed 1400).
There is no evidence that Wenceslaus ever did any of the things described in this carol, and indeed it has been noted that there are several logical flaws in the narrative; apparently it came almost whole out of Neale's head as he sought to make a song for Saint Stephen's Day.
On lyrical and theological and historical grounds, then, the song probably should be dropped. But, as Eric Routley commented (quoted by Bradley), it "contains snow and philanthropy in just the proportions calculated to make it a favorite." More to the point, it has a great tune -- though, of course, that tune has nothing to do with Wenceslaus, or Neale, or Christmas. - RBW
File: FSWB382
===
NAME: Good Lordy, Rocky My Soul: see Good Lordy, Rocky My Soul (File: FSWB357B)
===
NAME: Good Luck to the Barley Mow: see The Barley Mow (File: ShH99)
===
NAME: Good Mornin', Blues
DESCRIPTION: "I woke up this morning' with the blues all around my bed... Went to eat my breakfast, had the blues all in my bread." The singer describes how the loss of his girl has left him lonely, in pain, and otherwise miserable
AUTHOR: unknown
EARLIEST_DATE: 1940 (recording, Lead Belly)
KEYWORDS: loneliness separation
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-FSNA 311, "Good Mornin', Blues" (1 text, 1 tune)
Silber-FSWB, p. 75, "Good Morning Blues" (1 text)
Roud #11687
NOTES: Another Alan Lomax special; I don't know what fraction of it is traditional. - RBW
Well, Lead Belly sang it with those words. - PJS
OK, so it's a Lomax/Lead Belly special. - RBW
File: LoF311
===
NAME: Good Morning Mister Railroadman: see The Gambler (II) (File: BRaF459)
===
NAME: Good Morning My Pretty Little Miss: see Pretty Little Miss [Laws P18] (File: LP18)
===
NAME: Good Morning, Ladies All (I)
DESCRIPTION: Capstan shanty. Title from second chorus: "Ah-ha, me yaller gals, Good mornin', ladies all." A packet heads out "bound to hell," the crew is mostly wiped out by "Yaller Jack" (yellow fever) and take on some monkeys as a crew.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty ship disease animal
FOUND_IN: Britain West Indies
REFERENCES: (2 citations)
Hugill pp. 349-351, "Good Morning, Ladies All" (2 texts, 2 tunes; the "a" text is this piece, while "b" is "Good Morning, Ladies All (II)") [AbEd, p. 262]
Sharp-EFC, XVII, p. 20, "Good Morning, Ladies All" (1 text, 1 tune)
Roud #8284
NOTES: Hugill claims that any shanty including the phrase "Good morning, ladies all" would be of Negro origin, and had collected this from Tobago Smith, a West Indian shantyman. He also speculates that this may be a rumored but as yet undocumented shanty which tells the story of a crew of monkeys taking charge of a ship, but the three verses he had weren't enough to be sure. Sharp's verses don't even get that far, but the tune is pretty much the same. Sharp says this has some affinity with "Heave Away, Me Johnnies," though I couldn't see it, except for a couple notes in the tune of the chorus. - SL
File: Hugi349a
===
NAME: Good Morning, Ladies All (II)
DESCRIPTION: Pump or halyard shanty. "We are outward bound for Mobile Town, with a heave-o, haul! An' we'll heave the ol' wheel round an' round, Good mornin' ladies all!" Rest of verses on going home, spending money, women, and general good times themes.
AUTHOR: unknown
EARLIEST_DATE: 1921 (Richard Runciman Terry's _The Shanty Book_, Pt.1)
KEYWORDS: shanty home dancing
FOUND_IN: Britain West Indies
REFERENCES: (1 citation)
Hugill pp. 349-351, "Good Morning, Ladies All" (2 texts, 2 tunes; the "b" text is this piece, while "a" is "Good Morning, Ladies All (I)") [AbEd, p. 263]
Roud #8290
CROSS_REFERENCES:
cf. "Outward and Homeward Bound" (shared verses)
File: Hugi350
===
NAME: Good Morning, Merry Sunshine
DESCRIPTION: "Good morning, merry sunshine, How did you wake so soon? You frightened all the stars away And shined away the moon." "I do not go to sleep, dear child, I just go round to see The little children of the east Who rise and watch for me."
AUTHOR: unknown
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 879, "Good Morning, Merry Sunshine" (1 fragment, 1 tune)
Roud #7544
File: R879
===
NAME: Good Morrow, Gossip Joan: see Gossip Joan (Neighbor Jones) (File: Br3144)
===
NAME: Good News
DESCRIPTION: "Good news, chariot's coming (x3), And I don't want to be left behind." "There's a long white robe in Heaven I know." The song catalogs all the things to be found in heaven; the singer hopes to achieve all
AUTHOR: unknown
EARLIEST_DATE: 1911 (recording, Fisk Jubilee Quartet)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 572, "Good News -- Chariot's Comin'" (1 fragment)
Silber-FSWB, p. 370, "Good News" (1 text)
DT, GOODNEWS
Roud #11891
RECORDINGS:
Bobby Jean Chauteau & group "Good News, Chariot is Coming" (New Light 101, n.d.)
Dixie Jubilee Quintet, "Good News" (Brunswick 3150, 1926)
Fisk Jubilee Quartet, "Good News" (Victor 16856, 1911)
Fisk University Jubilee Singers, "Good News, the Chariot's Coming" (Columbia A2072, 1916)
Hall Johnson Negro Choir, "Good News" (Victor 36020, 1930)
Master Spiritual Singers, "Good News, the Chariot is Coming" (Hub 3018, n.d.)
Southern Four, "Good News, Chariot's Comin'! and O Mary, Doan You Weep" (Edison 50885, 1921)
Tuskegee Institute Singers, "Good News" (Victor 17663, 1914)
File: FSWB370B
===
NAME: Good News -- Chariot's Comin': see Good News (File: FSWB370B)
===
NAME: Good News Coming from Canaan
DESCRIPTION: "I thought I heard my mother say, Good news coming from Canaan. I want to hear my children pray, Good news coming from Canaan."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 574, "Good News Coming from Canaan" (1 fragment)
Roud #11893
File: Br3574
===
NAME: Good Old Days of Adam and Eve, The
DESCRIPTION: "I sing, I sing of days grown older... Sing high, sing ho, I grieve, I grieve For the good old days of Adam and Eve." In the good old days, the town was smaller, the people bolder, etc.
AUTHOR: unknown
EARLIEST_DATE: 1845 (broadside, Bodleian Harding B 25(763))
KEYWORDS: nonballad
FOUND_IN: US(NE,So)
REFERENCES: (2 citations)
Belden, p. 431, "The Good Old Days of Adam and Eve" (1 text)
Leyden 7, "A New Song" (1 text, 1 tune)
Roud #7836
BROADSIDES:
Bodleian, Harding B 25(763), "The Good Old Days of Adam and Eve" ("I sing, I sing, of good times older"), J. Pitts (London), 1819-1844; also 2806 c.17(150), 2806 c.17(152), Firth b.26(81), "[The] Good Old Days of Adam and Eve"
CROSS_REFERENCES:
cf. "Meditations of an Old Bachelor (The Good Old-Fashioned Girl)" (theme)
cf. "Twenty Years Ago (Forty Years Ago)" (theme)
cf. "Why Do You Bob Your Hair, Girls?" (theme)
cf. "You Must Live Holy" (theme)
cf. "In Old Pod-Auger Times" (theme)
cf. "Maurice Hogan's Song" (theme)
SAME_TUNE:
A New Song on the Times (broadside Murray, Mu23-y3:021, "A New Song on the Times" ("You people now both high and low, pray listen to these rhymes"), unknown, 19C)
NOTES: Since this song is mostly whining about the new ways of doing things, it's not too surprising that the handful of known versions (Belden's, plus several known to and assembled by Sandy and Caroline Paton) have few lyrics in common. There is no question, though, that they're the same song. - RBW
Leyden, analyzing the before and after, dates his version to Belfast in the 1820s. Most of the discussion would do as well for the Bodleian broadsides, which share some verses with Leyden and with each other, though referring to other cities. - BS
File: Beld431
===
NAME: Good Old Man (I), The: see Four Nights Drunk [Child 274] (File: C274)
===
NAME: Good Old Man (II), The: see My Good Old Man (File: R426)
===
NAME: Good Old Mountain Dew
DESCRIPTION: "Beside a hill there is a still Where the smoke runs up to the sky." The smell reveals that "the liquor boys are nigh." The making of the dew is described, and it is said to have been praised by scholars. The singer calls for more dew.
AUTHOR: unknown
EARLIEST_DATE: 1916 (OLochlainn)
KEYWORDS: drink nonballad
FOUND_IN: US(MA,SE) Canada(Ont) Ireland
REFERENCES: (7 citations)
BrownIII 41, "The Hidden Still" (1 fragment, probably this piece)
OLochlainn 64, "The Real Old Mountain Dew" (1 text, 1 tune)
Morton-Maguire 23, pp. 53-54,112,166, "The Mountain Dew" (1 text, 1 tune)
Lomax-ABFS, pp. 180-182, "Good Old Mountain Dew' (1 text, 1 tune)
Darling-NAS, pp. 288-289, "Real Old Mountain Dew" (1 text, filed with "Old Mountain Dew")
Silber-FSWB, p. 229, "Real Old Mountain Dew" (1 text)
DT, MTDEW2*
Roud #938
RECORDINGS:
O. J. Abbott, "The Real Old Mountain Dew" (on Abbott1)
The Clancy Brothers and Tommy Makem, "The Real Old Mountain Dew" (on IRClancyMakem01)
John Griffin and Ed Geoghegan?, "The Real Old Mountain Dew" (on Voice13)
CROSS_REFERENCES:
cf. "Are You There Moriarity" (tune, per OLochlainn)
NOTES: OLochlainn: "I am told it was written by Phil O Neill of Kinsale." - BS
Not to be confused with Bascom Lamar Lunsford's "Old Mountain Dew." - RBW
File: LxA180
===
NAME: Good Old Rebel, The (The Song of the Rebel Soldier)
DESCRIPTION: "I'm a good old Rebel soldier, and that's just what I am, And for this Yankee nation I do not give a damn!" The rebel tells of his history in the Confederate army. He scorns the Reconstruction governments, and proclaims, "I won't be reconstructed!"
AUTHOR: unknown
EARLIEST_DATE: 1866?
KEYWORDS: Civilwar soldier political
HISTORICAL_REFERENCES: July 21, 1861 - First Battle of Bull Run/Manassas. Confederates under Beauregard and Johnston rout an inexperienced Federal force under McDowell.
Aug 29-30, 1862 - Second Battle of Bull Run/Manassas. Lee's army takes Pope's force in flank and rolls it up.
Apr 7 and Sept 8, 1863 - Federal attempts to retake Fort Sumter and Charleston Harbor. Both failed.
May 1-4, 1863 - Battle of Chancellorsville (which would appear to be the "Battle of the Wilderness" referred to in some texts, since Stonewall Jackson is mentioned in the immediate context). Lee defeats Hooker, but Jackson is killed
May 5-7, 1864 - Battle of the Wilderness. Lee's army mauls the Federal force under Grant and Meade, but the Federals refuse to retreat
May 11, 1864 - Battle of Yellow Tavern. Confederate cavalry commander J.E.B. Stuart mortally wounded (he died May 12).
1865-1872 - The era of the Freedmen's Bureau. Its purpose was to help former slaves to make the transition to freedom, and to give them as many opportunities as possible. Most Southerners fought it tooth and nail, and finally the Radical Republicans abandoned it in 1872
FOUND_IN: US(SE,So)
REFERENCES: (13 citations)
Randolph 231, "I'm a Good Old Rebel" (3 texts, 3 tunes)
Randolph/Cohen, pp. 216-217, "I'm a Good Old Rebel" (1 text, 1 tune -- Randolph's 231C)
Warner 193, "The Song of the Rebel Soldier"; 194, "An Old  Unreconstructed" (2 traditional texts plus assorted floating stanzas and a copy of a printed text plus mention of 6(?) more, 1 tune) 
BrownIII 391, "The Good Old Rebel" (2 texts plus a fragment and mention of 1 more)
Hudson 118, pp. 259-260, "I'm a Good Old Rebel" (1 text)
JHCox 77, "I'm a Good Old Rebel" (1 text)
Silber-CivWar, pp. 88-89, "Oh, I'm a Good Old Rebel" (1 text, 1 tune)
Lomax-ABFS, pp. 535-540, "Good Old Rebel" (2 texts, 2 tunes)
Lomax-FSNA 133, "The Good Old Rebel" (1 text, 1 tune)
Botkin-SoFolklr, p. 716, "I'm a Good Old Rebel" (1 text, 1 tune)
Darling-NAS, pp. 351-353, "I'm a Good Old Rebel" (1 text)
Silber-FSWB, p. 290, "The Good Old Rebel" (1 text)
DT, UNRECON MOONSHI5*
Roud #823
RECORDINGS:
Harry "Haywire Mac" McClintock, "Uncle Jim's Rebel Soldier" (on McClintock01); "Reconstructed Rebel Soldier" (on McClintock02) [The two McClintock recordings are listed tentatively, awaiting audition. - PJS]
NOTES: Cox lists several early printers and claimed authors. The most common attribution is to Major Innes Randolph (CSV), but is from a book published by Randolph's son in 1892. An 1890 text is attributed to J.R.T.; another, printed 1903, dedicates it to "Thad. Stevens, 1862" and claims it was sung by "Harry Allen, Washington Artillery, New Orleans, LA."
A dedication to Stevens makes a perverse sort of sense; Stevens was a humorless anti-Southern abolitionist. The 1862 date makes little sense, however. Still, something caused the song to go into oral tradition. I think we must simply regard the matter as uncertain.
"Marse Robert" is, of course, the soldiers' nickname for Robert E. Lee.
Point Lookout was a Federal prison camp in Maryland. It was an unpleasant place (the prisoners were housed in tents, and water was sometimes scarce), but the army that produced the Andersonville prison camp had no grounds for complaint!
The "darkies dressed in blue" were Blacks who joined the Federal army; their performance was not spectacular, but this was mostly the fault of bad officers. Needless to say, the Confederates hated them above all -- but at the end of the war they too were putting Blacks in uniform!
The Warner text "An Old Unreconstructed" appears to belong with this piece; the lyrics are different, but the spirit and the meter are the same.
In that song, the rebels claim that their cavalry was always superior to the Federals'. This was certainly true in the early years of the war, but by the time of Brandy Station (June 9, 1863), the two forces were equally competent (the Confederates had better officers, but the Federals had better weapons), and by 1864, with Southern horses running out and Sheridan in charge of the Federal cavalry, the Union horse was probably superior.
The "cowardly blockade" refers to the Federal blockade that largely cut off the Confederates from the outside world. It was not "cowardly"; blockade was already recognized under international law. Nor did it automatically cut off the Confederates from munitions; the blockade did not really begin to bite until 1863, by which time the Confederates were fairly well equipped with weapons (often captured from the Unionists). More important was the complete Confederate failure to industrialize.
The "German immigrants" referred to are probably the Federal XI corps, composed primarily of German refugees, which suffered the worst casualties at Chancellorsville and was routed at Gettysburg. These troops were held in very low esteem by both sides. Except for some Irish formations (none larger than a brigade), I know of no other Federal forces composed entirely of "furriners." - RBW
File: Wa193
===
NAME: Good Old State of Maine, The
DESCRIPTION: The singer tells how lumbering woods are "different from the good old State of Maine." The woods have "alieners and foreigners" and low wages, deep snow, harsh regulations and bad food. "I'll mend my ways and spend my days in the good old State of Maine."
AUTHOR: Larry Gorman
EARLIEST_DATE: 1959 (Miramichi1)
KEYWORDS: lumbering ordeal nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Ives-NewBrunswick, pp. 111-114, "The Good Old State of Maine" (1 text, 1 tune)
Manny/Wilson 18, "The Good Old State of Maine (Henry's Concern)" (1 text, 1 tune)
ST IvNB111 (Partial)
Roud #1955
RECORDINGS:
Jim Brown, "The Good Old State of Maine" (on Miramichi1)
NOTES: Ives-NewBrunswick: The song is about the J.E. Henry & Co. sawmill and lumbering operations in the Zealand Valley, in New Hampshire. - BS
According to Manny and Wilson, the "correct" title is "Henry's Concern." - RBW
File: IvNB111
===
NAME: Good Old Way (I), The
DESCRIPTION: "The good old way, the good old way, I am travelling in the good old way, And no matter where I be nor what people thinks of me...." "The Baptists in their glee may turn their back on me...." The singer condemns sinners and vows to stick with God
AUTHOR: unknown
EARLIEST_DATE: 1938 (Chappell)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Chappell-FSRA 93, "The Good Old Way" (1 text, 1 tune)
Roud #16937
CROSS_REFERENCES:
cf. "O I Shall Have Wings" (lyrics)
File: ChFRA093
===
NAME: Good Roarin' Fire, A
DESCRIPTION:  "Wi' the day's work done," these things make the singer happy to come home: "a good roarin' fire," "your childer lep an' run," a "wife is kind an' happy," "a clean-swep' stone."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Hayward-Ulster)
KEYWORDS: home work fire nonballad children wife
FOUND_IN: Ireland
REFERENCES: (1 citation)
Hayward-Ulster, p. 32, "A Good Roarin' Fire" (1 text)
Roud #6550
File: HayU032
===
NAME: Good Ship Calabah, The: see The Calabar (File: HHH502)
===
NAME: Good Ship Cumberland: see The Cumberland [Laws A26] (File: LA26)
===
NAME: Good Ship Jubilee, The: see The Flemings of Torbay [Laws D23] (File: LD23)
===
NAME: Good Ship Kangaroo, The
DESCRIPTION: The singer goes to sea on the Kangaroo. His sweetheart gives him a token to remember her by. On his return home, he learns the she has run off with another man. He vows to go to a foreign shore and "throw [him]self away" on a foreign girl
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: love separation sailor return infidelity
FOUND_IN: Ireland Australia
REFERENCES: (3 citations)
Hugill, pp. 473-476, "Aboard the Kangaroo," "On Board the Kangaroo" (2 texts, 2 tunes) [AbEd, pp. 351-353]
Meredith/Anderson, p. 60, "Aboard of the Kangaroo" (1 text, 1 tune)
DT, SHPKNGR*
Roud #925
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(087), "On Board the 'Kangaroo,'" unknown, c.1875
File: MA060
===
NAME: Good Ship Mary Cochrane, The: see The Wreck of the Rebecca (The Mary Cochrane) (File: HHH565)
===
NAME: Good Ship Venus, The
DESCRIPTION: A quatrain ballad, this song describes the interminable sexual misadventures of the crew of the Good Ship Venus, whose mast is a rampant penis.
AUTHOR: unknown
EARLIEST_DATE: Vance Randolph firmly dates the three versions in his "Unprintable" Collection from the Ozarks to 1890.
KEYWORDS: bawdy sex humorous ship
FOUND_IN: Australia Canada Britain(England) US(NE,MW,So,SW) New Zealand
REFERENCES: (3 citations)
Cray, pp. 315-318, "The Good Ship Venus" (2 texts, 1 tune)
Randolph-Legman I, pp. 500-501, "Frigging in the Rigging" (1 text, 1 tune)
DT, FRGGING SHPVENUS
Roud #4836
CROSS_REFERENCES:
cf. "Christopher Columbo" (lyrics)
NOTES: The limerick-form stanzas with the internal rhyme in the third line of "Good Ship" frequently migrate to "Christopher Columbo." - EC
File: EM315
===
NAME: Good Woman: see The Three Butchers (Dixon and Johnson) [Laws L4] (File: LL04)
===
NAME: Good-by, Mother: see Goodbye, Mother (File: LxA592)
===
NAME: Good-by, Pretty Mama: see Goodbye, Pretty Mama (File: LxA020)
===
NAME: Good-bye My Lovely Annie: see Adieu Sweet Lovely Nancy (File: E153D)
===
NAME: Good-bye Sweet Liza Jane: see Goodbye Eliza Jane (File: SRW211)
===
NAME: Goodbye Eliza Jane
DESCRIPTION: "Lookey here 'Liza, listen to me, you ain't the girl you promised to be." Disappointed that Liza "went riding with Mr. Brown," the singer declares, "Goodbye, Miss Liza, I'm going to leave you." He demands his gifts back; Mr. Brown can replace them
AUTHOR: Words: Andrew B. Sterling / Music: Harry Von Tilzer
EARLIEST_DATE: 1903
KEYWORDS: courting separation betrayal
FOUND_IN: US
REFERENCES: (2 citations)
Spaeth-ReadWeep, p. 211, "Good-bye, Eliza Jane" (partial text and tune)
Rorrer, p. 93, "Good-bye Sweet Liza Jane" (1 text)
Roud #12403
RECORDINGS:
Peerless Quartet, "Minstrels Part 4, Goodbye Eliza Jane" (Little Wonder 343, 1916)
Charlie Poole and the North Carolina Ramblers, "Good-bye Sweet Liza Jane" (Columbia 15601-D, 1930; on CPoole03 as "Goodbye Liza Jane")
NOTES: I couldn't believe this was a Harry von Tilzer song either. Amazing what a little Charlie Poole influence can do. - RBW
File: SRW211
===
NAME: Goodbye Fare-Ye-Well (I): see Blow the Man Down (File: Doe017)
===
NAME: Goodbye Liza Jane (I)
DESCRIPTION: "Our horse fell down the well around behind the stable (x2), Well he didn't fall clear down but he fell, fell... As far as he was able. Oh, it's goodbye Liza Jane." Similarly "My gal crossed a bridge... but the bridge it wasn't built yet." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonsense humorous
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Sandburg, p. 51, "Good-by Liza Jane" (1 text, 1 tune)
ST San051 (Full)
RECORDINGS:
Pete Seeger, "Goodbye Liza Jane" (on PeteSeeger22)
CROSS_REFERENCES:
cf. "Black Them Boots (Goin' Down to Cairo)"
File: San051
===
NAME: Goodbye Liza Jane (II): see Liza Jane (File: San132)
===
NAME: Goodbye Liza Jane (III): see Goodbye Eliza Jane (File: SRW211)
===
NAME: Goodbye to My Stepstone
DESCRIPTION: The singer has stayed at home among loved ones for a long time, but now is leaving: "Goodbye to my stepstone, goodbye to my home, God bless the ones that I leave with a sigh; I'll cherish dear memory while I am away; Goodbye, dear old stepstone, goodbye."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: travel home farewell rambling
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 853, "The Old Stepstone" (1 texts plus 2 fragments)
DT, STEPSTON*
Roud #7453
RECORDINGS:
Floyd County Ramblers, "Step Stone" (Victor V-40331, 1930; Bluebird B-5107, 1933; on TimesAint05)
Bascom Lamar Lunsford, "Stepstones" (Brunswick 231, 1928; Brunswick 314, 1929; on BLLunsford01)
Peg Moreland, "The Old Step Stone" (Victor V-40008, 1929)
E. R. Nance Singers, "Goodbye to My Stepstone" (Champion 16316, 1931)
Three Muskateers, "Goodbye to the Step Stones" (Bluebird B-6525, 1936)
Ernest V. Stoneman and His Dixie Mountaineers, "Goodbye Dear Old Stepstone" (Edison 52489, 1929); Ernest Stoneman and Eddie Stoneman, "Good-bye Dear Old Stepstone" (ARC, unissued, 1934)
ALTERNATE_TITLES:
The Old Doorstep
NOTES: I've seen this attributed to Woody Guthrie, but the texts in Randolph, and his references to 1890s songbooks,  make it clear that the basic song predated him. - RBW
File: R853
===
NAME: Goodbye, Brother
DESCRIPTION: "Goodbye, brother (x2), If I don't see you more; Now God bless you (x2), If I don't see you more." "We part in the body, but we meet in the spirit, If I don't see you more; We'll meet in the heaven, in the blessed kingdom, If I don't see you more."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: religious nonballad parting
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, p. 477, "Good-bye, Brother" (1 text, 1 tune)
File: San477
===
NAME: Goodbye, Fare Ye Well: see Homeward Bound (I) (File: Doe087)
===
NAME: Goodbye, Fare You Well (I)
DESCRIPTION: "Fare you well,Julianna, you know, Hoo row, row, row, my boys, To the westward we roll and we now coming home, Goodbye, fare you well, goodbye, fare you well."  The sailors bid farewell to the whales and look forward to arriving home
AUTHOR: unknown
EARLIEST_DATE: 1971
KEYWORDS: whaler home nonballad sailor whale
FOUND_IN: 
REFERENCES: (1 citation)
Darling-NAS, pp. 321-322, "Goodbye, Fare You Well" (1 text)
NOTES: A great tune; I'm surprised it's not more widely collected. But hardly a good sentiment in these days. - RBW
File: DarNS321
===
NAME: Goodbye, Fare You Well (II): see Homeward Bound (I) (File: Doe087)
===
NAME: Goodbye, Fare-Ye-Well (II): see The Dreadnought [Laws D13] (File: LD13)
===
NAME: Goodbye, Little Bonnie Blue Eyes: see More Pretty Girls Than One (File: CSW192)
===
NAME: Goodbye, Little Bonnie, Goodbye: see More Pretty Girls Than One (File: CSW192)
===
NAME: Goodbye, Little Girl, Goodbye
DESCRIPTION: "The sound of the bugle is calling, Fare thee well, fare thee well." The soldier boy sets out: "Goodbye, little girl, goodbye... In my (Virginia/blue) uniform, I'll return to you." In the din of battle, he sends a (dying?) message to the girl
AUTHOR: unknown
EARLIEST_DATE: 1936 (Brown)
KEYWORDS: soldier separation love
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 271, "Goodbye, Little Girl, Goodbye" (1 text)
Roud #15745
NOTES: The Brown text appears confused. It starts simply enough, with a soldier bidding goodbye to his girl. But when the battle comes, it's not clear whether the lover dies, or the lover lives and goes home, or someone else asks him to send a message. - RBW
File: Br3271
===
NAME: Goodbye, Mary Dear: see I'll Be There, Mary Dear (File: RcGoMaDe)
===
NAME: Goodbye, Mother
DESCRIPTION: "Goodbye, Mother, goodbye, Your voice I shall hear it no mo', Death done flamished yo' body...." The singer hears mother calling from the grave, wishes she were still alive, and hopes to go to heaven where there is no trouble
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: death mother burial religious
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 592-593, "Good-by Mother" (1 text, 1 tune)
Roud #15566
File: LxA592
===
NAME: Goodbye, My Blue Bell
DESCRIPTION: "Goodbye, my Blue Bell, Farewell to you. One last fond look into your eyes so blue. 'Mid campfires gleaming, Through shot and shell, I will be dreaming Of my sweet Blue Bell."
AUTHOR: unknown
EARLIEST_DATE: 1945 (Brown)
KEYWORDS: soldier separation
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 395, "Goodbye, My Blue Bell" (1 fragment)
Roud #11331
NOTES: Brown's informant thought this came from the Spanish-American War. Possible, but probably beyond proof. - RBW
File: Br3395
===
NAME: Goodbye, My Love, Goodbye
DESCRIPTION: Hauling shanty, probably Negro in origin. "I'm bound away to leave you, Goodbye, my love, goodbye. I never will deceive you, Goodbye, my love, goodbye." Given verses are all variations on the 'goodbye, farewell, we're bound away' theme.
AUTHOR: unknown
EARLIEST_DATE: 1887 (Davis/Tozer _Sailor Songs or Chanties_)
KEYWORDS: shanty farewell separation
FOUND_IN: Britain US West Indies
REFERENCES: (2 citations)
Colcord, p. 62, "Goodbye, My Love, Goodbye" (1 text, 1 tune)
Hugill, pp. 118-119, "Goodbye, My Love, Goodbye" (1 text, 1 tune) [AbEd, p. 102]
Roud #4709
CROSS_REFERENCES:
cf. "Goodbye, My Lover, Goodbye" (chorus form)
cf. "Shallo Brown" (similar tune and meter)
NOTES: I thought very seriously about lumping this with "Goodbye, My Lover, Goodbye," given that both have sailor versions and both are weak in the plot department. I'm still not sure, but I haven't seen any actual common lyrics, and the tunes are different. Still, it's hard to be sure about fragments. - RBW
File: Hugi118
===
NAME: Goodbye, My Lover, Goodbye
DESCRIPTION: A riverman, departing for New Orleans, bids his sweetheart farewell: "I'm going away to New Orleans, Goodbye, my lover, goodbye...." "She's on her way to New Orleans... She's bound to pass the Robert E. Lee...." "I'll make this trip and make no more...."
AUTHOR: T. H. Allen?
EARLIEST_DATE: 1882
KEYWORDS: river farewell work separation floatingverses
FOUND_IN: US(MW,SE,So)
REFERENCES: (4 citations)
BrownIII 274, "Goodbye, My Lover, Goodbye" (1 text plus a fragment)
MHenry-Appalachians, p. 160, "Goodbye, My Lover, Goodbye" (1 text)
Botkin-MRFolklr, p. 591, "Let Her Go By" (1 text)
Silber-FSWB, p. 152, "Goodbye, My Lover, Goodbye" (1 text)
Roud #15381
RECORDINGS:
Emry Arthur, "Goodbye My Lover, Goodbye" (Vocalion 5209, c. 1928)
Kanawha Singers, "Goodbye My Lover Goodbye" (Brunswick 242, 1928)
Bill Mooney & his Cactus Twisters, "Goodbye, My Lover, Goodbye" (Imperial 1150, n.d.)
CROSS_REFERENCES:
cf. "Goodbye, My Love, Goodbye" (chorus form)
NOTES: The description above is based on the most coherent version I could find. Brown's texts, however, have nothing of this plot; both have a verse "See the train go 'round the bend... Loaded down with (railroad/Chapel Hill) men," with the other stanzas floating. It appears that the simple tune was used for all sorts of floating verse songs.
This has been attributed to T. H. Allen (cf. Brown), but I don't know the reliability of the citation. - RBW
There is a parody version ["See the Steamer Go 'round the Bend"]: "See the steamer go 'round the bend, goodbye, my lover, goodbye/They're taking old Sammy away to the pen...And why are they taking old Sam to the pen?...He hit a policeman and hit him again/goodbye, my lover, goodbye." Sam Hinton credits this to his father, who liked to improvise. - PJS
File: BMRF591
===
NAME: Goodbye, Old Paint
DESCRIPTION: "Goodbye, old Paint, I'm a-leavin' Cheyenne." The impatient cowboy is off for Montana. He bids farewell to the girl and starts his horses on their way
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax)
KEYWORDS: horse cowboy rambling
FOUND_IN: US(Ro,So)
REFERENCES: (9 citations)
Larkin, pp. 169-170, "Goodbye, Old Paint" (1 text, 1 tune)
Lomax-FSUSA 63(A), "Old Paint" (1 text, 1 tune)
Lomax-ABFS, pp. 383-385, "Good-by, Old Paint" (1 text, 1 tune)
Lomax-FSNA 195, "I'm A-Leavin' Cheyenne" (1 text, 1 tune)
Scott-BoA, p. 263, "Goodbye, Old Paint" (1 text, 1 tune)
Fife-Cowboy/West 83, "Old Paint" (3 texts, 1 tune, although the "C" text appears to be "The Wagoner's Lad")
Pankake-PHCFSB, p. 275, "Goodbye, Old Paint" (1 text)
Silber-FSWB, p. 106, "Goodbye Old Paint" (1 text)
DT, OLDPAINT*
Roud #915
RECORDINGS:
Arkansas Charlie [pseud. for Charlie Craver], "Goodbye Old Paint" (Vocalion 5270, c. 1928)
Emmett Brand, "Riding My Buggy, My Whip in My Hand" (on MuSouth06)
Sloan Matthews, "Goodbye, Old Paint (II)" (AFS, 1940s; on LC28)
Harry "Haywire Mac" McClintock, "Goodbye Old Paint" (Victor 21761, 1928; on WhenIWas1)
Patsy Montana, "Ridin' Old Paint" (Conqueror 8575, 1935)
Jess Morris, "Goodbye, Old Paint (I)" (AFS, 1942; on LC28, LCTreas)
Tex Ritter, "A-Ridin' Old Paint" (Conqueror 8144, 1933/Perfect 12984, 1934; on BackSaddle); "Goodbye Old Paint"  (Vocalion 5493, c. 1931; Conqueror 8073, 1932; Vocalion 04911, 1939)
Pete Seeger, "Old Paint" (on PeteSeeger09, PeteSeegerCD02)
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (floating lyrics)
cf. "I Ride an Old Paint"
NOTES: I classify Emmett Brand's recording here because it has to go somewhere, but it also includes material from "Rye Whiskey (Jack of Diamonds)" and "Wagoner's Lad," and a tune the collector found reminiscent of "One Morning in May." Ah, the folk process! - PJS
File: LxU063A
===
NAME: Goodbye, Pretty Mama
DESCRIPTION: "I'm gonna take those shoes I bought you, Put yo' feet on de groun' (x2)." "I'm gonna leave you jes' like I foun' you, All out an' down (x2)." "I ain' gonna buy you nothin' else, When I go to town (x2)."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: separation clothes
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, p. 20, "Good-by, Pretty Mama" (1 text, 1 tune)
Roud #15522
NOTES: The Lomaxes call this a "variant of the Tie-Tamping Chant." They offer no supporting evidence, however, and the forms of the two songs are different. So I separate them (though Roud lumps them). - RBW
File: LxA020
===
NAME: Goodnight Irene
DESCRIPTION: The singer describes how he courted Irene. Now he and his wife are parted. "And if Irene turns her back on me, gonna take morphine and die." Chorus: "Irene, goodnight, Irene, goodnight; Goodnight, Irene, goodnight, Irene, I'll (get/see) you in my dreams."
AUTHOR: popular version by Huddie Ledbetter ("Lead Belly")
EARLIEST_DATE: 1933 (recordings, Huddie Ledbetter [Lead Belly])
KEYWORDS: love courting separation drugs suicide loneliness floatingverses
FOUND_IN: US
REFERENCES: (4 citations)
Lomax-FSNA 315, "Irene" (1 text, 1 tune)
PSeeger-AFB, p. 48, "Irene, Goodnight" (1 text, 1 tune)
Fuld-WFM, pp. 307-308, "Irene (Goodnight, Irene)"
DT, IRENGDNT
Roud #11681
RECORDINGS:
Gordon Jenkins & The Weavers, "Goodnight Irene" (Decca 27077, 1950; on Weavers01)
Huddie Ledbetter [Lead Belly], "Irene" (AFS 120 A1, 1933) (AFS 120 A6, 1933) (AFS 120 A7, 1933) (Atlantic 917, 1950)
Pete Seeger, "Goodnight, Irene" (on PeteSeeger24) (on PeteSeeger43)
CROSS_REFERENCES:
cf. "Dark and Dreary Weather" (floating lyrics)
cf. "Willy, Poor Boy" (floating lyrics)
cf. "Sometimes I'm in This Country" (floating lyrics)
cf. "Rambling Round" (approximate tune)
cf. "Roll On, Columbia" (tune)
NOTES: Fuld quotes the Lomaxes to the effect that Lead Belly learned the chorus of this song from his uncle. Many of the verses can also be shown to be older. To what extent Lead Belly created this song, as opposed to reshaping the materials, cannot now be determined.
The 1888 song "Irene, Goodnight," sung by the Haverly Minstrels and credited by Spaeth to "Davis" (but dated 1892), is a separate piece. - RBW
The "Davis" cited by Spaeth is Gussie L. Davis, and according to Guy Logsdon & Jeff Place the date is 1887, not 1888. They note some melodic similarity to the song sung by Lead Belly.
According to Seeger, Lead Belly said Irene was a sixteen-year-old girl he knew, who took up with a rambler. - PJS
File: LoF315
===
NAME: Goodnight Ladies
DESCRIPTION: "Goodnight ladies (x3), We're going to leave you now." "Merrily we roll along, Roll along, roll along, Merrily we roll along Over the deep blue sea." "Farewell ladies, (x3), We're going to leave you now." "Sweet dreams, ladies, We're going to leave...."
AUTHOR: unknown
EARLIEST_DATE: 1847 (sheet music)
KEYWORDS: nonballad farewell
FOUND_IN: US
REFERENCES: (3 citations)
Hugill, pp. 179-180, "Goodnight, Ladies" (1 text, 1 tune)
Silber-FSWB, p. 258, "Goodnight Ladies" (1 text)
Fuld-WFM, pp. 255-256, "Goodnight Ladies"
CROSS_REFERENCES:
cf. "Mary Had a Little Lamb" (partial tune)
NOTES: The notes in Fuld indicate a complex history for this song. "Farewell Ladies," containing the first verse of the piece, was printed in 1847 and credited to E. P. Christy. It seems likely enough that the Christy Minstrels used it to close programs.
The complete text, with the "Merrily We Roll Along verse" (which shates a melody with "Mary Had a Little Lamb") was published in 1867.
Fuld says that the melody is that of "I've Been Working on the Railroad," but if so, there has been a lot of embellishment along the way. 0 RBW
File: FSWB258A
===
NAME: Goorianawa
DESCRIPTION: "I've been many years a shearer, and fancied I could shear... But, oh my! I never saw before The way we had to knuckle down at Goorianawa." The shearer describes the many places he has worked, then complains how Goorianawa broke his spirits
AUTHOR: unknown
EARLIEST_DATE: 1912 (short version in "The Lone Hand")
KEYWORDS: work sheep Australia
FOUND_IN: Australia
REFERENCES: (3 citations)
Meredith/Anderson, pp. 268-269, "Goorianawa" (1 text, 1 tune)
Manifold-PASB, pp. 126-127, "Goorianawa" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 186-189, "Goorianawa" (1 text)
Roud #9114
NOTES: Accorting to Patterson/Fahey/Seal, Goorianawa was known among shearers as a hard station to work -- bad conditions and low pay. "Banjo" Paterson had heard of this song at the time he assembled _Old Bush Songs_, but was unable to locate a text. - RBW
File: MA268
===
NAME: Goose Hangs High, The
DESCRIPTION: "Im June of '63, I suppose you all know, General Lee he had a plan into Washington to go." Stuart loses a battle, but Lee invades Pennsylvania; Meade replaces Hooker; the Union wins: "You cannot whip the Yankee boys while the goose hangs high"
AUTHOR: unknown
EARLIEST_DATE: 1909 (Belden)
KEYWORDS: Civilwar battle
HISTORICAL_REFERENCES: June 9, 1863 - Battle of Brandy Station. Union cavalry attack Stuart's rebel horse, but are driver off
July 1-3, 1863 - Battle of Gettysburg. George Gordon Meade's Army of the Potomac holds off Robert E. Lee's Army of Northern Virginia
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 372-373, "The Goose Hangs High" (1 text plus mention of 1 more)
Roud #7763
NOTES: Belden admits that this song may not have been traditional; both texts were copies sold as pamphlets, probably by the same blind man, Jasper Kinder.
After the Battle of Chancellorsville, northern Virginia was largely denuded of supplies, which made it hard for Lee to provision his army. In addition, the North's Army of the Potomac was, for nearly the only time in the war, shrinking; a number of regiments had volunteered in early 1861 for two years, and now were mustering out. With the Union forces weak and defeated, it seemed like time to invade the North.
The Union had a bit of a surprise waiting: Until this time, Jeb Stuart's cavalry had been much superior to the Federal forces. But Joe Hooker, the Union commander, had reorganized the union horse as a single corps (as opposed to un-unified brigades and divisions). For the first time in the war, they came looking for Stuart at Brandy Station -- and fought on fairly even terms.
In the end, contrary to the song, the Union troopers were driven off, and took more casualties. But they had shown they could stand up to the Confederates -- which would stand them in good stead at Gettysburg, where they beat off an attack by Stuart. Plus they had learned a lot about Rebel movements.
As the rebel forces moved north, Lincoln and his cabinet became more and more worried about Joe Hooker, the loser of Chancellorsville, who was still in command. Finally, on June 28, they induced Hooker to resign, replacing him with George Gordon Meade (1815-1872). It was Meade who held off Lee's attack at Gettysburg. The song is again too optimistic about the aftermath, though; while Lee failed to drive Meade off his position, Lee was not routed, and Meade pursued very slowly, inflicting very little additional damage on Lee's forces.
The day after the end of the Battle of Gettysburg, July 4, 1863, Grant captured the city of Vicksburg. It was the single best week for Union arms in the entire war.
I cannot for the life of my guess what the significance of a goose hanging high might be. I would note that a "Goose Hangs High Songster" was published in 1866 -- but I haven't seen it.  - RBW
File: Beld372
===
NAME: Goosey, Goosey, Gander
DESCRIPTION: "Goosey, goosey, gander, Whither shall I wander, Upstairs and downstairs And in my lady's chamber." The ending varies
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammer Gurton's Garland)
KEYWORDS: bird
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 190, "Goosey, goosey gander" (1 text)
Baring-Gould-MotherGoose #89, p. 86, "(Goose-a-goose-a, gander)"
Roud #6488
NOTES: This is another Mother Goose rhyme I seem to vaguely recall hearing sung rather than recited, so I'm including it on that basis, though I'm anything but sure about this.
The early version, in Gammer Gurton's Garland, ends with instructions that the listener will find provisions in the lady's chamber; in the common version, it houses "an old man Who would not say his prayers" -- which the Baring-Goulds note is a relic of another nursery rhyme, "Old Father Long Legs."
Katherine Elwes Thomas, of the ever fertile imagination (and we know what was used as the original fertilizer) believes this refers to the militantly anti-Protestant Cardinal (David) Beaton, who in fact was thrown downstairs and killed in 1546. To be fair, it should be noted that he might be found in a lady's chamber; he was far from celibate. - RBW
File: BGMG089
===
NAME: Gorion-Og
DESCRIPTION: Fragment: "I found the track of the wind in the trees...but never a trace of baby o." Similarly "...mist on the hill..." and "swan on the lake."
AUTHOR: unknown
EARLIEST_DATE: 1963 (recording, Margaret MacArthur)
KEYWORDS: baby family lullaby
FOUND_IN: US(NE)
REFERENCES: (0 citations)
RECORDINGS:
Margaret MacArthur, "Gorion-Og" (on MMacArthur01)
NOTES: This sounds like a fragment or degenerated form of a child-disappearance ballad. In the hope that the rest of it may surface some day, and because there's a thread of narrative buried in what sounds like a nursery rhyme, I include it. - PJS
I must admit that this explanation never occurred to me (the song just sounds like a lullaby) -- but it's a beautiful melody; I too hope we can find more of it. - RBW
File: RcGorion
===
NAME: Gospel Cannonball
DESCRIPTION: "On the great and holy Bibble, on the pages I do find, How God came down from heaven to redeem this soul of mine." The singer notes the popularity of the Bible and urges listeners to heed so they too can go to God on the Gospel Cannonball
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Wade Mainer and the Sons of the Mountaineers)
KEYWORDS: train religious nonballad derivative
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 636-637, "The Gospel Cannonball" (1 text, 1 tune)
Roud #18559
RECORDINGS:
Delmore Brothers, "Gospel Cannon Ball" (Decca 5970/46049, 1941)
Wade Mainer and the Sons of the Mountaineers, "The Gospel Cannonball" (Bluebird B-8349/Montgomery Ward M-8448, 1939)
CROSS_REFERENCES:
cf. "The Wabash Cannonball" (lyrics)
NOTES: Cohen considers this derived from the "Wabash Cannonball," while admitting that none of the recorded versions use that popular tune. Certainly some of the lyrics are closely parallel. The source is unknown. It is interesting to note that, though the song talks a lot about the Bible, it never actually cites it, and the theology is, to say the least, simplified. - RBW
File: LSRai636
===
NAME: Gospel Pool, The
DESCRIPTION: "Brother, how did you feel that day, When you lost your guilt and burden? I felt like the Lord God freed my soul, And the healing waters move." The healed man says that he could run (or his hands looked new), and "the green trees bowed."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: religious healing
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 521, "The Gospel Pool" (2 short texts)
Roud #11816
NOTES: This seems to be based, very loosely, on the healing in John 5:2-9, where a crippled man hopes to enter the healing waters of Bethzatha. But the parallel is not very close -- and the part about the healing effects of the waters is largely absent in the best manuscripts of John. - RBW
File: Br3521
===
NAME: Gospel Ship (I), The
DESCRIPTION: "The Gospel Ship is sailing by, The Ark of Safety now is nigh; On sinners, unto Jesus fly... Oh, there'll be glory... when we the Lord embrace." Fathers and brothers are invited to come along; the end of the world is described
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders/Brown), from a manuscript apparently dated 1831
KEYWORDS: religious nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, pp. 75-77, "The Gospel Ship" (1 text)
ST FlBr075 (Partial)
Roud #2838
CROSS_REFERENCES:
cf. "Shout, Shout, We're Gaining Ground" (lyrics)
NOTES: Although the title of this is clearly reminiscent of "The Old Gospel Ship," the kinship consists at most of a few stray lines. It's a bit closer to Randolph's fragments, "Shout, Shout, We're Gaining Ground," which may be a free-floating chorus of this verse.
The piece itself is clearly inspired by the New Testament Apocalypse, but the language itself has almost no resemblance to the Bible (e.g. the name "Jehovah," which isn't what the Hebrews called their God anyway, is not used in the New Testament, which uses the Greek word "Lord"; nor did YHWH the Father open the sealed book; it was the Lamb, i.e. God the Son, who opened the scroll; see Rev. 6.1ff.) - RBW
File: FlBr075
===
NAME: Gospel Ship (II), The: see The Old Gospel Ship (File: FSWB351B)
===
NAME: Gospel Train (I), The: see Get On Board, Little Children (File: FSWB361A)
===
NAME: Gospel Train (II), The
DESCRIPTION: "Select de proper train (x3), When de bridegroom comes." "Git on board de train (x3) When de bridegroom comes." "Gwine to travel wid my Savior." "Gwine to travel home to glory."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad train
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 529, "The Gospel Train" (2 texts plus a fragment; this is the "A" text; "B" is "The Gospel Train (III)"; "C" is a fragment of "Get On Board, Little Children")
Roud #11820
NOTES: Roud lumps this with "Boundless Mercy (Drooping Souls, No Longer Grieve)" -- a clerical error, I suspect. - RBW
File: Br3529A
===
NAME: Gospel Train (III), The
DESCRIPTION: "Oh, don't you hear that whistle blowin' (x3), Get on board, get on board." "Oh, it ain't no harm to trust in Jesus (x3), Get on board, get on board." "Jesus is the conductor." ""Oh! have you got your ticket ready?"
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: religious nonballad train
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 529, "The Gospel Train" (2 texts plus a fragment; this is the "B" text; "A" is "The Gospel Train (II)"; "C" is a fragment of "Get On Board, Little Children")
File: Br3529B
===
NAME: Gospel Train Am Leabin' (II), De: see Get On Board, Little Children (File: FSWB361A)
===
NAME: Gospel Train Am Leaving (I)
DESCRIPTION: "De gospel train am leaving For my father's mansions, De gospel train am leaving, And we all be left behind." "Oh, run, Mary, run, De gospel train am leaving, Oh, run, Mary, run, I want to get to heaben today."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: religious train nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 255, (no title) (1 short text)
File: ScaNF255
===
NAME: Gospel Train is Coming (I), The (Gospel Train IV)
DESCRIPTION: "The gospel train is coming, don't you want to go (x3), Yes, I want to go." "Jesus is the engineer, don't you want to go? (x3). Yes, I want to go." "Can't you hear the bell ring...." "Can't you hear the wheel hum...." "She's comin' round the curve...."
AUTHOR: unknown
EARLIEST_DATE: c. 1926 (recording, Rev. Edward W. Clayborn)
KEYWORDS: train religious nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 619-624, "The Gospel Train Is Coming" (1 text plus 2 texts of "Get On Board, Little Children"; 1 tune for each of the two songs)
RECORDINGS:
Rev. Edward W. Clayborn (Clayburn, Clayton, Claiborn), "The Gospel Train is Coming" (Vocalion 1082/Melotone M12546, c.1927)
File: LSRai619
===
NAME: Gospel Train Is Coming (II), The: see Get On Board, Little Children (File: FSWB361A)
===
NAME: Gosport Beach (The Undutiful Daughter)
DESCRIPTION: "On Gosport beach I landed, that place of noted fame." The sailor meets a beautiful whose merchant parents threw her out. He offers to marry her, breaks a ring, and goes on his voyage. Three months later, he returns and marries her
AUTHOR: unknown
EARLIEST_DATE: 1856 (Journal from the Catalpa)
KEYWORDS: sailor love clothes brokentoken wedding marriage
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 127-129, "The Undutiful Daughter" ( text)
Roud #1038
File: SWMS127
===
NAME: Gosport Tragedy, The: see The Cruel Ship's Carpenter (The Gosport Tragedy; Pretty Polly) [Laws P36A/B] (File: LP36)
===
NAME: Gossip Joan (Neighbor Jones)
DESCRIPTION: "Good morrow, Gossip Joan, Where have you been a-walking? I have for you, for you for you, for you for you... a budget full of wonders." The wonders are listed: A cow with a calf that cannot eat hay, a duck which died from eating a snail
AUTHOR: unknown
EARLIEST_DATE: 1720 (Pills to Purge Melancholy)
KEYWORDS: talltale animal
FOUND_IN: Britain(England) US(SE)
REFERENCES: (2 citations)
Chappell/Wooldridge II, p. 98, "Good Morrow, Gossip Joan" (1 text, 1 tune)
BrownIII 144, "Neighbour Jones" (1 text)
Roud #1039
CROSS_REFERENCES:
cf. "Martin Said To His Man" (theme)
File: Br3144
===
NAME: Got Dem Blues
DESCRIPTION: "Got dem blues, but I'm too mean, lordy, I'm too damned mean to cry. I got dem blues, Got dem blues, but I'm too damned mean to cry. Yes, I got dem dirty blues, But I'm too damned mean to cry, Yes! mean to cry, Sweet daddy! Uh-huh! Turn me down! Uh-huh!
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonballad floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, pp. 232-233, "Got Dem Blues" (1 short text, 1 tune)
File: San232
===
NAME: Got No Honey Baby Now: see Sugar Baby (Red Rocking Chair; Red Apple Juice) (File: ADR82)
===
NAME: Got No Sugar Baby Now: see Sugar Baby (Red Rocking Chair; Red Apple Juice) (File: ADR82)
===
NAME: Got the Farm Land Blues
DESCRIPTION: Farmer laments that thieves have gotten his chickens, corn, beans and the tires from his car, while the boll weevils have eaten his cotton and a storm has torn down his corn. He plans to sell his farm and move to town.
AUTHOR: probably Clarence "Tom" Ashley of the Carolina Tar Heels
EARLIEST_DATE: 1930 (recording, Carolina Tar Heels)
KEYWORDS: theft farming storm bug
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Asch/Dunson/Raim, p. 68, "Got the Farm Land Blues" (1 text, 1 tune)
RECORDINGS:
Carolina Tar Heels, "Got the Farm Land Blues" (Victor 23611A, 1930; on AAFM1, HardTimes2)
NOTES: The song is in the form of a "white blues." -PJS
File: ADR68
===
NAME: Got the Jake Leg Too
DESCRIPTION: Singer wakes up in the middle of the night with "jake leg"; he can't get out of bed and feels nearly dead. His Aunt Dinah has it; a preacher drinks and gets it too. Singer warns against drinking "Jamaica ginger"; he will pray for his fellow jake-leggers
AUTHOR: unknown
EARLIEST_DATE: 1930 (recording, Ray Brothers)
KEYWORDS: disease warning drink
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Ray Brothers "Got the Jake Leg Too" (Victor 23508, 1930; on RoughWays1)
CROSS_REFERENCES:
cf. "Jake Limber Leg Blues" (topic)
NOTES: In 1929-1930 public health authorities in the USA became aware of an epidemic of neurological disease, "jake leg", characterized by irregular, halting gait and muscular palsy, caused by impurities contained in bootleg liquor, most notably "Jamaica ginger." Jake leg inspired numerous tunes and songs among country and blues artists. - PJS
File: RcGtJLT
===
NAME: Gougane Barra
DESCRIPTION: There is a green island in lone Gougane Barra." What better place for a bard? The singer thinks about past bards there, "far from the Saxon's dark bondage and slaughter." When Ireland is free some minstrel will come here a lay a wreath on his grave
AUTHOR: James Joseph Callanan (1795-1829) (source: Croker-PopularSongs)
EARLIEST_DATE: 830 (_The Recluse of Inchidony_, written 1826, according to Croker-PopularSongs)
KEYWORDS: Ireland lyric nonballad patriotic
FOUND_IN: 
REFERENCES: (5 citations)
Croker-PopularSongs, pp. 191-195, "Gougane Barra" (1 text)
O'Conor, p. 107, "Gougaune Barra" (1 text)
ADDITIONAL: Charles Gavan Duffy, editor, The Ballad Poetry of Ireland (1845), pp. 192-194, "Gougaune Barra"
Edward Hayes, The Ballads of Ireland (Boston, 1859 (reprint of 1855 London edition)), Vol I, pp. 47-49,"Gougaune Barra"
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 398-399, 496-497, "Gougaune Barra"
NOTES: Croker-PopularSongs: The origin of the river Lee is the lake of Gougane Barra, "about two miles in circumference," with one small island which, "in times of trouble, [was] sought as an asylum." The lake is formed "by numerous streams descending from the mountains that divide the counties of Cork and Kerry." Croker points out that Callanan is not buried at Gougane Barra, but in Portugal. - BS
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: CrPS191
===
NAME: Goulden Vanitee, The: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Goulden Vanitie, The: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Government Claim, The: see Starving to Death on a Government Claim (The Lane County Bachelor) (File: R186)
===
NAME: Gowans are Gay, The
DESCRIPTION: The singer walks out in May and meets a "proper lass." He asks what she is doing; she replies, "Gathering the dew; what need you ask?" He asks her to marry; she says it is not her task to give him her maidenhead. He returns home wondering who she was
AUTHOR: unknown
EARLIEST_DATE: 1924
KEYWORDS: courting virginity virtue loneliness
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Combs/Wilgus 140, pp. 142-143, "The Gowans are Gay" (1 text)
Roud #4295
CROSS_REFERENCES:
cf. "The Seeds of Love"
cf. "Thyme, It Is a Precious Thing"
cf. "In My Garden Grew Plenty of Thyme"
NOTES: I suspect that this is a reversal of one of the "Thyme" songs (probably a "Garners Gay" version of "Thyme (It Is a Precious Thing)"). There are many similarities. But even if it is such, the changes are enough that we have to list it as a separate song. - RBW
File: CW142
===
NAME: Gown of Green (I), The
DESCRIPTION: Polly agrees "to wear the gown of green" The singer leaves "to fight our relations in North America." Many are killed. Some men foolishly buy their sweethearts toys, rings and posies; "give her the gown of green to wear, and she will follow you"
AUTHOR: unknown
EARLIEST_DATE: before 1813 (broadside, Bodleian Harding B 16(106a))
KEYWORDS: courting sex war separation death America lover soldier
FOUND_IN: 
REFERENCES: (0 citations)
Roud #1085
BROADSIDES:
Bodleian, Harding B 16(106a), "The Gown of Green" ("As my love and I was walking to view the meadows round"), J. Evans (London), 1780-1812; also Harding B 25(766), Harding B 17(116b), Firth c.14(198), Harding B 11(1098), Harding B 11(2104), Harding B 25(766), "The Gown of Green"
NOTES: The description follows broadside Bodleian Harding B 11(1098).
Roud assigns the same number to "The Gown of Green" (I) and (II). The two are obviously related though there is no overlap in story or evidence that they are fragments of some longer ballad; in fact, the wars are not the same. - BS
(In fact it's just possible that they are the same, though not likely. During the American Revolutionary War, Spain was fighting against Britain; if the hero was a sailor, or just a soldier being transported in a warship, it's just possible that he could have been in a fight with a Spaniard. Alternately, if we reverse the place where he lost the limb, Our Hero could have fought in Wellington's Peninsular Campaign in Spain, then been shipped to America to fight in the War of 1812. That happened to several regiments. - RBW)
File: RcTGoGr1
===
NAME: Gown of Green (II), The
DESCRIPTION: Harry meets a woman and baby. He claims to know her. He reminds her of the day "you wore the gown of green." He has returned from Portugal and Spain with gold and a pension, though he has lost a limb "saving my commander's life." He proposes.
AUTHOR: unknown
EARLIEST_DATE: 18C (broadside, Bodleian Harding B 25(767))
KEYWORDS: love marriage war reunion Spain baby lover sailor soldier
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1085
RECORDINGS:
Jack Norris, "The Gown of Green" (on Voice01)
BROADSIDES:
Bodleian, Harding B 25(767), "The Answer to The Gown of Green" ("As a soldier was walking all on the highway"), J. Grundy (Worcester), 18C; also Harding B 25(766), "Answer to The Gown of Green" ("A sailor was walking upon the high way"); Harding B 17(278b), "Sequel to The Gown of Green" ("As a soldier was walking all on the highway"); Harding B 25(522), "The Disconsolate Maiden"
NOTES: The opening line makes Harry either a soldier or a sailor.
Roud assigns the same number to "The Gown of Green" (I) and (II). The two seem related though there is no overlap in story or evidence that they are fragments of some longer ballad; in fact, the wars are not the same. - BS
(In fact it's just possible that they are the same, though not likely. During the American Revolutionary War, Spain was fighting against Britain; if the hero was a sailor, or just a soldier being transported in a warship, it's just possible that he could have been in a fight with a Spaniard. Alternately, if we reverse the place where he lost the limb, Our Hero could have fought in Wellington's Peninsular Campaign in Spain, then been shipped to America to fight in the War of 1812. That happened to several regiments. - RBW)
File: RcTGoGr2
===
NAME: Gra Geal Mo Chroi: see Gay Girl Marie [Laws M23] (File: LM23)
===
NAME: Gra Geal Mo Chroi (II -- Down By the Fair River)
DESCRIPTION: The singer hears a woman wishing her lover were here. Her lover passes. The singer remarks on her beauty "like a sheet of white paper her neck and breast." He or she promises to prove true to his or her own love.
AUTHOR: unknown
EARLIEST_DATE: 1875 (OLochlainn citing P W Joyce's _Old Irish Folk Music and Songs_)
KEYWORDS: love beauty lover promise
FOUND_IN: Canada(Mar) Ireland
REFERENCES: (4 citations)
Creighton/Senior, pp. 150-151, "Down by the Fair River" (1 text, 1 tune)
Creighton-Maritime, p. 69, "Down By the Fair River" (1 text, 1 tune)
SHenry H582, pp. 238-239, "Gragalmachree" (1 text, 1 tune)
OLochlainn 13, "Gra Geal Mo Chroi" (1 text, 1 tune)
Roud #2329
RECORDINGS:
Mikeen McCarthy, "One Fine Summer's Morning" (on IRTravellers01)
BROADSIDES:
Bodleian, 2806 b.11(148), "Lovely Young Johnny" or "Gra Gal Ma Cree ," H. Such (London), 1863-1885
ALTERNATE_TITLES:
Newry Mountain
NOTES: Is this Laws M23 ["Gay Girl Marie"]? I don't believe so. There is no letter from the lover, and none of the consequences of that letter (some versions of this ballad have a line "Like a sheet of white paper her neck and breast" that may hint at a letter).
The coded name as "Grey Gram o'Chree" (Creighton-Maritime) or "Gra geal mo chroi" (O Lochlainn) is mentioned ("And her name in plain Irish is ....") once or twice, but is not the end of almost every verse as it is in Laws M23. This ballad is about a girl thinking about her lover; it is a collection of floating verses -- connected to that theme -- that I don't find in Laws M23. For example,
The moon it may darken and show us no light
The bright stars of heaven fall down from their height
The rocks may all melt, and the mountains remove
The ships of the ocean may go without sails
The smallest of fishes turn into great whales
In tha middle of the ocean there will groe an apple tree
For good measure, Creighton-Maritime adds "Come all ... Never build your nest on a green hollow tree...." lines and "I lost my own darling by courting too shy."
One point I missed in earlier contrast of this song with "Gay Girl Marie" [Laws M23] is that Laws M23 has a male protagonist ["I am a bold rover ..."] while this song is a woman's story ["If I were an empress ..."] - BS
In earlier editions of the Index, with the improbable title to guide us, however, we did lump them. See additional notes under "Gay Girl Marie" [Laws M23].
It is unfortunate that, apart from Creighton/Senior, almost none of the versions of this were available to Laws.  But Laws does not list the Creighton/Senior text here. So we have now split the songs. - RBW
File: CrMa069
===
NAME: Gra Machree: see Gra-mo-chroi. I'd Like to See Old Ireland Free Once More (File: OLoc063)
===
NAME: Gra-mo-chroi. I'd Like to See Old Ireland Free Once More
DESCRIPTION: "Last night I had a happy dream ... I thought again brave Irishmen Had set old Ireland free" Some modern heroes are named and Father Murphy and the Wexford men of ninety-eight. "It's Gra-mo-chroi, I'd like to see old Ireland free once more"
AUTHOR: unknown
EARLIEST_DATE: 1912 (OLochlainn)
KEYWORDS: rebellion dream Ireland nonballad patriotic
HISTORICAL_REFERENCES: 1775-1847 - Life of Daniel O'Connell
1778 - Birth of Robert Emmet
1796 - A French fleet (carrying, among others, Wolfe Tone) sets out for Ireland
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
1803 - Robert Emmet attempts a new rebellion. The revolt is quickly crushed, and Emmet eventually hanged
Nov 24, 1867 - Hanging of the Manchester Martyrs; this year also marked the failed Fenian rising
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 63, "Gra-mo-chroi. I'd Like to See Old Ireland Free Once More" (1 text, 1 tune)
ST OLoc063 (Partial)
Roud #5204
BROADSIDES:
Margaret Barry, "Gra Machree" (on IRMBarry-Fairs)
CROSS_REFERENCES:
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: This song mentions many heroes of Irish freedom, most of whom are the heroes of other songs:
For (Daniel) O'Connell, see "Daniel O'Connell (I)" and "Daniel O'Connell (II)."
For Lord Edward (Fitzgerald), the sort-of-leader of the 1798 United Irishmen, see the notes to "The Green Above the Red."
For Wolfe Tone, the Irish Protestant who helped organize the failed invasion of 1796, see especially "The Shan Van Voght."
For Robert Emmet, the rebel against the post-1798 Union, see among others "Bold Robert Emmet, "Emmet's Death," "Emmet's Farewell to His Sweetheart," and "My Emmet's No More."
For Father Murphy and his role in the 1798 rebellion, plus the Battle of Vinegar Hill, see the notes to "Father Murphy (I)" and the references there; also "Sweet County Wexford."
"Allen, Larkin, and O'Brien" were the "Manchester Martyrs," for whom see especially "The Smashing of the Van (I)." - RBW
File: OLoc063
===
NAME: Grace Brown and Chester Gillette [Laws F7]
DESCRIPTION: Gillette is awaiting execution for drowning his sweetheart on a boating excursion. The singer mentions the grief of the mothers
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: homicide execution grief
HISTORICAL_REFERENCES: July 11, 1906 - Murder of Grace Brown
FOUND_IN: US(MA)
REFERENCES: (3 citations)
Laws F7, "Grace Brown and Chester Gillette"
Burt, pp. 32-34, "The Murder of Grace Brown" (1 text, 1 tune)
DT 809, GRACBRWN
Roud #2256
NOTES: This murder also provided the model for Theodore Dreiser's "An American Tragedy" - RBW
File: LF07
===
NAME: Grace Darling (The Longstone Lighthouse)
DESCRIPTION: "Twas on the Longstone lighthouse there dwelt an Irish maid," Grace Darling. At dawn she saw "a storm tossed crew ... to the rocks were clinging." With her father's reluctant help, she launched a boat, rowed out, and "boldly saved that crew."
AUTHOR: unknown
EARLIEST_DATE: 1946 (Ranson)
KEYWORDS: drowning sea ship storm wreck sailor rescue
HISTORICAL_REFERENCES: Sep 7, 1838 - Grace Darling and her father rescue nine of the crew of Forfarshire (source: Ranson)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 86-87, "The Longstone Lighthouse" (1 text, 1 tune)
Roud #1441
NOTES: Ranson: "Grace Darling was the daughter of the light-house keeper on one of the Farne Islands (a group of Islands, also called The Staples, seventeen in number) two miles off the N.E. coast of Northumberland.... The song has evidently been adapted for Irish audiences." - BS
File: Ran086
===
NAME: Gracie M Parker
DESCRIPTION: Gracie Parker leaves Alberton for Saint Pierre "heavily lumber-laden." In a heavy gale "she struck a sunken rock ... And all on board were drowned." Two bodies wash up on the beach. The drowned crew are named
AUTHOR: unknown
EARLIEST_DATE: 1965 (Ives-DullCare)
KEYWORDS: drowning sea ship storm wreck sailor moniker
HISTORICAL_REFERENCES: Dec 16, 1893 - Schooner Gracie M Parker from Alberton, PEI stranded and wrecked in a storm in St Pierre Harbour under Captain Farrell (Northern Shipwrecks Database) (Note that the ballad has the schooner put to sea on November 15, 1893 so someone is wrong by a month)
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Dibblee/Dibblee, pp. 49-50, "Gracie M Parker" (1 text, 1 tune)
Ives-DullCare, pp. 136-137,254-255, "The Schooner Gracie Parker" (1 text, 1 tune)
Roud #12469
RECORDINGS:
Mrs. Benjamin Smith, "The Schooner Gracie Parker" (on MREIves01)
NOTES: Alberton is on the north west coast of Prince, Prince Edward Island. St Pierre Harbour is on St-Pierre, a French island southwest of Newfoundland. - BS
File: Dib049
===
NAME: Gradh Geal mo cridh: see Bheir Me O (File: DTnheirm)
===
NAME: Grafted into the Army
DESCRIPTION: "Our Jimmy has gone for to live in a tent, They have grafted him into the army... I told them the child was too young, alas! At the Captain's forequarters they said he would pass...." The mother talks of her little boy in the army; she hopes he comes back
AUTHOR: Henry Clay Work
EARLIEST_DATE: 1865
KEYWORDS: soldier mother youth humorous
FOUND_IN: 
REFERENCES: (2 citations)
Silber-CivWar, pp. 68-69, "Grafted into the Army" (1 text, 1 tune)
DT, GRFTRMY*
Roud #6596
File: SCW68
===
NAME: Gragalmachree: see Gra Geal Mo Chroi (II -- Down By the Fair River) (File: CrMa069)
===
NAME: Gramachree
DESCRIPTION: The singer hears the birds singing and courting as he wanders by the banks of Banna. He thinks longingly of Molly, who once said she loved him but now hates him. He says that he will be true for as long as he lives
AUTHOR: George Ogle (1739-1814)? (source: Croker-PopularSongs)
EARLIEST_DATE: 1787 (Scots Musical Museum)
KEYWORDS: love betrayal
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (3 citations)
SHenry H204, pp. 388-389, "Gramachree" (1 text, 1 tune)
O'Conor, p. 122, "Molly, Asthore" (1 text); pp. 158-159, "Gramachree Molly" (1 text)
Croker-PopularSongs, pp. 133-136, "Banna's Banks" (1 text)
ST HHH204 (Full)
Roud #4717
BROADSIDES:
Bodleian, Harding B 25(770), "Gramachree Molly", J. Pitts (London), 1819-1844; also Firth c.26(66), "Molly Ashtore"; 2806 c.8(179), Harding B 11(2435), Harding B 11(2400), "Molly Astore"
LOCSinging, sb30338b, "Molly Asthore", H. De Marsan (New York), 1861-1864  
CROSS_REFERENCES:
cf. "A Maid in Bedlam" (tune)
ALTERNATE_TITLES:
Gra'-mo-chree
Mailigh Mo Store
Molly Asthore (Molly, My Treasure)
Molly Bheag O!
Grai My Chree! (Love of my Heart)
NOTES: This is apparently sometimes credited to Samuel Lover (1797-1868). Since, however, it appeared in the Scots Musical Museum before Lover was even born, we can discount this; I suspect it is a confusion with "Widow Machree."
Sir George Ogle the Younger (c. 1740-1814) was a poet and politician born in county Wexford. He served in the Irish parliament in the 1790s, and was briefly a Tory representative to Westminster. His best-known works are considered to be "Banna's Banks" (in the Index as "The Banks of Banna") and "Molly Astore" (this piece); in this Index he is also contributed "The Hermit of Killarney." - RBW
Broadside LOCSinging sb30338b: 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: HHH204
===
NAME: Grand Conversation on Brave Nelson, The
DESCRIPTION: Heroes discuss Nelson and his victories at Copenhagen and the Nile. He is wounded and dies in the victory at Trafalgar and is returned to be buried in England. A memorial statue is erected in renamed Trafalgar Square at Charing Cross.
AUTHOR: unknown
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 20(61))
KEYWORDS: battle commerce England memorial political
HISTORICAL_REFERENCES: Aug 2, 1798 - Battle of the Nile at Aboukir Bay 
Apr 2, 1801 - Battle of Copenhagen
Oct 21, 1805 - Battle of Trafalgar
1843 - Nelson's Column is erected in Trafalgar Square
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Harding B 20(61), "Grand Conversation on Nelson Arose" ("As some heroes bold, I will unfold, together were conversing"), J. Harkness (Preston), 1840-1866; also Firth c.12(49), Harding B 11(1387), Johnson Ballads 2534, "Grand Conversation on Brave Nelson"
CROSS_REFERENCES:
cf. "The Grand Conversation on Napoleon" (structure)
cf. "The Grand Conversation Under the Rose" (structure, theme)
NOTES: The theme of commerce benefiting from war gets passing notice in "The Grand Conversation on Napoleon" and is the main theme of "The Grand Conversation Under the Rose." In this broadside it has one verse between the victories at Copenhagen and the Nile, and the final victory and death at Trafalgar:
Many a gallant youth, I'll tell the truth, in action have been wounded
Some left their friends and lovers in despair upon their native shore.
Others never have returned again, but died upon the raging main,
Causing many a mother to cry, my son, and widows to deplore.
When war was raging, it is said, men for their labour were well paid
Commerce and trade was flourishing, but now it ebbs and flows,
And poverty it does increase, tho' Britons say they live in peace,
This grand conversation on brave Nelson arose.
The reference to Trafalgar Square and Nelson's Column assures that "The Grand Conversation on Brave Nelson" was written after "The Grand Conversation of Napoleon." - BS
File: BrdGCoBN
===
NAME: Grand Conversation on Napoleon, The
DESCRIPTION: Consider Napoleon's imprisonment on St Helena. Better to have died at Waterloo than be condemned by England to this "the dreary spot." His defeat at Moscow and betrayal at Waterloo are recounted. We will speak again of him when again we face the foe.
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(1389))
KEYWORDS: battle exile betrayal death commerce France memorial political prisoner Napoleon
HISTORICAL_REFERENCES: June 18, 1815 - Battle of Waterloo
FOUND_IN: Ireland
REFERENCES: (2 citations)
Zimmermann, p. 192, "The Grand Conversation of Napoleon" (1 fragment)
Moylan 196, "The Grand Conversation on Napoleon" (1 text, 1 tune)
Roud #1189
RECORDINGS:
Tom Costello, "A Grand Conversation on Napoleon" (on Voice08)
BROADSIDES:
Bodleian, Harding B 11(1389), "The Grand Conversation on Napoleon ("It was over that wild beaten track a friend of bold Buonapart")," J. Catnach (London), 1813-1838; also Harding B 19(107), 2806 c.15(104)[some words illegible], "Grand Conversation on the Remains of Napoleon"; also Firth b.34(196), Firth c.16(92), Harding B 11(4086), Firth c.16(91), Harding B 11(1508), Harding B 11(253), "[The] Grand Conversation on Napoleon"; also Harding B 11(1390), "The Grand Conversation on Napoleon Arose"; Harding B 11(254), "The Grand Conversation of Napoleon"
NOTES: Zimmermann p. 192 is a fragment; broadside Bodleian Harding B 11(254) is the basis for the description.
Easily missed in passing is a one-line reference to the benefit commerce has from war: "He caus'd the money to fly wherever he did go." This theme is expanded in "The Grand Conversation on Brave Nelson" and is the main theme of "The Grand Conversation Under the Rose." 
The allusion to England is as reference to the "bunch of roses" (Zimmermann p. 192). An unspoken reference is to Ireland as the "we" in "may our shipping float again to face the daring foes ... we'll boldly mount the wooden walls."
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "The Grand Conversation on Napoleon" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001))
Harte speculates that the last line of each verse ("And the grand conversation on Napoleon arose") is a corruption of the last line of each verse of "The Grand Conversation Under the Rose" ("This grand conversation was under the rose"); that is to say, the conversation was sub rosa=secret. - BS
There seems to be a tendency in broadsides to blame Napoleon's failure at Waterloo on betrayal. "Napoleon Bonaparte (III)" blames Marshal Grouchy. This prefers to blame Marshal Ney (1769-1815).
There is some justification for this (as there is for blaming Grouchy, who didn't march to the sound of the guns at Waterloo). Ney's performance in the Waterloo campaign was utterly pitiful. Appointed to command the left wing less than a week before Waterloo, he muffed the Battle of Quatre Bras (June 16, 1815). If he had won, it would have chewed up Wellington's army before Waterloo, making the latter battle easier for the French.
And in muffing Quatre Bras, he also contradicted Napoleon's orders to I Corps commander Jean-Baptiste Drouet Comte d'Erlon. As a result, d'Erlon didn't fight at Quatre Bras -- and didn't fight with Napoleon at the simultaneous battle at Ligny. d'Erlon's presence at Ligny would probably have turned Ligny, which was a tactical win for the French, into a complete strategic victory. Instead, the Prussian losers were able to regroup and show up to support Wellington at Waterloo.
Ney's disastrous performance continued at Waterloo itself, where the Marshal had tactical control of the battlefield. (Napoleon was feeling unwell and played very little role.) Ney did little except put in frontal attack after frontal attack -- and no one understood defensive warfare better than Wellington. If Blucher hadn't shown up, it's possible that Ney's bull-in-a-stainless-steel-plateware-shop style might have worked -- but Blucher's arrival (with Grouchy, who was supposed to watch him, nowhere to be found) doomed Napoleon.
Still, the ultimate fault is Napoleon's. He knew that Ney had all the imagination of a pithed frog. Ney was "the bravest of the brave" -- but he was simply not fit for independent command. (If you want to get a picture of Ney, think George W. Bush: Charming, aggressive, and unable to adapt to new data.) And Napoleon knew it, and he had much better commanders (notably Davout, whom he had made War Minister) available. Napoleon chose the wrong officers, and didn't exercise close control over them, and paid the inevitable price.
As for the idea that Ney sold out Napoleon -- this is a pitiful joke. When Napoleon returned from Elba, Ney led the first substantial body of troops to oppose him. He could have stopped Napoleon on the spot -- but instead rallied to his standard. And, after Napoleon fell, Ney was tried for treason and shot in December 1815. By the time of Waterloo, his only hope was for Napoleon to win. Ney's only "betrayal" lay in accepting a command he wasn't fit to exercise. And that's a crime quite a few others, including many Presidents and Prime Ministers, have been guilty of. - RBW
File: BrdGCoNa
===
NAME: Grand Conversation on O'Connell Arose
DESCRIPTION: Dan O'Connell is dead. His career is reviewed: MP for 18 years, supported the Reform Bill, "left our church and clergy free," opposed slavery, killed Lestaire in a duel. He would have supported Irish unity when the British were fighting in the Crimea.
AUTHOR: unknown
EARLIEST_DATE: before 1862 (broadside, Bodleian Firth c.26(87))
KEYWORDS: death Ireland memorial patriotic political
HISTORICAL_REFERENCES: 1775-1847 - Life of Daniel O'Connell
Feb 1, 1815 - Kills D'Esterre in a duel over a political comment made by O'Connell 
1823 - O'Connell's Catholic Association formed to resist the requirement that Irish Catholics pay tithes to the Anglican Church of Ireland.
July 1828 - Daniel O'Connell elected MP.
1829 - Catholic "emancipation," allowing them every political right open to Protestants of equivalent position
1840-1843 - O'Connell led the movement to repeal the act that joined Ireland and Great Britain as the United Kingdom
May 15, 1847 - O'Connell dies
1854-1856 - Crimean War
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Firth c.26(87)[final lines illegible], "Grand Conversation on O'Connell Arose" ("Come all you sons of Erin's land and mourn the loss of noble Dan"), J.O. Bebbington (Manchester), 1858-1861; also 2806 b.10(20)[some lines illegible], 2806 b.10(36), "Grand Conversation on O'Connell Arose"
CROSS_REFERENCES:
cf. "The Grand Conversation on Napoleon" (structure)
cf. "The Grand Conversation on Brave Nelson" (structure)
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
cf. "Ould Father Dan" (subject)
NOTES: O'Connell on slavery: "With respect to the principles of President Tyler on the subject of negro slavery, I am as abhorrent of them as ever I was; indeed, if it was possible to increase my contempt of slave-owners and the advocates of slavery, my sentiments are more intense now than ever they were, and I will avail myself of the first practical opportunity of giving utterance to them, especially in connection with the horrible project of annexing Texas to the United States." (source: "Letter to James Haughton, February 4, 1845" at _Study of Slavery, Resistance, and Abolition_, Yale Center for International and Area Studies site.
Except for the line and rhyme structure and the use of the title in the last line of each verse this ballad seems unrelated to the earlier "Grand Conversation" broadsides. - BS
This item shows O'Connell as more of a visionary than usual: President Polk (the successor to Tyler) would annex Texas under the pretext of the Mexican War, and that annexation did indeed provoke the American Civil War, because it led to the collapse of the Missouri Compromise and led to the increasingly frantic attempts at conciliation which eventually failed and caused the Union to come apart.
It also shows the higher plane on which O'Connell lived: The Irish leaders of the next generation generally had no qualms against slavery; John Mitchel, indeed, actively advocated it. - RBW
File: BrdGCoOA
===
NAME: Grand Conversation on Sebastopol Arose (I)
DESCRIPTION: The British defeat the Russians at Alma, Balaclava, Inkerman and Sebastopol. British generals and units are named. Incidentally, there was some help by "6,000 sons of France"
AUTHOR: unknown
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: war battle patriotic
HISTORICAL_REFERENCES: Sept 20, 1854 - Battle of Alma
Oct 25, 1854 - Battle of Balaclava
Nov 5, 1854 - Battle of Inkerman
Sep 9, 1855 - Fall of Sevastopol following an 11 month siege
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Firth c.14(71), "Grand Conversation on Sebastopol Arose" ("You Britons all, both old and young, attend unto my song"), unknown, no date
CROSS_REFERENCES:
cf. "The Grand Conversation on Napoleon" (structure)
cf. "The Grand Conversation on Brave Nelson" (structure)
cf. "Grand Conversation on Sebastopol Arose (I)" (subject)
cf. "The Heights of Alma (I)" [Laws J10] (subject: British boasting about the Crimean War)
NOTES: Except for the line and rhyme structure and the use of the title in the last line of each verse this ballad seems unrelated to the earlier "Grand Conversation" broadsides. - BS
For background on the Crimean War, and the rather inaccurate numbers in this piece, see the notes to "The Heights of Alma (I)" [Laws J10]. - RBW
File: BrdGCSA1
===
NAME: Grand Conversation on Sebastopol Arose (II)
DESCRIPTION: The British and French join Omar Pasha "to seize upon Sebastopol and set poor Turkey free." They defeat the Russians at Alma when Lord Raglan leads the battle with "legions of France by the side of old Britain" and Colin Campbell leads the Highlanders.
AUTHOR: unknown
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: war battle patriotic
HISTORICAL_REFERENCES: Sept 20, 1854 - Battle of Alma
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Harding B 26(224), "Grand Conversation on Sebastopol Arose" ("As the Western powers of Europe, united all together"), unknown, no date
CROSS_REFERENCES:
cf. "The Heights of Alma (I)" [Laws J10] (subject: Battle of Alma)
cf. "The Kilties in the Crimea" (subject)
cf. "The Grand Conversation on Napoleon" (structure)
cf. "The Grand Conversation on Brave Nelson" (structure)
cf. "Grand Conversation on Sebastopol Arose (I)" (subject)
NOTES: Except for the line and rhyme structure and the use of the title in the last line of each verse this ballad seems unrelated to the earlier "Grand Conversation" broadsides. - BS
The Crimean War was hardly fought to "set Turkey free." The Ottoman Empire was a despotism, and remained one -- but it was considered a useful one by the Western powers, since it kept Russia from controlling Constantinople and the straights. Hence the Crimean War.
Omar Pasha (or Omer Pasha; that being the spelling used in Lord Kinross's _The Ottoman Centuries_, p. 493) is described by Kinross as an "impatient general"; he was certainly quite a character. Born in 1806 in Croatia, with the name Michael Lattas, he had been an Austrian army cadet, but then deserted to the Ottomans (see Alan Palmer, _The Crimean War_, p. 55). In October 1853, he had opened the fighting against Russia (see Trevor Royle, _Crimea_, p. 81). In early 1854, though, he hesitated, leaving Silistria (the first major object of the Russian invasion) to its fate. It was the Russians who finally gave up their siege. According to Kinross, p. 498, he had only limited involvement in the siege of Sebastopol, fighting instead in the defence of Eupatoria. This may be in part because the British and French had so little use for the Turks.
He ended up being disgraced for his conduct at Kars in 1855, was rehabilitated in 1861, and died in 1870.
Lord Raglan, a veteran of the Napoleonic Wars, was the original Allied commander in the Crimea; for his story, see the notes to "The Heights of Alma" [Laws J10].
Sir Colin Campbell (1792-1863) was a far better general, but socially inferior; he too fought in the Napoleonic Wars, as a junior officer of brilliant talent, but it took him more than twenty years to gain command of a regiment. The commander of the Highland Brigade, he and it gained fame together in the Crimea. He ended his career by suppressing the Indian Mutiny. For more about him, see "The Kilties in the Crimea." - RBW
File: BrdGCSA2
===
NAME: Grand Conversation Under the Rose, The
DESCRIPTION: Mars and Minerva sit under the rose, considering the rusting implements of war. British peace has followed the war of independence in the States and the defeat of Napoleon in France. "Come stir up the wars, and our trade will be flourishing"
AUTHOR: unknown
EARLIEST_DATE: before 1821 (broadside, Bodleian 2806 c.17(449)
KEYWORDS: war commerce America England nonballad political gods Napoleon
FOUND_IN: Ireland
REFERENCES: (2 citations)
Zimmermann, p. 33, "The Grand Conversation Under the Rose" (1 fragment)
Moylan 197, "The Grand Conversation Under the Rose" (1 text, 1 tune)
BROADSIDES:
Bodleian, 2806 c.17(449), "Grand Conversation Under the Rose," G. Thompson (Liverpool), 1789-1820; also Firth b.25(353), Johnson Ballads 848, Harding B 11(1391), Harding B 11(1392), Harding B 11(1393), Harding B 11(2479), Harding B 16(106d), Johnson Ballads fol. 27[some words illegible], Firth b.25(84), Johnson Ballads 194, Harding B 17(117b), "The Grand Conversation Under the Rose"; Firth c.16(95), "The Grand Conversation Held Under the Rose"
CROSS_REFERENCES:
cf. "The Land of Liberty" (tune, per broadside Firth c.16(95))
NOTES: Zimmermann p. 33 is a fragment; broadside Bodleian 2806 c.17(449) is the basis for the description. Zimmermann's reference underscores the reliance of commerce on war; after all, the broadside notes, "Napoleon did make the money fly about" [a line shared with "The Grand Conversation on Napoleon"]. The rose may be a symbol for England (cf. "The Bonny Bunch of Roses" [Laws J5]) - BS
The effect of Napoleon on commerce is, at best, a debatable point. War production certainly helped some economies at some time (look what it did for the United States in World War II!).
But the Napoleonic Wars seem to have caused not growth but recession, or at least loss of personal wealth due to inflation, in Britain (see the versions of "Ye Parliaments of England" which blame economic woes on Napoleon). Napoleon's "continental system" was an embargo on British trade which might have proved fatal had it not been so widely flouted; the British government's massive spending on its military sucked capital out of the economy and damaged internal trade. Plus the army and navy required so many men that farming and industrial production suffered; it was the desperate British need to round up sailors for the navy that caused the impressment crisis and led to the War of 1812 with the United States. 
Napoleon helped make the munitions makers rich (and that may be the reference here); historian Arthur Herman, whose outlook never manages to make it much beyond the deck of a navy ship, claims that in the period of the Continental System, "Britain's economy was booming. The wheels of the Industrial Revolution were humming... War had given Britain the biggest economy... in the world" (_To Rule the Waves_, p. 413; compare p. 406). Possibly, if you just count total output. But ordinary people suffered.
For more background on the Continental System and its economic effects, see the notes to "The Ports Are Open." - RBW
File: BrdGCUtR
===
NAME: Grand Coureur, Le
DESCRIPTION: French shanty. Verses tell of the Corsair, which sets out from L'Orient to hunt the English. She runs into bad weather, bad Englishmen, bad food. Finally sinks and the crew save themselves by floating on various unfloatable objects (guns, anchors, etc)
AUTHOR: unknown
EARLIEST_DATE: 1927 (Hayet _Chansons de bord_)
LONG_DESCRIPTION: French shanty. Verses tell of the Corsair, which sets out from L'Orient to hunt the English. She runs into bad weather, bad Englishmen, bad food. Finally sinks and the crew save themselves by floating on various unfloatable objects (guns, anchors, etc). Chorus: "Allons le gars, gai, gai! Allons les gars gaiment! / Let's go, lads, cheerily, cheerily, Let's go lads, so gaily!"
KEYWORDS: foreignlanguage shanty ship wreck
FOUND_IN: France
REFERENCES: (1 citation)
Hugill, pp. 422-424, "Le Grand Coureur" (2 texts-French & English, 1 tune)
File: Hugi422
===
NAME: Grand Dissolving Views (I), The
DESCRIPTION: Singer, by a fireside, sees "a Grand Dissolving View" of poverty on one hand and of famous business men, authors, and monarchs. He hopes in the future rich may see the poor as brothers, and workhouses and prisons will be few.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: poverty death England nonballad political
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Harding B 11(1394), "The Grand Dissolving Views ("While thinking of some past events at home the other night"), unknown, n.d.
CROSS_REFERENCES:
cf. "The Grand Dissolving Views (II)" (subject and form)
NOTES: The first verses of "The Grand Dissolving Views" (I) and (II) are identical; the second verses are almost identical in their portrayal of a poor family and they share one more verse comparing the fates of a swindler and poor thief. The question is "which is the original and which the derivative?" For a date, an 1875 broadside for another song lists "Grand Dissolving Views" as one of the newest songs (NLScotland, RB.m.143(144), "The Harp That Once Through Tara's Halls," The Poet's Box (Glasgow), 1875). 
The famous people cited include London investment banker George Peabody (1795-1869), writers Charles Dickens (1812-1870) and Robert Burns (1759-1796), heiress and philanthropist Angela Georgina Burdett-Coutts (1814-1906), and Queen Victoria (1819-1901) - BS
File: BrdGDV1
===
NAME: Grand Dissolving Views (II), The
DESCRIPTION: Singer, by a fireside, sees "a Grand Dissolving View" of past events as -- a poor worker and his starving family, a swindler going free while a starving orphan goes to jail -- and Irish heroes who "died for love of country; it was an honourable crime"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: poverty death Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Healy-OISBv2, pp. 30-32, "The Grand Dissolving views" (1 text)
BROADSIDES:
Bodleian, Harding B 19(35), "The Grand Dissolving Views" ("While thinking of some past events at home the other night"), unknown, n.d.
CROSS_REFERENCES:
cf. "By Memory Inspired" (subject and references there)
cf. "The Grand Dissolving Views (I)" (subject and form)
NOTES: The first verses of "The Grand Dissolving Views" (I) and (II) are identical; the second verses are almost identical in their portrayal of a poor family and they share one more verse comparing the fates of a swindler and poor thief. The question is "which is the original and which the derivative?" For a date, an 1875 broadside for another song lists "Grand Dissolving Views" as one of the newest songs (NLScotland, RB.m.143(144), "The Harp That Once Through Tara's Halls," The Poet's Box (Glasgow), 1875). 
The heroes cited often each have ballads of their own: executed Father Murphy ["Come All You Warriors," "Father Murphy (I)," "Some Treat of David," "Father Murphy (II) (The Wexford Men of '98)," "Boulavogue"], Robert Emmett ["Emmett's Grave"], Lord Edward ["Edward (III)"], Allen Larkin and O'Brien ["Allen, Larkin and O'Brien"], O'Connell ["Daniel O'Connell (I)," "Erin's King (Daniel Is No More)"), "Kerry Eagle"] and General Meagher ["The Escape of Meagher"]; I have found no song yet for United Irishmen John and Henry Sheares [see now "The Brothers John and Henry Sheares" - RBW], or 18th century orator and member of the Irish parliament Henry Grattan [as "Henry Grattin"] (source: "Henry Grattan" and "Shears Brothers" in _1798 Rebellion_ at the Rathregan National School site). - BS
Several histories I've read have notes about how Irish folklore magnifies some heroes, such as Wolfe Tone and Father Murphy, and ignores the Sheares brothers. The latter are at least mentioned in "The Tree of Liberty," plus the probably-not-traditional "The Brothers John and Henry Sheares."  Gratton earns a brief comment in "Ireland's Liberty Tree," which is mostly about the parliament he built up.
I do think "The Grand Dissolving Views (I)" is the original; (II) looks very much like a local adaption. - RBW
File: BrdGDV2
===
NAME: Grand Falls Tragedy, The
DESCRIPTION: At 3 A.M. a flat-car, loaded with rocks, falls down an incline and crushes three workmen below. The dead workmen are named and their home told.
AUTHOR: unknown
EARLIEST_DATE: 1975 (Lehr/Best)
KEYWORDS: death worker railroading
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 46, "The Grand Falls Tragedy" (1 text, 1 tune)
NOTES: Grand Falls is on TC-1, south of Notre Dame Bay, along the old route of Newfoundland's trans-insular railway. - BS
File: LeBe046
===
NAME: Grand Hotel, The
DESCRIPTION: "There's a place in Vancouver the loggers know well, It's a place where they keep rotgut whiskey to sell. They also keep boarders and keep them like hell, And the name of that place is the Grand Hotel."
AUTHOR: unknown
EARLIEST_DATE: 1949
KEYWORDS: logger drink
FOUND_IN: Canada(West)
REFERENCES: (2 citations)
Fowke/Johnston, pp. 180-181, "The Grand Hotel" (1 text, 1 tune)
DT, GRNDHOTL*
Roud #4547
RECORDINGS:
Stanley G. Triggs, "The Grand Hotel" (on Triggs1)
CROSS_REFERENCES:
cf. "Vilikens and his Dinah (William and Dinah) [Laws M31A/B]" (tune & meter) and references there
cf. "Farewell to Tarwathie" (tune)
NOTES: The ship "Cassiar" (referred to in the third verse) was a coastal steamer whose special duty was to carry loggers back and forth from the camps to Vancouver for sprees.
The Digital Tradition lists this as having "Farewell to Tarwathie" as its tune. Most others list "Sweet Betsy." Both fit. - RBW
File: FJ180
===
NAME: Grand Mystic Order, The
DESCRIPTION: The singer dreams of his initiation into the Orange Institution. He must answer that Joshua took the Israelites unto the Promised Land. His conductor knocks in code on a door. The path through the door is dangerous and he passes other tests.
AUTHOR: unknown
EARLIEST_DATE: mid-19C (Zimmermann)
KEYWORDS: dream ritual religious
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 97, "The Grand Mystic Order" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Brilliant Light" (subject and some phrases)
cf. "The Knight Templar's Dream" (subject)
cf. "The Grand Templar's Song" (subject and some phrases)
cf. "The Blackman's Dream" (subject)
NOTES: "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.... 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.)
Zimmermann p. 302: The initiation songs "evoke Moses' rod, the crossing of the Red Sea or the Jordan, and strange wanderings in darkness, barefooted, among terrifying noises, to final illumination." - BS
For the Battle of the Diamond, see the notes to "The Battle of the Diamond," "Bold McDermott Roe," and "The Boys of Wexford." Songs about the Orange Order are too numerous to list.
The statement that the Orangemen were on the side of the British in 1798 is far too simplistic; most of the rebel leadership in 1798 was Protestant -- including Henry Munro (for whom see "General Monroe") and the Presbyterian Henry Joy McCracken (for whom see "Henry Joy McCracken (I)"), who ended up in command of the Ulster rising.
What is true is that the Protestants in Ulster generally did not rise in 1798. Robert Kee, in _The Most Distressful Country_ (being Volume I of _The Green Flag_), pp. 130-131, discusses at length the reasons for this. Probably most important was the fact that they had largely been disarmed in 1797, and they didn't have any remaining organization. And they had been led to expect French intervention, and had so far been disappointed.
Plus they had reason to fear their Catholic colleagues. The United Irishmen, with their Protestant leaders, had tried to "paper over" the split,  but the Wexford rebellion, which was more spontaneous, had shown extremely sharp sectarian divisions (note especially the much-discussed atrocity at Scullabogue, for which see e.g. "Kelly, the Boy from Killane"). Had the Ulster Protestants still had a military organization, they might have joined the Catholics -- but they couldn't really take part as individual rebels. So they fell back on particularism and groups like the Orange Order.
Hence this song. Joshua was, of course, the leader of the Israelites after the death of Moses, who was responsible for the conquest of Palestine. The Bible portrays him as leading a small army to defeat much larger local forces (though if the census figures in Numbers are correct, the Israelites probably outnumbered the whole population of Palestine at the time. Either Numbers is wrong, or the Israelites had overwhelming numeric superiority). Joshua also brought a new religion. He is an obvious symbol for any religious minority with militant intentions. - RBW
File: Zimm097
===
NAME: Grand River, The: see Three Men Drowned (The Grand River) (File: Rick129)
===
NAME: Grand Roundup, The: see The Cowboy's Dream (File: R185)
===
NAME: Grand Saint Pierre, Ouvre Ta Porte (Great Saint Peter, Open Your Door)
DESCRIPTION: French. A Scottish sailor is at heaven's door. St Peter refuses him: sailors belong in Hell with the rest of the demons. If I let you in you will ruin paradise. The sailor says a Scottish sailor would wipe out the devils in Hell. St Peter lets him in.
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage humorous religious talltale sailor Devil Hell
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, p. 878, "Grand Saint Pierre, Ouvre Ta Porte" (1 text, 1 tune)
File: Pea878
===
NAME: Grand Templar's Song, The
DESCRIPTION: Grand Templars will be led by Moses's staff and Aaron's rod "to the promised land of God." Moses saw the Burning Bush and became a pilgrim. Noah loved the Free Masons and built the first ship. The singer sees lights and the serpent and finds "the Secret"
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: religious ritual
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 130, "The Grand Templar's Song" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Grand Mystic Order" (subject and some phrases)
cf. "The Knight Templar's Dream" (subject)
cf. "The Brilliant Light" (subject)
cf. "Orange and Blue" (Masonic symbolism)
NOTES: The images in Tunney-StoneFiddle seem confused but become clearer when compared with other Masonic songs. For example, the line "The serpent passed me by, I bent unto the ground" are, in "The Brilliant Light" dream sequence: "I cast it [Aaron's rod] on the ground and a serpent it became When he ordered me right courteously to lift it up again. I stooped and it spit fire ... I done as those words commanded and took it by the tail." The burning bush and travels of Moses are themes shared with "The Grand Mystic Order." These images are also in "The Knight Templar's Dream." What seems to have been lost in Tunney-StoneFiddle is a first verse explaining that the images are part of a dream and an indication that Masonic rituals are being described. - BS
The story of Aaron's staff that became a serpent is told in Exodus 7:8fff., I wonder, though, if the reference here isn't to Numbers 21:6fff., where God sends serpents ("fiery serpents," in the King James Bible, though the translation is somewhat uncertain). The Burning Bush is in Exodus 3. The story of Noah is in Genesis 6:9-9:29; nowhere does it state that Noah built the first ship. - RBW
File: TSF130
===
NAME: Grandfather Bryan
DESCRIPTION: Grandfather Bryan dies on St Patrick's day. The singer lists the worthless items he inherits: cloth-leather britches, broomstick with the head of a rake, blanket of cloth patches, a key with no lock .... "I'm fixed in grand style for the winter."
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: death humorous nonballad lastwill
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
O'Conor, p. 121, "Grandfather Brian" (1 text)
Peacock, pp. 55-56, "Grandfather Bryan" (1 text, 1 tune)
Roud #8248
BROADSIDES:
Bodleian, 2806 c.15(113), "My Grandfather Brian", unknown, n.d.; also Harding B 19(41), "My Grandfather Brian"
CROSS_REFERENCES:
cf. "Maurice Crotty" (tune)
NOTES: The first verse of O'Conor has lines close to first verse lines of Opie-Oxford2 155, "My father died a month ago" (" ... died ... And left me all his riches ... And a pair of leather breeches"); the themes are identical (earliest date in Opie-Oxford2 is 1894). - BS
A similar item occurs in Montgomerie-ScottishNR 172, "(My father died a month ago)." - RBW
File: Pea055
===
NAME: Grandfather's Clock
DESCRIPTION: A description of the relations between grandfather and clock. The clock ran for the entire length of the old man's life, celebrating happy occasions and never complaining. "But it stopp'd -- short -- never to go again When the old man died."
AUTHOR: Henry Clay Work
EARLIEST_DATE: 1876
KEYWORDS: technology family nonballad
FOUND_IN: US
REFERENCES: (3 citations)
RJackson-19CPop, pp. 76-79, "Grandfather's Clock" (1 text, 1 tune)
Silber-FSWB, p. 251, "Grandfather's Clock" (1 text)
DT, GRANCLOK*
ST RJ19076 (Full)
Roud #4326
RECORDINGS:
Carolina Buddies, "Grandfather's Clock" (Decca 5142, 1935)
[?] Clark & [Walter] Scanlan, "Grandfather's Clock" (Edison 50979, 1922)
Frank Crumit, "Grandfather's Clock" (Victor 19945, 1926)
Edison Male Quartette, "Grandfather's Clock" (CYL: Edison 8967, 1905)
Chubby Parker, "Grandfather's Clock" (Supertone 9732, 1930)
Tom & Roy, "Grandfather's Clock, Part 1/Part 2" (Montgomery Ward M-4242, 1933)
CROSS_REFERENCES:
cf. "My Grandfather's Cock" (tune, form)
cf. "His Grandfather's Hat" (tune, form)
NOTES: Soon after the Civil War, Henry Clay Work retired from songwriting (presumably because of the poor pay). In 1871, however, the Chicago fire burned down the offices of Root and Cady (the publishing firm), and Chauncy M. Cady asked his friend Work to write some songs to help him re-establish his business.
One of the songs Work turned in was "Grandfather's Clock," which had been gathering dust in his files for some years. The song sold some 800,000 copies, and earned Work about $4,000 in royalties (at that time, easily enough to retire on).
Folklore has it that, until this song was published, floor clocks were just "floor clocks" or "tall clocks." Since then, they have been known as "Grandfather clocks." This strikes me as more reasonable than many folk derivations, but I cannot verify this from any of my linguistic sources.
Incidentally, there was one famous instance of something rather like this actually happening, though I doubt it inspired Work's song. The story is of the famous Captain Cook and his final voyage of exploration. One of the reasons Cook was such a great explorer was that he was among the first officials to actually be able to tell longitude; in recent decades, enough astronomical data had been gathered to make it possible to navigate by the stars --  plus the chronometer (the first timepieces accurate enough to tell time while at sea) had been invented.
True chronometers were still very rare in Cook's time, since they had to be hand-made with incredible accuracy. John Harrison (1693-1776) had invented the device and built a handful; Larcum Kendall had made a handful in imitation of Harrison. Kendall's first machine, known as K-1, was used by Cook on his voyages. And, according to Dava Sobel, _Longitude_ (new edition with a foreward by Neil Armstrong, 2005; I use the 2007 Walker paperback edition), p, 151, "Almost at the instant the captain died in 1779, according to an account kept at the time, K-1 also stopped ticking." - RBW
Parodies of this piece have been common. Paul Stamler tells us of "His Grandfather's Hat," which likely will not make it into this collection: "'His Grandfather's Hat' is a parody of 'Grandfather's Clock,' referring to candidate Benjamin Harrison [elected in 1888, but defeated in 1892], grandson of President William Henry Harrison: 'His grandfather's hat is too big for his head/But Ben puts it on just the same.'" - PJS, RBW
File: RJ19076
===
NAME: Grandma's Advice
DESCRIPTION: The girl is cautioned by her grandmother to be cautious of boys. "They will flatter you and cunningly deceive." But the girl, courted by Johnny Green and Ellis Grove, thinks "If the girls... had been afraid / Grandma herself would have been an old maid"
AUTHOR: unknown
EARLIEST_DATE: 1840 (The Lover's Harmony); supposedly also The [Winchester] Virginia Sentinal and Gazette, March 2, 1795
KEYWORDS: courting youth
FOUND_IN: Britain(England(Lond)) Canada(Mar) US(Ap,MA,MW,NE,SE,So) Ireland
REFERENCES: (17 citations)
Randolph 101, "Grandmaw's Advice" (2 texts, 1 tune)
Eddy 138, "Little Johnny Green" (1 text, 1 tune)
BrownII 194, "Grandma's Advice" (1 text plus a fragment and mention of 3 more)
Scarborough-SongCatcher, pp. 374-375, "Die an Old Maid" (2 texts, with local titles "My Grandmother Lived on Yonder Little Green," (no title); 1 tune on p. 457)
Brewster 44, "Grandma's Advice" (2 texts plus mention of 2 more)
Linscott, pp. 243-245, "My Grandmother Lived on  Yonder Green" (1 text, 1 tune)
Creighton-Maritime, p. 36, "Grandma's Advice" (1 text, 1 tune)
Mackenzie 157, "Little Johnny Green" (1 text, 1 tune)
Spaeth-WeepMore, pp. 159-160, "My Grandmother" (1 text, 1 tune)
SHenry H208, p. 258, "Grandma's Advice" (1 text, 1 tune)
Pankake-PHCFSB, p. 79, "My Grandma's Advice" (1 text)
JHCox 161, "Little Johnny Green" (1 text)
JHCoxIIA, #26, pp. 101-102, "Grandma" (1 text, 1 tune)
DSB2, p. 15, "My Grandmother's Advice" (1 text)
cf. Gardner/Chickering, p. 480, "Little Johnny Green" (source notes only)
DT, GRANYADV*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), p. 209, "Grandmaw's Advice" (1 text)
ST R101 (Full)
Roud #282
RECORDINGS:
Mrs. Wolf, "Grandmama's Advice" (on USWarnerColl01)
BROADSIDES:
LOCSheet, sm1857 610450, "My Grandma's Advice," Horace Waters (New York), 1857; also sm1885 04362, "My Grandma's Advice" (tune)
LOCSinging, sb30329a, "My Grand-Mother's Advice," H. De Marsan (New York), 1864-1878; also as104760, "Grand-Ma's Lesson"; as109120, "My Grand-Mother's Advice!"
CROSS_REFERENCES:
cf. "The Birken Tree"
cf. "She Loves Coffee and I Love Tea" (floating lyrics)
NOTES: Broadside LOCSinging sb30329a: 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: R101
===
NAME: Grandmaw's Advice: see Grandma's Advice (File: R101)
===
NAME: Grandmother's Chair
DESCRIPTION: After the singer's grandmother died, her will was found to grant large sums to several siblings, but to the singer, only granny's old armchair. He is far from content, but takes the chair home -- and eventually discovers a fortune hidden inside
AUTHOR: unknown
EARLIEST_DATE: 1880 (sheet music)
KEYWORDS: money death hiding
FOUND_IN: US(MW,SE,So) Canada(Mar)
REFERENCES: (6 citations)
Randolph 467, "Granny's Old Arm Chair" (2 texts, 1 tune)
Randolph/Cohen, pp. 360-362, "Granny's Old Armchair" (1 text, 1 tune -- Randolph's 467A)
Warner 100, "My Grandmother's Chair" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 373-374, "Grandmother's Old Armchair" (1 text; tune on p. 457)
Ives-DullCare, pp. 123-125,252, "The Old Arm Chair" (1 text, 1 tune)
Spaeth-WeepMore, pp. 204-206, "The Arm Chair" (1 text, 1 tune)
ST R467 (Partial)
Roud #1195
RECORDINGS:
[Clarence] Ashley & [Gwen] Foster, "The Old Armchair" (Vocalion 02647, 1934)
Crockett's Kentucky Mountaineers, "Granny's Old Arm Chair" (Crown 3188/Montgomery Ward M-3026 [as Harlan Miner's Fiddlers], 1931)
Frank Crumit, "Granny's Old Arm-Chair" (HMV [UK] B-4059, 1932)
Pete Daley's Arkansas Fiddlers, "Granny's Old Armchair" (Varsity 5078, n.d.)
Charlie Parker & Mack Woolbright, "The Old Arm Chair" (Columbia 15694-D, 1931; rec. 1927)
Williamson Bros. & Curry, "The Old Arm Chair" (OKeh 45146, 1927)
ALTERNATE_TITLES:
The Old Arm Chair
NOTES: Warner notes that this piece was printed twice in 1880 -- once, under the title "Grandmother's Chair," credited to John Read, and the other, "Grandma's/Granny's Old Arm Chair," attributed to Frank B. Carr. No definitive information about the author has been forthcoming.
Cohen, however, notes sheet music from 1841, credited to Eliza Cook (words) and William Clifton (music), but cites Spaeth to the effect that it was composed by Henry Russell (credited with singing it in the Cook/Clifton printing) in 1840.
Scarborough claims that it is of "British origin," but cites no evidence. - RBW
See one version of "Grandma's Old Arm-Chair" [Sheet Music: digital id sm1880 02996], published in Boston in 1880, attributed to Frank B Carr, at the Library of Congress American Memory site. 
There are three versions of an entirely different song as "The Old Arm Chair" beginning "I love it, I love it, and who shall dare, To chide me for loving that old arm chair." This is probably the Cohen reference since the words are attributed to Eliza Cook in two cases and the music is attributed to William Clifton and sung by Henry Russell ([Sheet Music: digital id sm1841 380380], published in New York in 1841), music attributed to Henry Russell ([Sheet Music: digital id sm1840 370920], published in Boston in 1840) and with no music attribution ([Sheet Music: digital id sm1842 381990], published in Baltimore in 1842); all three are at the Library of Congress American Memory site. This is also the song in three "[The] Old Arm[-/ ]Chair" broadsides [America Singing: digital id as110050/sb30397a/as110060] at the Library of Congress American Memory site.
As to Frank B Carr, here is a note from John Hill in the DigiTrad discussion of "Fields of Athenry": "Finding the published song isn't always the end of the story. Someone recently asked if I could find the words to 'Granny's old arm chair'. I found them in the collection of the Library of Congress. Written by Frank B. Carr 'America's Motto vocalist' (whatever that was) published in 1880 in Boston. Then about 3 weeks later (by accident) I found the same song in the same collection written by John Reid. pub 1881 Boston. There were other songs by John Reid but no other by Frank B. Carr. So was the later Publication the real writer and maybe the earlier one only the performer (Although he claimed to be the writer) What was odd was they were both published in the same town... " - BS 
File: R467
===
NAME: Grandmother's Old Armchair: see Grandmother's Chair (File: R467)
===
NAME: Granemore Hare, The
DESCRIPTION: The boys from Maydown hunt a hare. The hare sings about the the strategy of the chase and how she has been trapped by the dogs. Dying, she blames McMahon for bringing Coyle and his dogs, changing the way the hunt had been carried out all these years.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: death hunting animal dog
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 42, "The Granemore Hare" (1 text, 1 tune)
Roud #2883
RECORDINGS:
Patsy Flynn, "The Grangemore Hare" (on IRHardySons)
CROSS_REFERENCES:
cf. "The Hare of Kilgrain" (theme: fatal hare hunt) 
cf. "The Innocent Hare" (theme: fatal hare hunt) 
cf. "The White Hare" (theme: fatal hare hunt)
NOTES: Granemore and Maytown are in County Armagh. - BS
File: MorU042
===
NAME: Granite Mill: see The Burning of the Granite Mill [Laws G13] (File: LG13)
===
NAME: Granny and the Golden Ball: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Granny Will Your Dog Bite?
DESCRIPTION: "Chicken in the bread tray, Scratching out the dough, (Granny/Auntie) will your dog bite? No, chile, no." Other verses may also be about chickens or involve questions: "Auntie, will your oven bake?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: bird chickens food nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 158, "Chicken in the Bread Tray" (1 text)
Scarborough-NegroFS, p. 194, (no title) (1 short text)
Roud #6389
RECORDINGS:
Floyd County Ramblers, "Granny, Will Your Dog Bite?" (Victor V-23759, 1930/Timely Tunes 1561)
File: Br3158
===
NAME: Granny's Old Arm Chair: see Grandmother's Chair (File: R467)
===
NAME: Granny's Old Armchair: see Grandmother's Chair (File: R467)
===
NAME: Granua's Lament for the Loss of her Blackbird Mitchel the Irish Patriot
DESCRIPTION: Granua sings "My Blackbird's banished to a foreign isle ... John Mitchel brave is my Blackbird's name," tried with Reilly and Meagher and sentenced by Baron Lefroy to be transported for 14 years. O'Connell died in '47. Mitchel was transported in '48
AUTHOR: unknown
EARLIEST_DATE: 1848 (Zimmermann)
KEYWORDS: transportation trial Ireland patriotic bird lament
HISTORICAL_REFERENCES: May 27, 1848 - Judge Thomas Lefroy sentences John Mitchel (source: Zimmermann)
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 60, "Granua's Lament for the Loss of her Blackbird Mitchel the Irish Patriot" (1 text)
BROADSIDES:
Bodleian, Harding B 11(389), "The Blackbird" ("Come all you Irishmen both great and small"), H. Such (London), 1863-1885; also 2806 b.10(56), "The Blackbird"
CROSS_REFERENCES:
cf. "John Mitchel" (subject: John Mitchel)
NOTES: From National Library of Scotland commentary on broadside NLScotland RB.m.143(013), "Shiel's Rights of Man": "Granua (also spelt Grainne). The daughter of the mythical Irish warrior and folk hero, Finn McCool, Granua is also used as a symbol for Ireland - much like the figure of Britannia is employed as a symbol for Great Britain." - BS
For background on Mitchel, see the notes to "John Mitchel." - RBW
File: Zimm060
===
NAME: Granuaile
DESCRIPTION: "Poor Old Granuaile," bound in chains, in deep distress, mourns the loss of the old heroes and avengers. Dan O'Connell says "I have got the bill to fulfil your wishes.... Her voice so clear fell on my ear"
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: Ireland patriotic
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn 3, "Granuaile" (1 text, 1 tune)
Healy-OISBv2, pp. 33-34, "A New Song Called Granuaile" (1 text, probably this though printed without stanza divisions)
Roud #3034
CROSS_REFERENCES:
cf. "Granuwale" (theme)
cf. "Old Granny Wales (Granny O'Whale, Granua Weal)" (subject of Granuaile)
cf. "Sheila Nee Iyer" (aisling format)
cf. "Ar Eirinn Ni Neosfainn Ce hi (For Ireland I Will Not Tell Whom She Is)" (aisling format)
cf. "Eileen McMahon" (aisling format)
cf. "Erin's Green Shore" [Laws Q27] (aisling format)
cf. "Erin's Lament for her Davitt Asthore" (aisling format)
cf. "Poor Old Granuaile" (aisling format)
cf. "The Rights of Man" (aisling format)
cf. "The Blackbird of Avondale" or "The Arrest of Parnell" (theme)
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: Two similar but different broadsides:
Bodleian, Harding B 19(25), "Granauile" ("One morning fair to take the air and recreate my mind"), J.F. Nugent & Co. (Dublin), 1850-1899
Bodleian, Johnson Ballads 507A, "Granawail" ("[Come] all you Irish hero's that's craving for liberty"), E. Hodges (London), 1855-1861
"Granuaile O'Malley (Or Grace O'Malley, or Gr.inne Ni Mhaille or Gr.inne Uaile) is among the most illustrious of O'Malley ancestors. She was a 'Sea Queen' and pirate in the 16th century." (Source: The Official Web Site of The O'Malley Clan Association)
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, "Granuaile" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001))
Harte: "The older Gaelic poets when they wished to write on the wrongs that Ireland has suffered at the hands of the English since the invasion of Ireland in 1169, they often adopted the type of poem called 'The Aisling'." He goes on to describe the 'aisling' and shows that Granuaile is typical of the pattern. - BS
Patrick C. Power's _A Literary History of Ireland_ associates the aisling in particular with Aodhagan O Rathaille (c. 1670-c. 1730), and notes on p. 97 that "If any form of verse can be described as typically 18th century, then the aisling deserves this title. Essentially, the aisling means vision and the poetry... known as 'aislings' are essentially vision poems. The first poems of this kind appeared during the end of the 16th century."
By the eighteenth century, he adds, a formula had been fixed: "The poet goes out walking and meets a beautiful lady. He then describes her dress and appearance and asks her who she is. She is generally the personification of Ireland and she promises early deliverance from the foreign yoke and the return of the Stuarts to the English throne.... Aisling-poetry was always closely connected with the Jacobite movement and is mainly escapist in mode. It often abounds in classical allusions."
Power would technically deny this song Aisling-hood, since the "last aislings were written in the early 19th century and even still referred to the Stuart prince." The references to Daniel O'Connell obviously changes the picture, but the form fits -- this might be called a neo-aisling. Especially since it's in English.
Granuaile seems to have inspired a whole family of these neo-aislings, in fact -- enough that it might be called a sub-genre at least. See "The Rights of Man" and "Poor Old Granuaile," ; compare also "Erin's Green Shore" [Laws Q27] and "Erin's Lament for her Davitt Asthore."
For more on aislings, see Ben Schwartz's note to "Eileen McMahon."
The _Oxford Companion to Irish History_ gives Granuaile O'Malley's dates as c. 1530-c. 1603, observes that she was married twice and imprisoned 1577-1579 -- and notes that, on the whole, she strove for peaceful relations with the English.
Daniel O'Connell (1775-1847) was an Irish patriot who worked vigorously for Catholic freedom. He did not take part in the 1798 rebellion, but promoted Irish and Catholic rights for many years, and in 1829 saw Britain lift the ban on Catholics in parliament. One of the greatest of the peaceful Irish leaders, his tragedy is that eventually neither side trusted him. For more about his history, see the various songs named for him. - RBW
File: OLoc003
===
NAME: Granuwale
DESCRIPTION: Granuale "the distress of Erin she sorely lamented." Irish men had fought for old England but England, in turn, "oppressed poor old Granuale." She hopes for help in "some strange nation" but mourns the loss of the green Linnet banished to St Helena
AUTHOR: unknown
EARLIEST_DATE: first half 19C (Zimmermann)
KEYWORDS: Ireland patriotic Napoleon
HISTORICAL_REFERENCES: June 18, 1815 - Battle of Waterloo, after which Napoleon seeks sanctuary with the British and ends up exiled on St. Helena
FOUND_IN: 
REFERENCES: (2 citations)
Zimmermann 29, "The New Granuwale" (1 text, 1 tune)
Moylan 204, "The New Granuwale" (1 text)
CROSS_REFERENCES:
cf. "Erin's Green Shore" [Laws Q27] (theme)
cf. "Poor Old Granuaile" (theme)
cf. "Granuaile" (theme)
cf. "Erin's Lament for her Davitt Asthore" (theme)
cf. "The Blackbird of Avondale" or "The Arrest of Parnell" (theme)
NOTES: Granuaile is sometimes a standin for Ireland.
"Granuaile O'Malley (Or Grace O'Malley, or Grainne Ni Mhaille or Grainne Uaile) is among the most illustrious of O'Malley ancestors. She was a 'Sea Queen' and pirate in the 16th century." (Source: The Official Web Site of The O'Malley Clan Association)
Zimmermann p. 55: "At the time of the United Irishmen, Granu Waile standing for Ireland was already celebrated by broadsides in English." 
For another example of Napoleon as the Green Linnet see "The Green Linnet" - BS
File: Zimm029
===
NAME: Grassy Islands
DESCRIPTION: "I'm gwine away to leave you, O-o-o-o-o! I'm gwine away to the grassy islands, O-o-o-o-o!"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: travel separation
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 207, "Grassy Islands" (1 fragment, 1 tune)
File: ScNF207A
===
NAME: Grat for Gruel
DESCRIPTION: "There was a weaver o' the north, And O but he was cruel; The very first nicht that he was wed, He sat and grat for gruel." The wife explains that gruel cannot be had; he will have it if she must cook it in the wash-pot and he must eat it with a trowel
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Jimmy McBeath)
KEYWORDS: humorous food marriage
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Kennedy 202, "Grat for Gruel" (1 text, 1 tune)
DT, GRUELL*
Roud #935
RECORDINGS:
Jimmy McBeath, "Gruel" (on FSB3)
NOTES: Kennedy describes this tune as a "variant" on The Lincolnshire Poacher. There are points of similarity, but "variant" probably implies a degree of similarity not justified by the facts of the case (among other things, "Grat for Gruel" has a chorus). - RBW
No chorus in "The Lincolnshire Poacher"? What's "'Tis my delight on a shiny night/In the season of the year"? Chopped liver? - PJS
Picky, picky. "Poacher" has a single long-line chorus; "Grat for Gruel"  four short lines related to the verse. - RBW
File: K202
===
NAME: Grave of the Section Hand, The
DESCRIPTION: "They laid him away on the brow of the hill, Outside of the right-of-way." The section hand's many years of service are recalled. His grave will guard the track. The place of the burial is briefly described.
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: death railroading burial
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 129, "The Grave of the Section Hand" (1 text)
Roud #9584
File: Dean129
===
NAME: Grave of Wolfe Tone, The
DESCRIPTION: "In Bodenstown churchyard there is a green grave ... Once I lay on that sod -- it lies over Wolfe Tone." He wakes to the sound of students and peasants who come to the grave to raise a simple monument "fit for the simple and true"
AUTHOR: Thomas Davis (source: Moylan)
EARLIEST_DATE: 1845 (_The Nation_, according to Moylan)
KEYWORDS: patriotic political Ireland burial
HISTORICAL_REFERENCES: Nov 10, 1798 - Wolfe Tone (1763-1798) condemned to execution; he cuts his own throat to avoid hanging as a criminal (his request to face a firing squad had been denied)
FOUND_IN: Ireland
REFERENCES: (5 citations)
O'Conor, p. 39, "The Grave of Wolfe Tone" (1 text)
OLochlainn-More 32, "The Grave of Wolfe Tone" (1 text, 1 tune)
Moylan 121, "The Grave of Wolfe Tone" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, p. 244, "Tone's Grave"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 481-482, "Tone's Grave" (1 text)
Roud #9313
RECORDINGS:
Liam Clancy, "In Bodenstown's Churchyard" (on IRLClancy01)
BROADSIDES:
Bodleian, Harding B 26(690), "Wolfe Tone's Grave!", Haly (Cork), 19C
CROSS_REFERENCES:
cf. "Emmett's Grave" (tune, broadside Bodleian Harding B 26(690))
NOTES: Given Ireland's recent history, it's ironic to note that Wolfe Tone was a Protestant. For the history of the events that led to his execution, see the notes to "The Shan Van Voght." - 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, "Bodenstown Churchyard" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS
File: OCon039
===
NAME: Gray Cat on the Tennessee Farm
DESCRIPTION: About life  on a Tennessee farm. All the singer wants is a "baby in the cradle and a pretty girl to rock it," plus meat in the sack, sugar in the gourd, a tub of lard. Ch: "Big cat spit in the little kitten's eye/Little cat, little cat, don't you cry...."
AUTHOR: Uncle Dave Macon, more or less
EARLIEST_DATE: 1927 (recording, Uncle Dave Macon)
LONG_DESCRIPTION: Disjointed verses about life on a small farm in the Tennessee Hills. Singer says all he wants is a "baby in the cradle and a pretty girl to rock it," along with meat in the sack, sugar in the gourd, and a big tub of lard. Chorus: "Big cat spit in the little kitten's eye/Little cat, little cat, don't you cry/I do love liquor and I will take a dram/I'm gonna tell you, pretty Polly Ann"
KEYWORDS: farming drink nonballad baby family animal
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Uncle Dave Macon, "The Gray Cat on the Tennessee Farm" (Vocalion 5152, 1927)
New Lost City Ramblers, "Grey Cat on the Tennessee Farm" (on NLCR06)
CROSS_REFERENCES:
cf. "One Fine Day" (floating lyrics)
cf. "Mary, She Did Dream a Dream" (lyrics)
File: RcGCotTF
===
NAME: Gray Mare, The [Laws P8]
DESCRIPTION: The miller gains Kate's love and is offered a large dowry. He also demands her father's gray mare. The father turns him out of the house for asking too much. When he later meets Kate, she tells him she wants no part of the man who preferred a mare to her
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(45))
KEYWORDS: courting dowry marriage
FOUND_IN: US(MW,NE) Canada(Mar,Newf) Britain(Scotland,England(North,West),Wales) Ireland
REFERENCES: (15 citations)
Laws P8, "The Gray Mare"
Belden, pp. 235-236, "The Gray Mare" (1 text plus mention of 1 more)
Eddy 63, "Young Rogers, The Miller" (1 text, 1 tune)
Gardner/Chickering 160, "My Father's Gray Mare" (1 text)
Greenleaf/Mansfield 26, "Rogers the Miller" (1 text)
Peacock, pp. 278-279, "The Gray Mare" (1 text, 1 tune)
Ives-NewBrunswick, pp. 53-56, "Roger the Miller" (1 text, 1 tune)
Creighton-SNewBrunswick 79, "Roger the Miller" (1 text, 1 tune)
Manny/Wilson 89, "Roger the Miller" (1 text, 1 tune)
Botkin-SoFolklr, p. 718, "Young Rogers the Miller" (1 text, 1 tune)
SHenry H90, pp. 365-366, "The Grey Mare" (1 text, 1 tune)
Kennedy 144, "Young Roger Esquire" (1 text, 1 tune)
LPound-ABS, 34, p. 80, "My Father's Gray Mare" (1 text)
Flanders/Brown, pp. 62-64, "Gay Jemmie, The Miller" (1 text, 1 tune)
DT 339, GREYMARE*
Roud #680
RECORDINGS:
Bob Atcher, "Young Rogers the Miller" (Columbia 20483, 1948)
Stanley McDonald, "Roger the Miller" (on Miramichi1)
BROADSIDES:
Bodleian, Harding B 28(45), "The Farmer's Grey Mare" ("Young Roger the miller, went a courting of late"), W. Armstrong (Liverpool), 1820-1824; also Harding B 25(1647), "Roger the Miller"; Harding B 11(1435), Harding B 11(1434), "Grey Mare"; Harding B 25(1645), 2806 c.16(50), "Roger the Miller and the Grey Mare"; Harding B 16(316b), Firth c.18(216), "Young Roger and the Gray Mare"; Harding B 11(4390), "Young Roger and the Grey Mare "
ALTERNATE_TITLES:
Young Jimmy the Miller
Young Johnny the Miller
Tid the Gray Mare
File: LP08
===
NAME: Grazier Tribe, The
DESCRIPTION: "Oh, ye toilers of this nation, I hope you will draw near... My pen I take to hand To try to describe a grazier tribe That now infests this land." The singer laments the British controls on Irish production and the corruption of the system
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: Ireland poverty hardtimes crime
FOUND_IN: Ireland
REFERENCES: (2 citations)
PGalvin, pp. 21-22, "The Grazier Tribe" (1 text, 1 tune)
OLochlainn 78, "The Grazier Tribe" (1 text, 1 tune)
Roud #2998
RECORDINGS:
Straighty Flanagan, "The Grazer Tribe" (on Voice05)
NOTES: It appears that this song refers to the period of time around the famines, when many Irish smallholders were displaced and their properties converted into large estates to graze animals rather than grow crops.
The "graziers" are, of course, the members of the English government who were devouring Ireland's subsistence.
It should be noted that, economically, this made sense. Ireland is not good country for growing crops; there isn't enough sun. It is excellent country for pastoral industries. The problem is, there were too many Irish to be supported by herding. They needed to wring every calorie they could out of the soil.
The charges in this song are technically correct; England heavily restricted Irish commerce and instituted a system of officialdom that severely restricted Irish freedom.
It should be noted, however, that this was the way all of Europe treated its colonies (including the British colonies in North America). The real problem was not the economic policies (though these did produce much poverty); rather, it was the sullen relationship between the Irish and their masters, as well as the strained relations between Catholics and Protestants -- a problem worsened by the English anti-Catholic statutes. 
Understanding and compassion could have made a bad situation much better -- but that was sadly lacking. - RBW
File: PGa021
===
NAME: Greasy Cook, The (Butter and Cheese and All, The Cook's Choice)
DESCRIPTION: The singer keeps company with a cook. One day she is about to send him off with cheese and butter when the master comes in. He hides in the chimney; the fire melts cheese and butter and sets them afire. The master douses him; he flees to a chorus of jeers
AUTHOR: unknown
EARLIEST_DATE: 1920 (Greenleaf/Mansfield)
KEYWORDS: cook courting food humorous
FOUND_IN: Britain(England(South)) Ireland Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 108, "Butter and Cheese and All" (1 text)
Peacock, pp. 251-252, "Butter and Cheese" (1 text, 1 tune)
Copper-SoBreeze, pp. 236-237, "The Cook's Choice" (1 text, 1 tune)
Kennedy 129, "The Greasy Cook" (1 text, 1 tune)
Roud #510
RECORDINGS:
Harry Cox, "The Greasy Cook" (on HCox01)
Sam Larner, "Butter and Cheese" (on SLarner02)
CROSS_REFERENCES:
cf. "The Boatsman and the Chest" [Laws Q8] (plot) and references there
NOTES: This and similar songs are sometimes traced back to a story in Boccaccio (seventh day, second story: Gianella, Peronella, and her husband). But the story is really one of the basic themes of folktale, and doubtless predates Boccaccio as well as these songs. - RBW
File: CoSB236
===
NAME: Greasy Grimy Gopher Guts
DESCRIPTION: "Great (big) gobs of greasy, grimy gopher guts...." The singer lists a variety of available non-delicacies, and laments, "And me without a spoon."
AUTHOR: unknown
EARLIEST_DATE: 1988
KEYWORDS: food parody
FOUND_IN: US
REFERENCES: (2 citations)
Pankake-PHCFSB, p. 133, "Greasy Grimy Gopher Guts" (1 text, tune referenced)
DT, GOPHRGTS
CROSS_REFERENCES:
cf. "The Old Gray Mare (I) (The Old Gray Horse; The Little Black Bull)" (tune)
NOTES: People swear this is a folk song. I haven't heard it, but I can't prove them wrong. - RBW
File: PHCFS133
===
NAME: Great American Bum, The (Three Jolly Bums)
DESCRIPTION: "Come all you jolly jokers if you want to have some fun And listen while I relate the tale of a great American bum." The singer rejoices getting maximum results from minimum work: "I am a bum, a jolly old bum, and I live like a royal Turk...."
AUTHOR: Harry "Haywire Mac" McClintock
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: rambling begging work
FOUND_IN: US Australia
REFERENCES: (5 citations)
Fahey-Eureka, pp. 192-193, "The Two Professional Hums" (sic; see note) (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 293-295, "Two Professional Hums" (1 text)
Sandburg, p. 183, "Shovellin' Iron Ore"; 192, "We Are Four Bums" (1 text plus a fragment, 2 tunes)
Gilbert, pp. 184-185, "The Great American Bum" (1 text)
Silber-FSWB, p. 50, "The Great American Bum" (1 text)
Roud #9833
RECORDINGS:
Vernon Dalhart, "The Bum Song" (Columbia 1488-D, 1928)
Dick Holmes, "The Bum Song" (Oriole 1324, 1928)
Eddie Kirk, "Bum Song" (Edison 52384, 1928)
Frank Luther, "The Bum Song"  (Brunswick 254/Brunswick 4029, 1928)
Frank Marvin, "The Bum Song" (Romeo 719/Cameo 8296 [as Lazy Larry], 1928
Harry "Mac" McClintock, "The Bum Song" (Victor 21343, c. 1928) (Decca 5640, 1939)
Hobo Jack Turner [pseud. Ernest Hare] "The Bum Song" (Harmony 705-H/Diva 2705-G/Velvet Tone 1705-V, 1928)
"Weary Willie", "The Bum Song"  (Perfect 12461/Pathe 32382, 1928; this is, surprisingly, not the same recording as the one by "Lazy Larry")
Pete Wiggins, "The Bum Song" (OKeh 41092, 1928)
SAME_TUNE:
Vernon Dalhart, "The Bum Song No. 2" (CYL: Edison [BA] 5653, n.d.); Vernon Dalhart & Co., "The Bum Song, No. 2" (Edison 52472, 1929)
Jerry Ellis [pseud. for Jack Golding] "Bum Song #2" (Champion 15646, 1928; Supertone 9342 [as Weary Willie], 1929)
Harry "Mac" McClintock, "The Bum Song, No. 2" (Victor 21704, 1928) (Decca 5689, 1939)
Carson Robison Trio, "Bum Song No. 5" (Pathe 32477, 1929; Perfect 12571, 1930)
ALTERNATE_TITLES:
The Bum Song
NOTES: "Hum" is Australian slang for "bum"; the Australian version abounds in such localizations. - RBW
File: FaE192
===
NAME: Great American Flood Disaster, The
DESCRIPTION: "A terrible disaster Has come upon our land, Down where the Mississippi flows On her way so grand." People are enjoying life along the Mississippi when a great storm and floods come to bring ruin
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: flood river disaster
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 120-121, "The Great American Flood Disaster" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Mighty Mississippi" (theme)
File: MCB120
===
NAME: Great Big Dog
DESCRIPTION: "Great big dog come a-runnin' down de river, Shook his tail an' jarred de meadow. Go 'way, ole dog, go 'way, ole dog, You shan't have my baby. Mother loves you, Father loves you, Ev'ybody loves Baby. Mother loves you...."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: lullaby dog animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 157-158, "Great Big Dog" (1 short text, 1 tune)
File: ScNF157C
===
NAME: Great Big Nigger Sittin' on a Log: see Mourner, You Shall Be Free (Moanish Lady), which has this chorus though the verses are from everywhere (File: San011)
===
NAME: Great Big Sea Hove in Long Beach, A
DESCRIPTION: "A great big sea hove in Long Beach... And Granny Snooks she lost her speech." "Me boot is broke, me frock is tore... But George Snooks I do adore." "Oh, fish is low and flour is high... So Georgie Snooks he can't have I."
AUTHOR: unknown
EARLIEST_DATE: 1940 (Doyle)
KEYWORDS: humorous nonballad sea hardtimes
FOUND_IN: Canada(Newf)
REFERENCES: (5 citations)
Blondahl, p. 11, "Great Big Sea Hove in" (1 text, 1 tune)
Fowke/Johnston, pp. 176-177, "A Great Big Sea Hove in Long Beach" (1 text, 1 tune)
Doyle2, p. 27, "A Great Big Sea Hove in Long Beach" (1 text, 1 tune)
Doyle3, p. 25, "A Great Big Sea Hove in Long Beach" (1 text, 1 tune)
Lomax-FSNA 77, "A Great Big Sea" (1 text, 1 tune)
Roud #4426
CROSS_REFERENCES:
cf. "The Gaberlunzie Man" (tune & meter)
cf. "Kate's Big Shirt" (tune)
NOTES: Fowke suggests this song dates from the 1930s, when Newfoundland sailors received poor pay for their fish but had to pay high prices for flour. Long Beach is a town on the east coast of Newfoundland. - RBW
File: FJ176
===
NAME: Great Big Taters in Sandy Land
DESCRIPTION: "Big yam taters in de sandy lan', Sandy bottom, sandy lan'." "Sift your meal an' save de bran, Mighty good livin' in de sandy lan'." The singer describes farming and courting in "de sandy lan'," and describes some of the local characters
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: farming nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 236-237, "Sandy Lan'" (1 text, 1 tune)
Roud #7909
NOTES: Alan Lomax says this is the same tune as "Sally Anne," and close to "Sally Goodin." Paul Stamler, who knows all three as fiddle tunes, concedes a relationship to "Sally Anne" but not "Sally Goodin." Based on the versions I've heard, I agree -- but I've only heard bluegrass versions of "Sandy Land," so that proves very little.
The final verse of the _American Ballads_ text is "Sal's Got a Meatskin..."  -- but of course this may be a Lomax insertion.... - RBW
File: LxA236
===
NAME: Great Change Since I Been Born: see Things I Used To Do (File: San482)
===
NAME: Great Elopement to America, The
DESCRIPTION: Mick courts Nancy Keays, "a rich farmer's daughter." Her father will not agree to the marriage. With her 500 pounds they elope. Her father searches through Ireland without success and posts a reward for their arrest, but they are safe in America.
AUTHOR: unknown
EARLIEST_DATE: 19C (broadside, Bodleian 2806 c.8(158))
KEYWORDS: courting elopement emigration manhunt escape America Ireland father
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, 2806 c.8(158), "The Great Elopement to America" ("Farewell to old Ireland the land of my fathers)," Haly (Cork), 19C
CROSS_REFERENCES:
cf. "M'Kenna's Dream" (tune, broadside Bodleian Harding B 26(201))
cf. "The Gallant Farmers' Farewell to Ireland" (words, and references there)
cf. "William and Phillis" (plot)
File: BrTGETA
===
NAME: Great Getting Up Morning: see In that Great Gettin' Up Morning (File: LxU106)
===
NAME: Great Gittin' Up Mornin': see In that Great Gettin' Up Morning (File: LxU106)
===
NAME: Great God A'mighty
DESCRIPTION: A chopping song with story. "He's a-choppin de new ground (x3), Great God a'mighty." The singer describes his axe blade, boasts of his ability, and discusses arguments with the captain
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: prisoner chaingang work
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, pp. 79-82, "Great God A'mighty" (1 text, 1 tune)
Roud #15571
RECORDINGS:
Texas state farm prisoners, "Chopping in the New Ground" (on NPCWork)
File: LxA079
===
NAME: Great God, I'm Feelin' Bad
DESCRIPTION: "Great God, I'm feelin' bad, I ain't got the man I thought I had."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: separation nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Sandburg, p. 238, "Great Gawd, I'm Feelin' Bad" (1 short text, 1 tune)
File: San238
===
NAME: Great Grand-dad
DESCRIPTION: "Great grand-dad when the West was young, Barred his door with a wagon tongue." He raised 21 boys without any trouble -- but now there's a great-grandson, and of course youth being what it is, *that* one gives trouble
AUTHOR: unknown
EARLIEST_DATE: 1931 (Larkin)
KEYWORDS: father children family
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
Randolph 482, "Great Grand-dad" (1 text, 1 tune)
BrownII 266, "Great Granddad" (1 text)
Larkin, pp. 83-85, "Great Grand-dad" (1 text, 1 tune)
Roud #4446
RECORDINGS:
John White, "Great Grand Dad" (Domino 4440, c. 1929; on MakeMe)
CROSS_REFERENCES:
cf. "Old Grandma"
NOTES: You mean it isn't just the current generation of old people who complain about the young? :-) - RBW
File: R483
===
NAME: Great Judgment, The
DESCRIPTION: "I dreamt that the great judgment morning Had dawned and the trumpet had blown...." The singer describes the scene before God's throne "as the lost was told of their fate" and the poor, widows, and orphans rewarded. The rich man's money does not save him
AUTHOR: unknown
EARLIEST_DATE: 1925 (Randolph)
KEYWORDS: religious death Hell
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 618, "The Great Judgment" (2 texts, 2 tunes)
Roud #4731
File: R618
===
NAME: Great Northern Line, The
DESCRIPTION: "My love he is a teamster, a handsome man is he... With his little team of bullocks on the Great Northern Line." The singer describes her handsome, hard-driving, hard-swearing, flirting, madly inventive teamster love
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: work Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 273, "The Great Northern Line" (1 text)
CROSS_REFERENCES:
cf. "The Knickerbocker Line" (tune & meter)
File: MA273
===
NAME: Great Round-Up, The: see The Cowboy's Dream (File: R185)
===
NAME: Great Ship Went Down, The (Titanic #16)
DESCRIPTION: "Titanic was a ship... Oh, it was a pleasure trip." "Titanic was her name, Atlantic was her fame, she sank about five hundred miles from shore, 1600 were at sea... went down an angry wave to rise no more." 1600 die in the "angry wave."
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Cofer Brothers)
KEYWORDS: sea wreck family disaster death
FOUND_IN: US
REFERENCES: (1 citation)
ADDITIONAL: Cowboy Loye and Just Plain John, Old Time Ballads & Cowboy Songs (no date but internal evidence dates it after 1932), pp 43-44, "Titanic"
RECORDINGS:
Cofer Brothers, "The Great Ship Went Down" (OKeh 45137, 1927)

NOTES: The Cofer Brothers version of this is so generic that it might almost be a rewrite of one of the other songs, but the Cowboy Loye version has the interesting feature of mentioning Mr. and Mrst. Isidore Strauss -- the second richest couple on the ship after John Jacob Astor. I haven't met this in any other _Titanic_ song. It is also unusual in that it doesn't shove a moral down your throat.
Thanks to John Garst for help with the Loye text.
For an extensive history of the _Titanic_, with detailed examination of the truth (or lack thereof) of quotes in the _Titanic_ songs, see the notes to "The Titanic (XV)" ("On the tenth day of April 1912") (Titanic #15) - RBW
File: RcGSWD
===
NAME: Great Silkie of Sule Skerry, The [Child 113]
DESCRIPTION: A lady mourns that she knows not her son's father. He appears at her bedside, revealing that he is a silkie. He prophesies that she shall marry a "gunner," who will shoot both him and her son.
AUTHOR: unknown
EARLIEST_DATE: 1852
KEYWORDS: selkie seduction
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: (9 citations)
Child 113, "The Great Silkie of Sule Skerry" (1 text)
Bronson 113, "The Great Silkie of Sule Skerry" (1 version, though only the fifth stanza is proper to the tune)
Leach, pp. 321-323, "The Great Silkie of Sule Skerry" (2 texts)
OBB 31, "The Great Silkie of Sule Skerry" (1 text)
Friedman, p. 27, "The Great Silkie of Sule Skerry" (2 texts, 1 tune) {Bronson's (#1)}
PBB 74, "The Great Silkie of Sule Skerry"; 75, "Sealchie Song" (1 text)
Hodgart, p. 69, "The Great Silkie of Sule Skerry" (1 text)
Silber-FSWB, p. 219, "The Great Silkie" (1 text)
DT 113, SILKIE1* SILKIE2*
Roud #197
RECORDINGS:
Art Thieme, "The Great Silkie of Sule Skerry" (on Thieme06)
NOTES: The tune to which this ballad is most often sung nowadays was composed by James Waters in the late 1950s. It was also used by Pete Seeger as the melody for his setting of Nazim Hikmet's poem about Hiroshima, "I Come and Stand at Every Door." -PJS
The fullest collection of texts and tunes for this piece is probably that of Alan Bruford, who in "The Grey Silkie" (originally published in _Scottish Studies_ 18, 1974; also available in E. B. Lyle, ed., _Ballad Studies_) prints, in tolerably incomprehensible form, eight texts or fragments and two tunes.
Bruford also discusses the relationship of the song to "The Play o de Lathie Odivere" (best known now perhaps in Gordon Bok's adaption "The Play of the Lady Odivere"), having much to say, and little of it good, about this piece first published by Walter Traill Dennison in _The Scottish Antiquary_ in 1894. Bruford doesn't quite say so, but it appears that he believes Dennison's piece to be a forgery built upon a small core of traditional material. - RBW
File: C113
===
NAME: Great Speckled Bird, The
DESCRIPTION: "What a beautiful thought I am thinking Concerning the great speckled bird." The bird, though attacked by other birds, "is one with the great church of God." The bird's success is promised when God comes on the bird's wings
AUTHOR: unknown
EARLIEST_DATE: 1936 (Aurora Advertiser)
KEYWORDS: religious Bible bird
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 621, "The Great Speckled Bird" (1 texts plus a fragment, 1 tune)
Randolph/Cohen, pp. 435-437, "The Great Speckled Bird" (1 text, 1 tune -- Randolph's 621A)
Silber-FSWB, p. 368, "The Great Speckled Bird" (1 text)
DT, GRTSPCKL* GRTSOCK2*
Roud #7444
RECORDINGS:
Roy Acuff & his Smoky Mountain Boys (OKeh 04252 [as Roy Acuff & his Crazy Tennesseans], 1938; Columbia 20031, c. 1945; Columbia 37005, 1947; rec. 1936)
Hall Brothers, "The Great Speckled Boatman" (Bluebird, unissued, 1938)
Holiness Church congregation, "Great Speckled Bird" (on MMOKCD)
Jack & Leslie, "The Great Speckled Bird" (Decca 5555, 1938)
Charlie Monroe's Boys, "The Great Speckled Bird" (Bluebird B-7862, 1938)
Morris Brothers, "The Great Speckled Bird" (Bluebird B-7903, 1938)
SAME_TUNE:
Roy Acuff, "Great Speckle Bird No. 2" Roy Acuff & his Smoky Mountain Boys (OKeh 04374, 1938; Columbia 20032, c. 1945; Columbia 37006, 1946; rec. 1937)
Roy Hall & his Blue Ridge Entertainers, "Answer to Great Speckled Bird" (OKeh 4771, prob. 1939; recorded 1938; listed as Vocalion 04771/Conqueror 9184 in Lornell, _Virginia's Blues, Country & Gospel Records 1902-1943_)
NOTES: Usually credited to Roy Acuff (who certainly popularized it); however, a 1936 printing in the Aurora, Missouri _Advertiser_ precedes Acuff's 1937 copyright, and there is a claim that it was written around 1934 by Guy "Uncle George" Smith. And some of Randolph's informants would date the song much earlier.
The image of the "great speckled bird" comes from Jeremiah 12:9 in the King James Bible ("Mine heritage is unto me as a speckled bird, the birds round about are against her"). This is not, however, a very apt translation of a difficult Hebrew original (which mentions, seemingly as a single subject, a hyena and a bird of prey; the ancient Greek version reads "My inheritance is a hyena's cave"); most modern versions render the verse in a way not parallel to the KJV. - RBW
File: R621
===
NAME: Great Storm Pass Over, A
DESCRIPTION: A hurricane passes over Andros Island; for three days the sun is blotted out. The singer fixes his heart on Jesus; while many are crippled, wounded, or killed, he is spared. He tells sinners that the time of judgement is coming; they had better pray
AUTHOR: "Tappy Toe" (nickname, real name unknown; Andros Island sponger)
EARLIEST_DATE: 1935 (recording, men from Andros Island)
KEYWORDS: warning death disaster storm Caribbean Jesus
HISTORICAL_REFERENCES: 1929 - The Bahamas are devastated by a hurricane with little or no advance warning. Many deaths and much damage results
FOUND_IN: Bahamas
REFERENCES: (0 citations)
Roud #15622
RECORDINGS:
Unidentified men from Andros Island, "A Great Storm Pass Over" (AAFS 504 A, 1935; on LomaxCD1822-2)
CROSS_REFERENCES:
cf. "Run Come See" (subject)
NOTES: While the storm described is the same one described in "Run Come See," this is an independent song. - PJS
File: RcAGSPO
===
NAME: Great Titanic, The: see The Titanic (I) ("It Was Sad When That Great Ship Went Down") [Laws D24] (Titanic #1) (File: LD24)
===
NAME: Greedy Harbour
DESCRIPTION: "Down in Greedy Harbour we went one time; We shipped on board with old man Ryme; The skipper and I could not combine, With him I spent a very short time." The singer buys and loses a punt, dresses a cow in silks, and drinks turpentine thinking it wine
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: humorous nonballad talltale
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Greenleaf/Mansfield 127, "Greedy Harbour" (1 text, 1 tune)
Leach-Labrador 114, "Grady's Harbour" (1 text, 1 tune)
Roud #6344
File: GrMa127
===
NAME: Green Above the Red, The
DESCRIPTION: When the English red has been above the Irish green our fathers rose to set the green above the red. Heroes are named. Irish green is banned now but "we vow our blood to shed, Once and forever more to raise the green above the red"
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian 2806 b.10(118))
KEYWORDS: Ireland nonballad patriotic political rebellion
FOUND_IN: 
REFERENCES: (2 citations)
O'Conor, p. 58, "The Green Above the Red" (1 text)
Healy-OISBv2, pp. 125-126, "The Green Above the Red" (1 text)
ST OCon058 (Partial)
BROADSIDES:
Bodleian, 2806 b.10(118), "The Green Above the Red" ("Full often when our fathers saw the Red above the Green"), H. Such (London), 1863-1885; also Harding B 11(1411), Harding B 11(1412), "The Green Above the Red"
NOTES: The "Lord Edward" of some texts is Lord Edward Fitzgerald (1763-1798), one of the leaders of the United Irishmen and the last one to retain his liberty after the government cracked down (March 12). He doesn't seem to have been particularly smart, and was eventually wounded and captured (May 19); he died in prison of the effects of his wound. For more about him, see the notes to "Edward (III) (Edward Fitzgerald)."
For Wolfe Tone, see, e.g., the notes to "The Shan Van Voght."
Patrick Sarsfield, made Earl of Lucan by James II, was one of the Irish around the time of the Boyne; for his story, see "After Aughrim's Great Disaster."
My guess is that "Owen" is 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. For background on his career, see the notes to "General Owen Roe." - RBW
File: OCon058
===
NAME: Green Banks of Banna, The
DESCRIPTION: "By the green banks of Banna I wander alone Where the river runs softly by sweet Portglenone." The singer recalls the day her lover said he must leave her. She laments his long absence. She will be happy once he returns
AUTHOR: Maud Houston?
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: love separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H233, pp. 287-288, "The Green Banks of Banna" (1 text, 1 tune)
Roud #3818
NOTES: Sam Henry attributed this to Maud Houston, but only in one of his copies. In any case, it's the sort of thing anyone might scrap together from traditional pieces. - RBW
File: HHH233
===
NAME: Green Bed, The: see Johnny the Sailor (Green Beds) [Laws K36] (File: LK36)
===
NAME: Green Brier Shore (II), The
DESCRIPTION: "Oh, then I can court little and I can court long, and I'll court an old sweetheart till the new one comes along. I'll kiss them and court them...." Nancy and Willie declare their love and lamenting her rich parents' disapproval of Willie.
AUTHOR: unknown
EARLIEST_DATE: 1962 (Fowke/MacMillan)
KEYWORDS: love courting floatingverses
FOUND_IN: Canada(Ont)
REFERENCES: (2 citations)
Fowke/MacMillan 68, "Green Brier Shore, The" (1 text, 1 tune)
DT 329, GRNBRIR2*
Roud #549
CROSS_REFERENCES:
cf. "The New River Shore (The Green Brier Shore; The Red River Shore)" [Laws M26] (lyrics)
cf. "Lovely Willie" [Laws M35] (lyrics)
cf. "Way Down the Ohio" (lyrics)
NOTES: Though it has the same title, it does not have the story line of the Laws M26, "Green Brier (Red River or New River) Shore"  [though Roud lumps them, and I'm almost tempted to do the same until and unless more versions of this form show up - RBW].In fact there is precious little story line at all, the verses all describe Nancy and Willie declaring their love for each other and lamenting her rich parents disapproval of Willie.
Has a completely unrelated and lighthearted first verse which could also function as a chorus, "Oh, then I can court little and I can court long, and I'll court an old sweetheart till the new one comes along. I'll kiss them and court them -- keep their mind at ease. But when their back is turning I'll court who I please."
Fowke states that it seems to be a composite, borrowing verses from several other songs, including the other "Green Brier Shore" and "Lovely Willie." - SL
File: FowM068
===
NAME: Green Brier Shore, The: see The New River Shore (The Green Brier Shore; The Red River Shore) [Laws M26] (File: LM26)
===
NAME: Green Broom
DESCRIPTION: Old broom-cutter tells his lazy son to get to work cutting broom. The boy does, then takes it to market to sell. A lady hears him, and has him brought in, where she proposes marriage to him. They wed, as the lady sings his praises.
AUTHOR: unknown
EARLIEST_DATE: 1720 (Pills to Purge Melancholy, under the title "The Jolly Broom-Man: Or the unhappy BOY turn'd Thrifty')
KEYWORDS: love marriage work worker courting
FOUND_IN: Britain(England(All),Scotland(Aber)) Ireland Canada(Newf)
REFERENCES: (9 citations)
Stokoe/Reay, pp.  104-105, "Broom, Green Broom" (1 text, 1 tune)
Sharp-100E 49, "Green Broom" (1 text, 1 tune)
Kennedy 223, "Green Brooms" (1 text, 1 tune)
Karpeles-Newfoundland 76, "Green Broom" (1 text, 1 tune)
SHenry H147, p. 474, "Green Broom" (1 text, 1 tune)
Baring-Gould-MotherGoose #120, pp. 98-99, "(There was an old man, and he liv'd in a wood)" (first half of the song only)
Montgomerie-ScottishNR 166, "(There was an old man)" (1 fragment)
DT, GRNBROOM* GRNBROM2*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #139, "Green Broome" (1 text)
Roud #379
RECORDINGS:
Sam Larner, "Green Broom" (on SLarner02)
Sean McDonagh, "Green Brooms" (on FSB3)
BROADSIDES:
Bodleian, 2806 c.17(156), "The Green Broom," W. Armstrong (Liverpool), 1820-1824; also Harding B 16(108a), Firth b.26(294), Firth b.25(38), Firth c.18(205), "Green Brooms"; Harding B 28(93), "Jack and His Brooms"
ALTERNATE_TITLES:
Jack and His Brooms
NOTES: Found in _Gammer Gurton's Garland_, according to Sharp, and also in _Pills to Purge Melancholy_. -PJS
Not to be confused with "The Broomfield Hill," also sometimes found under the title "Green Broom." - RBW
File: ShH49
===
NAME: Green Bushes, The [Laws P2]
DESCRIPTION: The singer courts a girl he meets by chance, offering her fine clothes if she will marry him. Although clothes do not interest her, she is willing to marry, even though she is already pledged. Her former love arrives and comments bitterly on her falseness
AUTHOR: unknown
EARLIEST_DATE: 1845 (in the play "The Green Bushes" by Buckstone); before 1839 (broadside, Bodleian Johnson Ballads fol. 30)
KEYWORDS: courting love clothes infidelity
FOUND_IN: US(NE,SE) Canada(Mar,Newf) Britain(Scotland,England(Lond,South)) Ireland
REFERENCES: (16 citations)
Laws P2, "The Green Bushes"
Sharp-100E 40, "Green Bushes" (1 text, 1 tune)
Meredith/Anderson, pp. 173-174, "Green Bushes" (1 text, 1 tune)
SharpAp 126, "Green Bushes" (1 text, 1 tune)
Sharp/Karpeles-80E 48, "Green Bushes" (1 text, 1 tune -- a composite version)
Copper-SoBreeze, pp. 240-241, "Down by the Green Bushes" (1 text, 1 tune)
Kennedy 156, "Green Bushes" (1 text, 1 tune)
SHenry H143, p. 395, "The Green Bushes" (1 text, 1 tune)
Ord, p. 147, "Green Bushes" (1 text)
Greenleaf/Mansfield 30, "The Green Bushes" (1 text, 1 tune)
Karpeles-Newfoundland 84, "Green Bushes" (1 text, 1 tune)
Creighton-NovaScotia 19, "Green Bushes" (1 text, 1 tune)
Flanders/Brown, pp. 246-247, "Way Down by the Green Bushes" (1 text)
MacSeegTrav 66, "Green Bushes" (2 texts, 2 tunes)
Darling-NAS, pp. 134-135, "The Green Bushes" (1 text)
DT 491, GREEBUSH*
Roud #1040
RECORDINGS:
Geoff Ling, "The Green Bushes" (on Voice01)
BROADSIDES:
Bodleian, Johnson Ballads fol. 30, "Among the Green Bushes, &c," J. Catnach (London), 1813-1838; also Firth c.18(145), "The False Lover" ("As I was a walking one morning in May"), unknown, handwritten note "1827"; Harding B 11(52), Harding B 17(4b), Harding B 11(51), Harding B 11(53), "The False Lover"; Harding B 11(52), Harding B 17(4b), Harding B 11(51), Harding B 11(53), Firth c.18(147), "Among the Green Bushes"; 2806 b.10(80), Harding B 11(3102), "Down by the Green Bushes"; Firth c.18(146), Harding B 20(64), Johnson Ballads 512, 2806 c.8(194), 2806 d.31(71), 2806 c.17(157), Harding B 11(1416), Harding B 11(1889), Harding B 18(220), "Green Bushes" [same as LOCSinging as104920]; cf. Bodleian, Firth c.18(79), "Nut Bushes" ("As I walked out cne [sic] evening"), unknown, n.d.; also 2806 c.13.310, "The Nut Bushes" (partially illegible)
LOCSinging, as104920, "The Green Bushes," J. Andrews (New York), 1853-1859 [same as Bodleian Harding B 18(220)]; also sb10147a, as101350, "The Green Bushes"
CROSS_REFERENCES:
cf. "The Cutty Wren" (tune)
cf. "Farewell to Tarwathie" (tune)
cf. "Queen of the May" (theme)
cf. "The Shepherd's Lament" (theme, floating lyrics)
cf. "False Mallie" (theme: a man driven "mad" by a woman's infidelity) 
cf. "Lovely Annie" (one verse and theme: a man driven "mad" by a woman's infidelity)
NOTES: Not to be confused with the song called "Behind the Green Bush" in Huntington. The latter appears to be derived from a minstrel piece (the lovers are "Damon" and "Pastora"), and does not appear to be traditional.
The broadside text "The Nut Bushes" is very like some versions of this song, but with a somewhat different ending, which Ben Schwartz describes as follows: "Singer meets Molly who is singing that she is to meet her lover below the nut bushes. He promises fine clothes if she will marry. She refuses. Her lover comes. Singer is frantic at losing Molly. His Captain threatens to send him to Bedlam."
As Ben says, "The Captain threatening the singer with Bedlam convinces me that the singer is a sailor; 'Molly' rejecting a sailor bound to Bedlam" is the plot line of 'False Mallie.' However, 'Nut Bushes' shares neither text nor structure with that ballad. The last verse -- the only one to name Molly and the only one to mention Bedlam -- is shared almost word for word with 'Lovely Annie'; the significant differences are the committer ('Captain' vs 'master') and the name of the woman." On that basis, I'm treating "Nut Bushes" as a redaction of this song, and filing it here because there is little evidence it exists in tradition. - RBW
Broadside LOCSinging as104920: 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.
One of the Bodleian broadsides, Johnson Ballads fol. 30, has the written date "1827" though the printer is not known. In any case, broadside Bodleian Johnson Ballads fol. 30 predates the 1845 play by Buckstone. - BS
Or at least its publication; Buckstone was not a very successful author, though certainly prolific. The Londoner (1802-1879), who was an actor as well as a writer, is credited by the _New Century Handbook of English Literature_ with "200 melodramas and farces," but Larousse's Biographical Dictionary counts only 150, none of them being of any note. (My quick check revealed the names of only three pieces by Buckstone, and none of the contents.)
Buckstone did do a tour of the U. S. in 1840; it is thus possible that he introduced the British song in America. - RBW
File: LP02
===
NAME: Green Carpet
DESCRIPTION: "On the green carpet here we stand, Take your true love by the hand, Take the one whom you profess To be the one whom you love best." "Oh what a beautiful choice you've made... Give her a kiss, and send her away, And tell her she can no longer stay."
AUTHOR: unknown
EARLIEST_DATE: 1903 (Newell)
KEYWORDS: playparty marriage love nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 46-47, "On the Green Carpet" (1 text, 1 tune, which seems to mix "Green Carpet" and "Oats and Beans")
File: Lins46
===
NAME: Green Cockade, The
DESCRIPTION: In 1782 the Volunteers "won for Ireland full free trade" in return for Irish aid. In 1789 the Volunteers surrounded King William's statue "proclaiming Ireland should be free." But "the Irish divided, the English gained And Ireland once again was chained"
AUTHOR: unknown
EARLIEST_DATE: 1887 (Madden's _Literary Remains of the United Irishmen of 1798_, according to Moylan)
KEYWORDS: England Ireland patriotic political
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 4, "The Green Cockade" (1 text, 1 tune)
BROADSIDES:
Bodleian, 2806 b.9(266), "The Green Cockade," unknown, n.d.
CROSS_REFERENCES:
cf. "The Shamrock Cockade" (subject of the 1782 Volunteers)
cf. "The Song of the Volunteers" (subject of the 1782 Volunteers)
cf. "The Dungannon Convention" (for that event)
NOTES: Moylan p. 1: "On St Patrick's Day, 1778, the first company of Belfast Volunteers was formed in response to the danger of a possible war between Britain and France. [According to Peter and Fiona Somerset Fry, _A History of Ireland_, p. 186, the year was 1777, though few other companies formed until 1778.] The movement spread like wildfire and soon there were companies in all parts of Ireland. At their height they numbered 100,000 members. By the following year they had become politicized and swung their weight behind the so-called Patriot Party, those in favour of legislative independence from the British parliament and the removal of impediments to Irish commerce."
[Moylan lists the following] Irish Volunteer Society protests
February 15, 1782 - Volunteer Convention in Dungannon, Co. Tyrone
September 8, 1783 - Volunteer Convention in Dungannon, Co. Tyrone
November 4, 1779 - Volunteers parade at "the site, at the time, of an equestrian statue of King William. They had signs fixed to their cannon which read 'Free Trade or This'." - BS
For more on the Volunteers and their effect on Anglo-Irish relations, see the notes to "The Song of the Volunteers." The references to Irish unity accomplishing much are quite accurate; even before Grattan's Parliament (for which see "Ireland's Glory") gave Ireland a measure of independence, the Irish had shown that they could sometimes act on their own -- Mike Cronin, _A History of Ireland_, p. 94 writes that the Irish "could, when they operated as a single block, defeat the will of the British Parliament"; he notes on pp. 93-98 several instances of this in the period 1750-1780. But he also notes that they were usually not united, and when not united, the British could almost always manipulate the results to ther own ends. And then, of course, came 1798, and the whole thing fell down. - RBW
File: Moyl004
===
NAME: Green Corn (I): see Black-Eyed Susie (Green Corn) (File: R568)
===
NAME: Green Corn (II): see Hot Corn, Cold Corn (I'll Meet You in the Evening) (File: R267)
===
NAME: Green Fields and Meadows, The: see The Silver Dagger (I) [Laws G21] (File: LG21)
===
NAME: Green Fields of America (I), The
DESCRIPTION: The singer bids farewell to Ireland. His parents weep to leave but he wants a trouble-free life in America with no taxes or tithes. We must follow "our manufacturies" across the Atlantic. "The landlords and bailiffs" have driven us from home.
AUTHOR: unknown
EARLIEST_DATE: before 1863 (broadside, Bodleian Harding 2806 b.10(70))
KEYWORDS: emigration farewell poverty America
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, pp. 156-158, "The Green Fields of Canada" (1 text, 1 tune)
DT, GRNFLDA3* GRNCANAD
Roud #2290
RECORDINGS:
Paddy Tunney, "The Green Fields of Amerikay" (on IRPTunney01); "The Green Fields of Canada" (on Voice04); "Green Fields of Canada" (on IRPTunney02)
BROADSIDES:
Bodleian, 2806 b.10(70), "Green Fields of America" ("Farewell to the land of Shillelagh and shamrock"), H. Such (London), 1849-1862; also Harding B 11(1413), Harding B 11(3626), Harding B 11(2600), "Green Fields of America"
CROSS_REFERENCES:
cf. "The Emigrant's Farewell" (theme)
NOTES: Many versions of this song note that there are "no taxes or tithes to devour up our wages" in America. While this obviously is not true (America always had at least some taxes, even if only on the sale of taxable items), the freedom from the tithe was very important. For many years, Irish Catholics were charged a tithe which went to the (Anglican) Church of Ireland. Ireland was not entirely freed of the tithe until the mid-nineteenth century, though after 1838 it was up to the landlords to administer it. - RBW
File: DTgrncan
===
NAME: Green Fields of America (II), The: see The Emigrant's Farewell (File: HHH743)
===
NAME: Green Fields of Canada, The: see The Green Fields of America (File: DTgrncan)
===
NAME: Green Fields Round Ferbane, The
DESCRIPTION: "I curse the day that I sailed away From my dear little Isle so green." The singer recalls his youth and some friends he'll see no more. "The lust for gold it soon grows cold." "I'll turn my face from this awful place" and go home to stay.
AUTHOR: John Mary Doyle (1896-1969) (source: notes to IRHardySons)
EARLIEST_DATE: 1980 (IRHardySons)
KEYWORDS: homesickness emigration return Ireland gold
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #17891
RECORDINGS:
Big John Maguire, "The Green Fields of Ferbane" (on IRHardySons)
File: RcGFRFe
===
NAME: Green Flag of Erin
DESCRIPTION: An song favoring "De Valera" over Colonel Lynch and his supporters, who "our country have sold" for the East Clare MP seat. The rest of the song is about "the banner of freedom, The Green White and Gold," the flag of tbe "republic we'll have"
AUTHOR: unknown
EARLIEST_DATE: 1974 (IRClare01)
KEYWORDS:  Ireland nonballad patriotic political
HISTORICAL_REFERENCES: 1917 - Eamon De Valera defeats Patrick Lynch in the East Clare MP bi-election
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #18469
RECORDINGS:
Michael Flanagan, "Green Flag of Erin" (on IRClare01)
CROSS_REFERENCES:
cf. "DeValera Election Song" (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 De Valera 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. - RBW
File: RcGrFlEr
===
NAME: Green Flag, The
DESCRIPTION: "Hibernia's sons, the patriot band" are united, patriotic, and hope the time will come to punish the English "landlords, absentees, and knaves" "Hibernia then will raise her head, The green flag wide extending ... Justice then begins her reign"
AUTHOR: unknown
EARLIEST_DATE: 1796 (_Paddy's Resource_(Philadelphia), according to Moylan)
KEYWORDS: England Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 10, "The Green Flag" (1 text, 1 tune)
File: Moyl010
===
NAME: Green Flowers O
DESCRIPTION: Anna Lee wonders whether "God forgot in his creating hours" to create flowers "with petals tinged of green." She finds one. The singer has never seen another.
AUTHOR: unknown
EARLIEST_DATE: 1959 (NFOBlondahl03)
KEYWORDS: flowers religious
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Omar Blondahl, "Green Flowers O" (on NFOBlondahl03)
NOTES: Blondahl03 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "Green Flowers O" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
There is a biological reason why flowers aren't green: Most pollinators (bees, hummingbirds, etc.) are programmed to seek non-green colors when looking for nectar. A green flower would attract little attention -- and so the mutation, even if successful in other regards, would likely die out. - RBW
File: RcGrFloO
===
NAME: Green Garden: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: Green Grass
DESCRIPTION: "A dis, a dis, a green grass, A dis, a dis, a dis, Come all you pretty fair maids, And dance along with us." The singer goes a-roving, takes a girl by the hand, and promises her a prince. If the prince dies, she shall have another. All clap hands.
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: playparty courting dancing nonballad
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
Baring-Gould-MotherGoose #645, p. 256, "(A dis, a dis, a green grass)"
Montgomerie-ScottishNR 62, "(A dis, a dis, a green grass)" (1 text)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #215, "Green Grass" (1 text)
Roud #1381
CROSS_REFERENCES:
cf. "Walking on the Green Grass"
NOTES: Roud lumps this with "Walking on the Green Grass," apparently on the basis that they're both playparties about green grass. They look distinct to me. - RBW
File: BGMG645
===
NAME: Green Grass Grew All Round, The: see The Rattling Bog (File: ShH98)
===
NAME: Green Grass Growing All Around, The: see The Rattling Bog (File: ShH98)
===
NAME: Green Grass It Grows Bonnie: see I Wonder What Is Keeping My True Love Tonight (Green Grass It Grows Bonny) (File: K157)
===
NAME: Green Grassy Slopes, The
DESCRIPTION: "I'm going to speak ... of the deeds that were done by King William, On the green grassy slopes of the Boyne." "Praise God for sending us King William." "If ever our service is needed" we "will join, And fight, like valiant King William"
AUTHOR: unknown
EARLIEST_DATE: c.1895 (Graham)
KEYWORDS: Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (2 citations)
OrangeLark 3, "The Green Grassy Slopes" (1 text, 1 tune)
Graham, p. 22, "The Green Grassy Slopes of the Boyne" (1 text, 1 tune)
NOTES: For the Battle of the Boyne, see "The Battle of the Boyne (I)"; for the political background, see also "The Vicar of Bray." - RBW
File: OrLa003
===
NAME: Green Grave, The: see The Unquiet Grave [Child 78] (File: C078)
===
NAME: Green Gravel
DESCRIPTION: "Green gravel, green gravel, Your (bank/grass) is so green; The fairest young damsel I ever have seen." Usually a short lyric of praise for a girl, then a report that the girl's love is dead
AUTHOR: unknown
EARLIEST_DATE: 1894 (Gomme)
KEYWORDS: courting death river playparty
FOUND_IN: US(MW,NE,SE,So) Ireland
REFERENCES: (7 citations)
Randolph 532, "Green Gravel" (2 short texts plus an excerpt, 1 tune)
SHenry H48b, p. 10, "Green Gravel" (1 text, 1 tune)
Hammond-Belfast, p. 10, "Green Gravel" (1 text, 1 tune)
Flanders/Brown, p. 188, "Green Gravel" (1 text)
Linscott, pp. 10-11, "Green Gravel" (1 text, 1 tune)
DT, GRNGRAVL*
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, p. 79
ST R532 (Full)
Roud #1368
RECORDINGS:
Pratt family, "Green Gravels" (on Ritchie03)
CROSS_REFERENCES:
cf. "A Trace-Boy on Ligoniel Hill" (tune)
NOTES: Usually tells of a girl whose young man was slain (in the Napoleonic wars?), but in the Ozarks it's a playparty. The Beers Family sings a version in which the young man survives and returns to the girl -- but I wonder if they didn't write that.
Randolph was told that the song "reflects the Irish Catholic's hatred of the Masonic fraternity," but the only evidence I've seen for this is the mention of "free masons" (or corruptions thereof) in a few texts.
By the time Linscott picked it up, it had become a singing game -- and she reports that it wasn't very popular because "it called for little energy or imagination." She thought it described the process of laying out the dead, but there is no hint of that in her words.
The "Green gravel" refrain may perhaps be from a nursery rhyme from Halliwell (see Baring-Gould-MotherGoose #326, p.177):
Around the green gravel the grass grows green,
And all the pretty maids are plain to be seen;
Wash them with milk, and clothe them with silk,
And write their names with a pen and ink. - RBW
Also collected and sung by David Hammond, "Green Gravel" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959))
Sean O Boyle, notes to David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland": "Irishmen like to think that the mysterious name ['Green Gravel'] is a folk rationalization of 'An Glas Gaibhlinn,' the name of a fabulous Irish cow whose milk never ran dry." - BS
File: R532
===
NAME: Green Green: see Rocky Road (Green Green) (File: CNFM154)
===
NAME: Green Green Rocky Road: see Rocky Road (Green Green) (File: CNFM154)
===
NAME: Green Grow the Laurels (II): see Lovely Willie [Laws M35] (File: LM35)
===
NAME: Green Grow the Leaves
DESCRIPTION: "O green grow the leaves on the (hawthorn) tree, Some grow high and some grow low; With this wrangling and this jangling We never shall agree, And the tenor of our song goes merrily."
AUTHOR: unknown
EARLIEST_DATE: 1912 (Leather)
KEYWORDS: nonballad playparty
FOUND_IN: Britain(England(West))
REFERENCES: (1 citation)
Leather, p. 206, "Marden Forfeit Song" (1 text, 1 tune)
ST Leath206 (Full)
Roud #2121
NOTES: This seems to be known mostly as a singing game, but Leather reports that her version, which has a counting-down chorus, was sung as a forfeit -- that is, if you missed one of the numbers, you had to drink a penalty. Hence her title. - RBW
File: Leath206
===
NAME: Green Grow the Lilacs: see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: Green Grow the Rashes (II): see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: Green Grow the Rashes, O
DESCRIPTION: "There's naught but care on ev'ry han' In ev'ry hour that passes, O." In praise of women and love: "Green grow the rashes, O... The sweetest hours that e'er are spent Are spent amang the lasses, O." Other texts may be more explicitly bawdy
AUTHOR: Words: Robert Burns
EARLIEST_DATE: 1794
KEYWORDS: love courting nonballad seduction bawdy
FOUND_IN: Britain(Scotland) Canada(Mar)
REFERENCES: (4 citations)
Creighton-SNewBrunswick 98, "Green Grow the Rashes O" (1 fragment consisting of the chorus, 1 tune)
Scott-BoA, pp. 97-99, "Green Grow the Rushes O" (1 text, 1 tune)
Silber-FSWB, p. 160, "Green Grow The Rashes, O" (1 text)
DT, GRRASH* (the standard version) GRRASH1* (bawdy)
ST SBoA097 (Full)
Roud #2772
BROADSIDES:
Bodleian, Johnson Ballads fol. 25, "Green Grow the Rashes," J. Catnach (London), 1813-1838
NLScotland, RB.m.168(207), "Green Grow the Rashes," J. Pitts (London), 1820-1844
NOTES: Not to be confused with the ritual/religious "Green Grow the Rushes, O." - RBW
Broadside NLScotland, RB.m.168(207): the imprint "Pitts, Printer, Wholesale Toy and Marble Warehouse, 6, Great St. Andrew Street, Seven Dials" is dated "between 1819 and 1844" at Bodleian Library site Ballads Catalogue; date shown is NLScotland "probable period of publication."
Creighton-SNewBrunswick is from the chorus as in the description above. - BS
File: SBoA097
===
NAME: Green Grow the Rushes (III): see Lovely Willie [Laws M35] (File: LM35)
===
NAME: Green Grow the Rushes O (II): see Green Grow the Rashes, O (File: SBoA097)
===
NAME: Green Grow the Rushes-O (The Twelve Apostles, Come and I Will Sing You)
DESCRIPTION: Cumulative song with religious themes e.g., "I'll sing you three-o/Green grow the rushes-o/What is your three-o/Three for the Hebrew children/Two, two, the lily-white babes/clothed all in green-o/One is one and all alone and evermore shall be so."
AUTHOR: unknown
EARLIEST_DATE: 1823 (Sandys, _Christmas Carols--Ancient and Modern_)
KEYWORDS: ritual cumulative religious nonballad
FOUND_IN: Britain(England,Scotland),US(Ap,MA,MW,NE,SE,So) Canada(Newf)
REFERENCES: (18 citations)
SharpAp 207, "The Ten Commandments" (5 texts, 3 tunes)
Sharp-100E 97, "The Ten Commandments" (1 text, 1 tune)
Randolph 605, "The Twelve Apostles" (1 text, 1 tune)
Randolph/Cohen, pp. 425-429, "The Twelve Apostles" (1 text, 1 tune -- Randolph's 605)
BrownII 50, "The Dilly Song" (2 texts; the first starts with the number 5!)
JHCoxIIB, #17, pp. 159-162, "The Twelve Apostles" (1 text, 1 tune, somewhat conjectural)
Flanders/Brown, pp. 83-85, "The Twelve Apostles" (2 texts, 2 tunes)
Gardner/Chickering 150, "The Twelve Apostles" (1 text)
Fuson, p. 187, "Scripture in the Nursery" (1 text)
Abrahams/Foss, pp. 74-75, "I'll Sing You One Ho!" (1 text, 1 tune)
Kennedy 88, "Dus Ha My A Gan Dhys (Come and I Will Sing You)" (1 Cornish text, 1 tune)
Greenleaf/Mansfield 41, "The Twelve Apostles" (2 texts)
Peacock, pp. 800-801, "The Twelve Apostles" (1 text, 1 tune)
Karpeles-Newfoundland 89, "The Twelve Apostles" (1 text, 1 tune)
Lehr/Best 23, "Come and I Will Sing You" (1 text, 1 tune)
Silber-FSWB, p. 359, "Green Grow the Rushes" (1 text)
DT, GRNRUSH* (see also GRNRUSH2) GRNRUSH5
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928, notes to #258, ("What will be our twelve, boys") (1 text)
Roud #133
RECORDINGS:
Patrick Gaffney, "Green Grow the Rushes Oh" (Columbia 350-D, 1925)
CROSS_REFERENCES:
cf. "Children Go Where I Send Thee" (theme and structure)
cf. "Eleven to Heaven" (theme and structure)
ALTERNATE_TITLES:
Singing the Ten Commandments
Holy Babe
NOTES: This is a song cluster extending as far as the Jewish Passover service, but whether it passed from there to folk song or vice versa is hard to say. -PJS (Sharp and Marson connects it with the Hebrew ritual "Counting the Omer/Song of the Kid" ; Newell links it to the Passover chant "Echod Mi Yodea," a connection supported by Cohen;  Archer Taylor tried to link it to Sanskrit roots! - RBW)
[Compare also the American piece "Children Go Where I Send Thee." Botkin prints a text of that song] from a 1942 field recording and remarks:
"The present cumulative song is a version of 'The Carol of the Twelve Numbers' (often known as 'The Dilly Song'). There is a good deal of variation in the symbolism of the twelve numbers, and in the present song their significance has often been lost.
"For texts and notes, see 'The Twelve Apostles,' by Phillips Barry, _Bulletin of the Folk-Song Society of the Northeast_, Number 9 (1935), pp. 3-4; 'Ballads and Songs,' by George Lyman Kittredge, _Journal of American Folklore_, Volume XXX (July-September, 1917), pp. 335-337; 'The Carol of the Twelve Numbers,' by William Wells Newell, ibid., Volume IV (July-September, 1891), pp. 215-220; and 'The Carol of the Twelve Numbers,' by Leah Rachel Clara Yoffie, _Southern Folklore Quarterly_, Volume IV (June, 1940), pp. 73-75." - NR
Not to be confused with Burns's "Green Grow the Rashes-O," or with the "Green Grows the Laurel/Lilacs" family.
The Cornish words printed by Kennedy are by Talek and Ylewyth; they are translated from an English version, though Kennedy lists versions in other languages.
Some people consider this to be a variation of "Children Go Where I Send Thee"; since I'm not sure, I split them.
It might be noted that, although the sense of this song is religious, many of the references are in no sense Biblical. The following annotated version will demonstrate the point:
I'll sing you one, O
Green grow the rushes, O
What is your one, O
One is one and all alone and evermore shall be so. -- Refers to God or Jesus or both
Two, two, lily-white boys, clothed all in green, O -- Non-biblical
Three, three, the rivals -- Who knows what this refers to? Not explicitly Biblical. The "three" may be the Trinity
Four for the gospel makers -- Matthew, Mark, Luke John
Five for the symbols at your door -- ritual, not Biblical. (Though five could represent the five books of Moses)
Six for the six proud walkers -- Got me  (Brown A has "Firemen in the boat." Which doesn't help. Brown B has "ferrymen in the boat," which sounds rather like Charon)
Seven for the seven stars in the sky -- I'd blame this on J.R.R. Tolkien if it weren't so old. :-) (These would be the Pleiades, important to agricultural peoples as a sign of spring and planting season. - PJS)
Eight for the April rainers -- Another ritual oddity (Brown: Eight archangels. Most traditions say there are *seven* archangels, though the Bible doesn't name them all and the Koran gives a different list. The figure eight might be the seven plus an unknown "head of the order")
Nine for the nine bright shiners -- Ditto (Brown: Nine is the night that the star shone bright!)
Ten for the Ten Commandments -- Ex. 20:2-17; Deut. 5:6-21
Eleven for the eleven who went to heaven -- The Twelve Disciples (Matt. 10:2-4; Mark 3:16-19; Luke 10:14-16; Acts 1:13), less Judas Iscariot
Twelve for the twelve Apostles -- same as the above, with either Judas or Matthias (Acts 1:23-26) added. - RBW
File: ShH97
===
NAME: Green Grow The Rushes, Oh! (II -- Singing Game)
DESCRIPTION: "Green grow the rushes, oh! (x2), Kiss her quick and let her go, Never mind the weather if the wind don't blow." "Though she wears a checkered gown, He and she must both kneel down...." "Give her a kiss and send her away."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Linscott)
KEYWORDS: playparty courting nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 11-13, "Green Grow the Rushes, Oh!" (1 text, 1 tune)
NOTES: Linscott describes this as a kissing game, and seems to link it to the "Green Grows the Laurel" family. In fact it seems to partake of many other songs ("Green Grow the Rushes," "Hop High Ladies," etc.), and the mix is complex enough that I gave it its own entry. - RBW
File: Lins011
===
NAME: Green Grows the Laurel (Green Grow the Lilacs)
DESCRIPTION: The singer laments, "I once had a sweetheart but now I have none." (S)he wrote him a letter; the reply says to stop writing. (His/her) very looks are full of venom. (S)he wonders why men and women love each other
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Firth c.18(245))
KEYWORDS: love rejection parting
FOUND_IN: US(Ap,MW,NE,Ro,SE,So) Ireland Britain(Scotland,England) Canada(Mar,Newf,Ont)
REFERENCES: (21 citations)
Belden, pp. 490-491, "Green Grows the Laurel" (2 texts plus mention of 1 more)
Randolph 61, "The Orange and Blue" (3 texts plus a fragment, 1 tune)
Randolph/Cohen, pp. 118-121, "The Orange and Blue" (1 text, 1 tune -- Randolph's 61A)
BrownIII 280, "Red, White, and Blue" (3 texts with an interesting assortment of green-growing flowers); also probably 282, "I Sent My Love a Letter" (3 texts, of which "B" is clearly this; "A" is "Down in the Valley" and "C" is a mess with some "Down in the Valley" verses and others about Lulu; it's not clear which Lulu)
Chappell-FSRA 77, "Green Frows the Laurel" (1 text)
Scarborough-SongCatcher, pp. 331-332, "The Orange and the Blue" (3 texts, all short, with local titles "Red, White and Blue," "Green Grows the Laurel," "Green Grows the Laurel"; 2 tunes on pp. 445-446)
SharpAp 156, "Green Grows the Laurel" (1 text, 1 tune)
Kennedy 158, "Green Grows the Laurel" (1 text, 1 tune)
SHenry H165a+b, p. 260, "Green Grow the Rashes (Green Grows the Laurel)" (2 texts, 2 tunes, though both are strongly mixed with something like "If I Were a Fisher"); also H624, p. 349, "I Am a Wee Laddie, Hard, Hard Is My Fate" (1 text, 1 tune, also probably a composite of this and something else)
Gardner/Chickering 29, "Green Grows the Laurel" (2 texts; the "A" text is probably mixed with some other lost love song)
Peacock, pp. 454-455, "Green Grows the Laurel" (1 text, 1 tune)
Creighton-NovaScotia 20, "I Wrote My Love a Letter" (1 text, 1 tune)
Ives-NewBrunswick, pp. 29-30, "Green Grows the Laurel" (1 text, 1 tune)
Flanders/Brown, pp. 113-114, "Green Grows the Laurel" (1 text, 1 tune)
Ord, p. 182, "Green Grows the Laurel" (1 text); also p. 187, "The Rose and the Thyme" (1 text, mostly "I Wonder What Is Keeping My True Love Tonight" but with several verses which probably belong here)
BrownII 130, "Sweet William and Nancy" (1 text, mostly "William and Nancy (II) (Courting Too Slow)" [Laws P5] but mixed with this song and other material)
Lomax-FSNA 170, "Green Grows the Laurel" (1 text, 1 tune)
JHCox 139, "The Green Laurels" (2 texts)
MacSeegTrav 62, "Green Grows the Laurel" (2 texts, 2 tunes)
Silber-FSWB, p. 165, "Green Grow the Lilacs" (1 text)
DT, GREENGRO* GRENGRO2* WEELADDY* (the last being the mixed Sam Henry version)
Roud #279
RECORDINGS:
Mary Delaney, "Green Grows the Laurel" (on IRTravellers01)
Louie Fuller, "Green Grow the Laurels" (on Voice15)
Marie Hare, "Green Grows the Laurel" (on MRMHare01)
Mike Kent, "The Nightengale" (on NFMLeach)
Tex Ritter & his Texans, "Green Grow the Lilacs" (Capitol 206, 1945)
Jeannie Robertson, "Green Grow the Laurels" (on FSB1)
BROADSIDES:
Bodleian, Firth c.18(245), "I Changed the Green Willow for the Orange and Blue", W.S. Fortey (London), 1858-1885
CROSS_REFERENCES:
cf. "Will Ye Gang, Love"
cf. "The German Clockwinder" (tune)
cf. "The Ploughboy (I)" (lyrics)
cf. "The Blackbird and Thrush" (lyrics)
cf. "If I Were a Fisher" (floating lyrics)
cf. "I Wonder What Is Keeping My True Love Tonight (Green Grass It Grows Bonny)" (lyrics)
cf. "The Yellow Handkerchief (Flash Company)" (floating lyrics)
cf. "I've Travelled This Country (Last Friday Evening)" (floating lyrics)
cf. "The Rue and the Thyme (The Rose and the Thyme)" (floating lyrics)
cf. "A Warning to Girls" (floating lyrics)
cf. "Loved by a Man" (floating lyrics)
NOTES: A legend has it that Mexicans call Americans "Gringos" because, during the Mexican War, the yanquis sang "Green Grow the Lilacs" so often. The term "gringo" is much older than this, however. - RBW
Leach does not explain why the title of this cut on NFMLeach is "The Nightengale."
"Cupid's Garden" (I) includes the following lines: "For I mean to live a virgin, And still the Laurel wear" (see, for example, Bodleian broadside Harding B 20(119)). In the language of flowers laurel stands for "perfidy"; the spurge laurel stands for "coquetry" 
In Louie Fuller's Voice15 version each verse lists another seducer: the singer, a sailor and a pageboy.
Mary Delaney's version on IRTravellers01 adds verses I haven't seen before: "Now me mamma she blames me For courting too young, She may blame my small beauty And my flattering old tongue. She may blame my small beauty And my dark rolling eye, If my love is not for me And sorry am I." and "Oh then, thank God, agraghy, The case could be worse, I got money in my pocket And gold in my purse, When my baby is born I can pay for a nurse, And I'll pass as a maiden In a strange countery." - BS
File: R061
===
NAME: Green Hills of Antrim, The
DESCRIPTION: "Oh, dark was the day when I sailed from Cushleake And crossed the wild ocean, my fortune to seek." The singer's new land has beautiful birds and high mountains, but he misses home and Mary Machree "where the green hills of Antrim sweep down to the sea"
AUTHOR: Words: Canon Barnes
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: homesickness emigration separation derivative
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H606, p. 208, "The Green Hills of Antrim" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Mountains of Mourne" (tune, lyrics)
File: HHH606
===
NAME: Green Island Shore: see All Around Green Island's Shore (File: Doy65)
===
NAME: Green Laurels, The: see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: Green Linnet, The
DESCRIPTION: "Curiosity bore a young native of Erin To view the gay banks of the Rhine" where he sees a "young empress" looking for her "green linnet." She recounts his exploits and says she will search until she finds him
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Johnson Ballads 227); c.1830 (Zimmermann)
KEYWORDS: Napoleon love separation bird
HISTORICAL_REFERENCES: 1769 - Birth of Napoleon Bonaparte
1798 - Napoleon's Egyptian campaign. When his fleet is destroyed at the Battle of the Nile, he is forced to abandon the troops there
1809 - Napoleon divorces his first wife Josephine; he marries Maria Louisa of Austria in 1810
1814 - Napoleon exiled to Elba
June 18, 1815 - Battle of Waterloo
1821 - Death of Napoleon on Saint Helena
FOUND_IN: Canada(Newf,Ont) Ireland
REFERENCES: (6 citations)
Huntington-Whalemen, pp. 211-214, "The Green Linnet" (1 text, 1 tune)
Peacock, pp. 458-460, "The Green Linnet" (1 text, 1 tune)
O'Conor, pp. 10-11, "The Green Linnet" (1 text)
Zimmermann 30, "The Green Linnet" (2 texts, 1 tune)
Moylan 201, "The Green Linnet" (1 text, 1 tune)
DT, GRENLINN*
Roud #1619
RECORDINGS:
O. J. Abbott, "The Green Linnet" (on Abbott1)
BROADSIDES:
Bodleian, Johnson Ballads 227, "Maria Louisa Lamentation. The Green Linnet," J. Catnach (London), 1813-1838; also Harding B 11(2326), Harding B 11(2327)[some illegible words], Harding B 11(3877), "Maria Louisas Lamentation"; Harding B 11(934), "Maria Louisa's Lamentation for the Green Linnet"; Harding B 25(1217)[largely illegible], "Maria Louisa's Lamentation"; Harding B 11(1421), 2806 b.11(72), 2806 c.17(158), 2806 c.18(134), "The Green Linnet" ("Curiosity bore a young native of Erin")
LOCSinging, as104930, "The Green Linnet," J. Andrews (New York), 1853-1859
CROSS_REFERENCES:
cf. "The Royal Eagle" (theme: Napoleon)
NOTES: This song is curiously confused. The speaker seems to be Maria Louisa of Austria, Napoleon's second wife (it can hardly be his first wife Josephine; she died before Waterloo) -- but surely she would know her husband's career better than she seems to.
This apart from the fact that theirs was a political marriage, and neither party seems to have had any real affection for the other. (Napoleon died with the name of his first wife Josephine on his lips, and Maria Louisa, once Napoleon was exiled, quickly became involved with other men.) - RBW
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "The Green Linnet" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001))
Harte on the bird theme here: "The Irish have throughout history attributed the names of animals, and of birds in particular, to their various leaders... During the Jacobite period the Stuart Pretender was known as the 'Royal Blackbird' [a symbol of course shared by the Scots - RBW], Dan O'Connell was known as the 'Kerry Eagle,' and Charles Stewart Parnell was known as the 'Blackbird of Avondale;' so that it would not be strange for an Irish singer to find Napoleon Bonaparte referred to as the 'Royal Eagle,' or as in this song, the 'Green Linnet.'"
Broadside LOCSinging as104930: 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: SWMS211
===
NAME: Green Mossy Banks of the Lea, The [Laws O15]
DESCRIPTION: The young man, driven by "curiosity," roams the world. In Ireland he falls in love with a girl at first sight. He gains her father's approval by saying that he is rich. The two are married, and the American lad settles down on the banks of the Lea
AUTHOR: unknown
EARLIEST_DATE: before 1835 (broadside, Bodleian Firth b.26(498))
KEYWORDS: rambling love courting marriage
FOUND_IN: US(MA,MW) Canada(Mar,Newf) Britain(England) Ireland
REFERENCES: (9 citations)
Laws O15, "The Green Mossy Banks of the Lea"
OLochlainn-More 98, "The Green Mossy Banks of the Lee" (1 text, 1 tune)
FSCatskills 31, "The Green Mossy Banks of the Lea" (1 text, 1 tune)
Gardner/Chickering 70, "The Green Mossy Banks of the Lea" (1 text, short and full of odd distortions, e.g. the girl is "beautified" rather than "beautiful")
Peacock, pp. 523-524, "The Green Mossy Banks of the Lea" (1 text, 1 tune); p. 600, "The Sweet Mossy Banks of the Wey" (1 text, 1 tune)
Leach-Labrador 24, "American Stranger" (1 text, 1 tune)
Lehr/Best 47, "The Green Mossy Banks of the Lea" (1 text, 1 tune)
Mackenzie 47, "Green Mossy Banks of the Lea" (1 text, 1 tune)
DT 477, MOSSYLEA MOSSYLE2
Roud #987
RECORDINGS:
Anita Best and Pamela Morgan, "The Green Mossy Banks of the Lee" (on NFABestPMorgan01)
Tony Wales, "The Green Mossy Banks of the Lea" (on TWales1)
BROADSIDES:
Bodleian, Firth b.26(498), "The Green Mossy Banks of the Lea," G. Walker (Durham), 1797-1834; also Harding B 11(2224), Firth c.18(95), Harding B 11(1426), Firth c.18(86), Firth b.27(321), Johnson Ballads 1227, Johnson Ballads 1400, Harding B 11(1423), Harding B 11(1424), Harding B 11(1427), Harding B 11(1429), Harding B 11(1425), Harding B 11(1640), Firth b.26(65), Harding B 11(4030), Harding B 11(1430), Firth b.25(300), Johnson Ballads 341, "The Green Mossy Banks of the Lea"; Harding B 26(232), Harding B 26(231), "The Green Mossy Banks of the Lee"
CROSS_REFERENCES:
cf. "Miss Green" (tune)
File: LO15
===
NAME: Green Mountain: see The Streams of Lovely Nancy (File: VWL098)
===
NAME: Green Mountain Boys, The: see The Backwoodsman (The Green Mountain Boys) [Laws C19] (File: LC19)
===
NAME: Green on the Cape: see Green Upon the Cape (File: PGa091)
===
NAME: Green Peas, Mutton Pies
DESCRIPTION: "Green peas, mutton pies, Tell me where my Jeannie lies, And I'll be with her ere she rise, And cudle her to my bosom." "I love Jeannie over and over, I love Jeannie among the clover; I love Jeannie and Jeannie loves me; That's the lass that I'll go wi."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: food courting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 77, "(Green Peas, Mutton Pies)" (1 short text)
Roud #13204
File: MNSR077
===
NAME: Green Shores of Fogo, The
DESCRIPTION: "Our barque leaves this harbour tomorrow." The singer is leaving Fogo and Katie "my fortune I'm after seeking In a far distant land o'er the sea"
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: grief love parting nonballad lyric emigration
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Peacock, p. 522, "The Green Shores of Fogo" (1 text, 1 tune)
DT, SHORFOGO
Roud #6335
RECORDINGS:
Ken Peacock, "Green Shores of Fogo" (on NFKPeacock)
CROSS_REFERENCES:
cf. "The Blooming Bright Star of Belle Isle" [Laws H29] (tune)
NOTES: Peacock states "This native love lyric is patterned on a much older Irish song entitled The County I'm Leaving Behind." I considered marking this derivative but I have not seen the base text. - BS
Roud does lump them, but Joe Hickerson, in his notes to "Drive Dull Care Away, Volume 1," says merely that it "seems to be based on" the Irish song. That's separate enough for me. - RBW
File: Pea522
===
NAME: Green Sleeves: see Greensleeves (File: ChWI239)
===
NAME: Green Upon the Cape
DESCRIPTION: "I'm a lad that's forced an exile From my own native land... I'm a poor distressed croppy For the green upon my cape." The boy goes to Belfast, bids farewell to his parents, and sets out by ship for Paris. He hopes to return to a free Ireland
AUTHOR: unknown
EARLIEST_DATE: before 1879 (broadside, LOCSinging as10165a); c.1800 (Zimmermann)
KEYWORDS: Ireland soldier exile
FOUND_IN: Ireland
REFERENCES: (5 citations)
PGalvin, pp. 91-93, "Green Upon the Cape" (1 text, 1 tune)
Zimmermann 21A, "Green On My Cape" (1 text, 1 tune)
Moylan 32, "Green Upon the Cape" (1 text)
Healy-OISBv2, pp. 126-127, "(A Much Admired Song Called) Green on the Cape" (1 text)
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 15-17, 511-512, "Green Upon the Cape"
Roud #5773
BROADSIDES:
Bodleian, 2806 c.8(47), "Green on the Cape," unknown, n.d.
LOCSinging, as10165a, "Wearing of the Green," H. De Marsan (New York), 1864-1878; also as101650, as10165a, "Green on the Cape"
CROSS_REFERENCES:
cf. "The Wearing of the Green (I)"
NOTES: Galvin lists this as a "Northern variant of 'The Wearing of the Green,'" but the sheet music makes it clear that this is forced; there aren't enough notes in the melody for the lyrics.
Clearly the singer is one of the "Wild Geese" who fled Ireland. The Wild Geese often formed "Irish Brigades" in foreign countries; this seems to be the case here.
The first migration of the Wild Geese came after the Boyne and the succeeding battles (roughly 1691-1700), but this song, despite its reference to Cromwell, probably refers to the second migration, as the young man left via Belfast. - RBW
It's not certain that broadside LOCSinging as10165a predates the other LOCSinging entries; it is the only one I can come close to dating. Its text seems corrupt. All three LOCSinging entries have Bonaparte promising to send a fleet "to pull the orange down," but only the De Marsan text has him promise as well to "guillotine their leaders, As well as 'King and Queen.'" In the broadside Bodleian 2806 c.8(47) the exile goes to New York and meets "Meagher, Walsh and Kelly" who promise to "send a convoy with you."
Broadside LOCSinging as10165a: 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: PGa091
===
NAME: Green Valley: see Yon Green Valley (File: K168)
===
NAME: Green Wedding, The: see Katharine Jaffray [Child 221] (File: C221)
===
NAME: Green Willow Tree (I), The: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Green Willow Tree (II), The: see In My Garden Grew Plenty of Thyme (File: R090)
===
NAME: Green Willow, The
DESCRIPTION: Phoebe accuses William. "She said he had deceived her" Usual "All Around My Hat" complaints. She fears dying a maiden. William claims his deception "was only to try if you were true" They marry and live happily as an example for young lovers.
AUTHOR: unknown
EARLIEST_DATE: 1953 (Creighton-Maritime)
KEYWORDS: love marriage lie
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 81, "All Around My Hat" (1 text, 1 tune)
Roud #567
BROADSIDES:
Bodleian, Harding B 11(1432), "The Green Willow," J. Catnach (London), 1813-1838; also Firth c.18(133), Harding B 11(1433), "The Green Willow"
CROSS_REFERENCES:
cf. "All Around My Hat" ("All around my hat" lyrics)
NOTES: Creighton-Maritime pp. 80-81 words fit "All Around My Hat" but the tune is not the standard tune. On the other hand, Creighton-Maritime p. 81 has the standard "All Around My Hat" tune but, what seems to me to be, a different theme.
Broadside Harding B 11(1432) matches Creighton-Maritime p. 81 but replaces the line "But since it is my fortune that I must Marry an old man" with "But since 'tis my misfortune that I must die a maiden." The description for "The Green Willow" is from a more complete but undated broadside Bodleian Firth c.18(133). - BS
File: CrMa081
===
NAME: Green Woods o' Airlie, The
DESCRIPTION: "The bonniest lass in a' the countryside Has fa'en in love wi' the plooman laddie But little did she think her heart was betrayed At the fit o' the green woods o' Airlie." After some laments over him, he comes back to her and they are married
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting marriage
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 111-112, "The Green Woods o' Airlie" (1 text)
Roud #3324
File: Ord112
===
NAME: Greenback Dollar
DESCRIPTION: Categorized by a lost love theme ("Don't forget me, little darling") and the line(s) "I don't want your greenback dollar; I don't want your watch and chain." Many versions say that the couple cannot marry because of parental opposition
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Weems String Band)
KEYWORDS: love separation family floatingverses
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 733, "Don't Forget Me, Little Darling" (4 texts, 2 tunes, but only "A" and "B" are this song; "D" is "Don't Forget Me, Little Darling"; "C" is probably composite)
Randolph/Cohen, pp. 504-505, "Don't Forget Me, Little Darling" (1 text, 1 tune -- Randolph's 733A)
DT, GBDOLLAR*
Roud #3420
RECORDINGS:
Callahan Bros., "Greenback Dollar" (Conqueror 8682, 1936)
[Clarence] Ashley & [Gwen] Foster, "Greenback Dollar" (Vocalion 02554, c. 1933)
J. E. Mainer's Mountaineers, "Greenback Dollar" (Bluebird B-6090 [as Daddy John Love?], 1935) 
Weems String Band, "Greenback Dollar" (Columbia 15300-D, 1928) [see notes]
CROSS_REFERENCES:
cf. "The Drowsy Sleeper" [Laws M4] (plot)
cf. "The Silver Dagger (I)" [Laws G21] (plot)
cf. "Rye Whiskey"
cf. "I Don't Want Your Millions, Mister" (tune)
cf. "Don't Forget Me, Little Darling (I)" (plot, floating lyrics)
SAME_TUNE:
Dixon Brothers, "Greenback Dollar - Part 2" (Bluebird B-6462, 1936)
J. E. Mainer's Mountaineers, "Answer to 'Greenback Dollar'" (Bluebird B-7151/Montgomery Ward M-7301, 1937)
Wiley, Zeke & Homer, "Greenback Dollar - Part 3" (Bluebird B-7426, 1938)
NOTES: Most versions of this appear to be pastiches of floating verses -- or at least floating themes. The mention of the "greenback dollar" is so characteristic, however, that I decided to classify this as a separate song. - RBW
This should not be confused with the fiddle tune of the same name, nor the folk-revival song with the chorus "I don't give a damn about a greenback dollar/Spend it as fast as
I can"; the former is a popular fiddle tune, while the latter was composed by Hoyt Axton. Neither is any relation to this song. - PJS
We might note that the line "I don't want your greenback dollar" might have originated in a context not related to a rejected lover: The first "greenbacks" -- i.e. paper money unbacked by gold -- were issued during the Civil War, and they did depreciate significantly, with an average exchange rate of about three greenbacks for two gold dollars, but it sometimes fell to about two to one when Union forces seemed to be in particular trouble.
George Lineberry, the husband of the grand-niece of "Uncle Dick" Weems and "Uncle Frank" Weems, offers what is probably the final word on the matter:
"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."
In the case of "Greenback Dollar," it appears that other hillbilly musicians (presumably operating under the same "get some words or get lost" imperative) proceeded to supply their own lyric grafts to produce the confusion of words found in the recording list. - RBW
File: R733
===
NAME: Greenfields (How Tedious and Tasteless the Hours)
DESCRIPTION: "How tedious and tasteless the hours When Jesus no longer I see; Sweet prospects, sweet birds, and sweet flowers Have all lost their sweetness to me. The midsummer sun shines but dim, The fields strive in vain to look gay...."
AUTHOR: John Newton?
EARLIEST_DATE: 1779? (published with tune in 1808 in the Missouri Harmony)
KEYWORDS: religious Bible nonballad
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 625, "How Tedious and Tasteless the Hours" (1 text, 1 tune)
Sandburg, p. 154, "Greenfields" (1 text, 1 tune)
Roud #3385
RECORDINGS:
Old Harp Singers of Eastern Tennessee, "Greenfields" (on OldHarp01)
CROSS_REFERENCES:
cf. "Delights in Christ (tune)"
cf. "Edgefield" (same words, different tune)
NOTES: The uncertainty about the authorship of this hymn derives from the fact that many early sources do not credit it. The earliest record seems to be _The Original Sacred Harp_, which credits John Newton in his book _Olney Hymns_, 1779. The tune is "Delights in Christ." - PJS, RBW
(The Missouri Harmony version, to the tune "Greenfields," precedes the Sacred Harp publication, but with no author listed. Note that there is another tune, "Greenfield," in the Missouri Harmony; it's not the same. The Missouri Harmony also sets the words to the tune "Harpeth.")
Moderns, of course, will know it (if at all) to the tune "Greenfields." The Sacred Harp also sets this to the tune "Edgefield," by J. T. White, but that version seems less popular.
For background on JohN Newton, see the notes to "Amazing Grace." - RBW
File: San154
===
NAME: Greenhorn, The
DESCRIPTION: Recitation; a greenhorn arrives in the lumber camp and makes friends with everyone except Joe Bonreau, the camp bully. The greenhorn doesn't respond until Joe talks about the greenhorn's girlfriend, after which he proceeds to wipe the floor with Joe
AUTHOR: Probably Marion Ellsworth
EARLIEST_DATE: 1941 (Beck)
LONG_DESCRIPTION: Recitation; a greenhorn arrives in the lumber camp, and although he's quiet and doesn't smoke, drink or chew tobacco, he makes friends with everyone except Joe Bonreau, the camp bully, who teases him without mercy. The greenhorn doesn't respond until Joe makes remarks about the greenhorn's girlfriend, after which the greenhorn proceeds to wipe the floor with him. All approve, and Joe shakes his hand, saying to the speaker, "I guess, Jack, you was right/When I start in to rile that kid/I was fool with dynamite."
KEYWORDS: lumbering fight logger recitation
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 103, "The Greenhorn" (1 text)
Roud #8882
NOTES: This, like the other pieces probably written by Ellsworth, does not seem to have entered oral tradition. - PJS
File: Be103
===
NAME: Greenland (The Whaler's Song, Once More for Greenland We Are Bound)
DESCRIPTION: "Again for Greenland we are bound To leave you all behind." The singer describes the trip to the Greenland whaling grounds -- and the return, where they "see our sweethearts and our wives All waiting on the pier." The singer will return next year
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: whaler travel return reunion sailor
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, pp. 317-318, "The Whaler's Song" (1 text, 1 tune)
DT, GRNLNDBD GRNLNDB2*
Roud #970
File: Ord317
===
NAME: Greenland Disaster (I), The
DESCRIPTION: A sealing expedition leaves St. John's for the ice fields and all is well. When the men reached the ice, a storm comes up and freezes them. There are 25 dead and 23 missing. The singer concludes by hoping his audience will pray with him.
AUTHOR: Mrs. John Walsh ?
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: storm disaster death hunting
HISTORICAL_REFERENCES: Mar 21, 1898 - Greenland disaster
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Doyle2, pp. 40-41, "The Greenland Disaster" (1 text, 1 tune)
Greenleaf/Mansfield 146, "The Greenland Disaster" (1 text, 1 tune)
Blondahl, p. 79, "The Greenland Disaster" (1 text, 1 tune)
Ryan/Small, pp. 46-51, "The Greenland Disaster (1)," "The Greenland Disaster (2)"  (2 texts, 2 tunes)
ST Doy40 (Partial)
Roud #4080
CROSS_REFERENCES:
cf. "The Greenland Disaster (II -- Sad Comes the News)" (subject)
cf. "The Greenland Disaster (III -- Miscellaneous)" (subject)
NOTES: Horace Beck in his book _Folklore and the Sea_ (Mystic Conn.: Mystic Seaport Museum, 1985), p. 208 gives a brief account of sealing disasters in Newfoundland that he obtained from George A. England, _Vikings of the Ice_ (London, 1924) pp. 54-59. - SH
This song is item dD34 in Laws's Appendix II. Laws knew only the version in Greenleaf/Mansfield; obviously it is more popular than he thought.
The versions of this song are very diverse; Blondahl's, e.g., tells the story of the disaster in detail, while Doyle's is a bit briefer on that account but spends many stanzas detailing the names of the dead. Some of this may be caused by the vast numbers of Greenland Disaster poems floating about; Ryan/Small have four probably non-traditional versions in addition to the two traditional forms (this and "The Greenland Disaster (II)." - RBW
File: Doy40
===
NAME: Greenland Disaster (II -- Sad Comes the News), The
DESCRIPTION: "Sad comes the news from over the sea...." The Greenland sails for the ice in March, and soon finds seals. At the end of March, a blinding snowstorm begins. The men on the ice freeze, and many are never found.
AUTHOR: unknown
EARLIEST_DATE: 1951 (Peacock)
KEYWORDS: storm disaster death hunting
HISTORICAL_REFERENCES: Mar 21, 1898 - Greenland disaster
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Peacock, pp. 926-927, "The Greenland Disaster" (1 text, 1 tune)
Ryan/Small, pp. 50-51, "The Greenland Disaster (3)" (1 text, 1 tune)
ST RySm050 (Partial)
Roud #6465
CROSS_REFERENCES:
cf. "The Greenland Disaster (I)" (subject)
cf. "The Greenland Disaster (III -- Miscellaneous)" (subject)
NOTES: The Greenland incident produced several poems; Ryan and Small have no fewer than seven items on the tragedy, though their first two are both versions of "The Greenland Disaster (I)" and the last four appear to be non-traditional.
Based on Peacock's text, this is distinguished from the more-common "Greenland Disaster (I)" partly by being in triple time, partly by te first line quoted, and also by an inaccurate date (March 31 rather than March 21). - RBW
File: RySm050
===
NAME: Greenland Disaster (III -- Miscellaneous), The
DESCRIPTION: Catchall entry, for all poems about the Greenland Tragedy not covered by the other pieces on the subject. The Greenland goes to the ice, and 48 men are frozen or lost as a heavy storm traps them away from the ship
AUTHOR: various, some unknown
EARLIEST_DATE: 1898 (variiuus poems in the Harbour Grace Standard)
KEYWORDS: storm disaster death hunting
HISTORICAL_REFERENCES: Mar 21, 1898 - Greenland disaster
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 53, "Written in Memory of the 48 Men Who Lost Their Lives in the S. S. Greenland Sealing Disaster of Monday, March 21st, 1898 (4)"; p. 54, "The Greenland Disaster (5)"; pp. 55-56, "The Greenland Disaster (6)"; pp. 57-58, "The Greenland Disaster (7)" (4 texts)
CROSS_REFERENCES:
cf. "The Greenland Disaster (I)" (subject)
cf. "The Greenland Disaster (II -- Sad Comes the News)" (subject)
NOTES: The poems cited here are not one piece, but I've lumped them because there are so many of them, none traditional. These pieces are to be strongly distinguished from The Greenland Disaster (I) and (II), which *are* traditional. - RBW
File: RySm052
===
NAME: Greenland Fishing: see The Greenland Whale Fishery [Laws K21] (File: LK21)
===
NAME: Greenland Whale Fishery, The [Laws K21]
DESCRIPTION: The singer and his companions (are forced by poverty to) sign on a whaler. They spot a whale. The whale is harpooned, but sinks the boat and escapes. Five crewmen are killed. The captain regrets the loss of whale and/or crew. At last they leave Greenland
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian 2806 c.17(160))
KEYWORDS: ship whale whaler death
FOUND_IN: US(MA,MW,NE) Britain(England(South,Lond)) Bahamas Canada(Newf)
REFERENCES: (19 citations)
Laws K21, "The Greenland Whale Fishery"
Belden, pp. 104-105, "The Greenland Whale Fishery" (1 text)
Huntington-Whalemen, pp. 9-10, "The Whalefish Song" (1 text, 1 tune, without reference to the drowned men); pp. 11-12
Colcord, pp. 151-152, "Greenland Fishery" (1 text, 1 tune)
Harlow, pp. 223-227, "The Whale," "The Greenland Whale" (2 texts, 2 tunes)
Leach, pp. 707-708, "The Greenland Whale Fishery" (1 text)
Peacock, pp. 147-148, "Whaling Song" (1 text, 1 tune)
Karpeles-Newfoundland 42, "The Greenland Fishery" (1 text, 1 tune)
Friedman, p. 401, "The Greenland Whale Fishery" (1 text, 1 tune)
OBB 169, "The Greenland Fishery" (1 text)
FSCatskills 95, "Bound for the Stormy Main" (1 text, 1 tune)
PBB 81, "The Greenland Whale" (1 text)
Vaughan Williams/Lloyd, pp. 50-51, "The Greenland Whale Fishery" (1 text, 1 tune)
Shay-SeaSongs, pp. 122-123, "The Whale" (1 text, 1 tune, plus a fragment from _Moby Dick_ which may well be derived from this song)
Scott-BoA, pp. 142-144, "The Greenland Whale Fishery" (1 text, 1 tune)
Lomax-FSNA 32, "The Greenland Whale Fishery" (1 text, 1 tune)
Botkin-AmFolklr, pp. 832-833, "Greenland Fishery" (1 text, 1 tune)
Silber-FSWB, p. 94, "Greenland Fisheries" (1 text)
DT 321, GREENLAN* GRENLAN2* GRNFISH* GRENFIS4*
Roud #347
RECORDINGS:
Almanac Singers, "Greenland Fishing" (Rec. 1941, unissued at the time; on AlmanacCD1)
David Pryor: "When the Whale Get Strike" [fragment] (AAFS 512 A1, 1935; on LomaxCD1822-2)
Pete Seeger, "The Greenland Whalers" (on PeteSeeger10)
BROADSIDES:
Bodleian, 2806 c.17(160), "Greenland Whale Fishery" ("In eighteen-hundred and twenty-three"), W. Armstrong (Liverpool), 1820-1824; also Firth c.13(67), Firth c.13(68), Firth c.13(69), Firth c.13(71), Harding B 11(90), Harding B 11(3307), Harding B 11(958), Harding B 25(778), "Greenland Whale Fishery"
CROSS_REFERENCES:
cf. "The Barrack's Song" (form)
NOTES: [Lloyd cites a blackletter printing of this piece from before 1725.]
In 1830, the English whaling fleet moved from the right-whale grounds off Greenland to Baffin Bay, and thence to the grounds off Hawaii and Peru. The whalers' songs nonetheless continued to refer to the Greenland grounds. - PJS
File: LK21
===
NAME: Greenmount Smiling Ann
DESCRIPTION: The singer sees a beautiful girl, "Greenmount smiling Ann." He sees a young man in green approach her. They go off together; the birds sing and the swans glide along with them. He is assured they are "joined in Hymen's ban."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: love husband wife bird marriage beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H182, pp. 464-465, "Greenmount Smiling Ann" (1 text, 1 tune)
Roud #4457
File: HHH464
===
NAME: Greens
DESCRIPTION: "Greens, greens, good old (collard/culluhed) greens, I eats 'em in the mornin', I eats 'em in the night, I eats 'em all the time; They make me feel just right."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: food nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Sandburg, p. 347, "Greens" (1 fragment, 1 tune)
Pankake-PHCFSB, p. 8, "Collard Greens" (1 text, tune referenced)
Roud #4491
CROSS_REFERENCES:
cf. "Turnip Greens" (theme)
NOTES: It's not clear whether the Sandburg and Pankake songs are the same (about all they have in common are the phrase "good old collard greens") -- but both are fragments; it seems pointless to separate them.
The Pankakes have another song, "Turnip Greens," which may spring from the same, er, roots. - RBW
File: San347
===
NAME: Greensleeves
DESCRIPTION: A song of a man rejected by "Lady Greensleeves," whom he describes as "all my joy" and "my delight." He offers various gifts and honors if she will return to him and complains about what he has already spent upon her.
AUTHOR: unknown
EARLIEST_DATE: 1580 (Stationer's Register; the first surviving printing is from _A Handful of Pleasant Delights_,1584, and we first find the tune in 1652)
KEYWORDS: love courting rejection
FOUND_IN: Britain
REFERENCES: (6 citations)
Leather, p. 137, "Handkerchief Dance [Greensleeves]" (1 tune, with dance instructions but no text)
Chappell/Wooldridge I, pp. 239-242, "Green Sleeves" (1 text, 1 tune)
Silber-FSWB, p. 140, "Greensleeves" (1 text)
Fuld-WFM, p. 259, "Greensleeves"
ADDITIONAL: Norman Ault, _Elizabethan Lyrics From the Original Texts_, pp. 86-89, "A New Courtly Sonnet of the Lady Greensleeves" (1 text)
DT, GRNSLVS* GRNSLV3*
ST ChWI239 (Full)
RECORDINGS:
Pete Seeger, "Greensleeves"  [probably instrumental] (on PeteSeeger47)
CROSS_REFERENCES:
cf. "O Shepherd, O Shepherd" (tune)
cf. "The Lord of Lorn and the False Steward" [Child 271] (tune)
cf. "What Child Is This?" (tune)
SAME_TUNE:
At Rome there is a most fearful rout/New Song of Lulla By (BBI ZN331)
You traitors all that doo deuise, to hurt our Queen in trewcherous wise/A warning to all false Traitors.. [execution of 14 traitors, Aug. 1588] (BBI ZN3138)
Good Lord what a wicked world is this/A most excellent godly new Ballad  (BBI ZN1009)
NOTES: I have heard that green sleeves betokened a prostitute, and that this song is about a young man who yearned for a woman he could not marry because of her occupation. Kelly Eberhard informs me of a contrary legend, that green sleeves betokened English royalty. (I wonder, in all seriousness, if green sleeves did not betoken a "queen," which means of course both the female member of the ruling family and a prostitute.)
The actual origin of this tune is unknown (some have credited it to Henry VIII!), but it became popular almost instantly after its registration. Shakespeare mentions it twice in "The Merry Wives of Windsor" (II.i.57 and V.v.18); Chappell lists many other mentions from before 1600. Ault notes that the title was registered to Jones (who would later print the _Handful of Pleasant Delights_ version) on Sept. 3, 1580 -- and, that, on the same day, another printer registered "The Lady Greenesleeve's Answer to Donkyn her friend," implying that the piece was already well enough known to draw knock-offs.
Whether the piece ever really took a place in the traditional repertoire is another matter. - RBW
The words perhaps [did] not [become traditional], but the tune certainly did, being found in various forms as a morris dance, a country dance ("Green Sleeves and Yellow Lace") and two carols ("What Child Is This," of course, and "Dame Get Up and Bake You Pies"). -PJS
File: ChWI239
===
NAME: Greenwood Laddie, The
DESCRIPTION: Singer describes the beauty of her greenwood laddie. Her parents oppose the match because he has no riches, but she says "the more that they slight you, the more I'll invite you". She would still cherish him if she had the gold of the Indies or of Africa.
AUTHOR: unknown
EARLIEST_DATE: 1952 (recorded from Charles Boyle)
KEYWORDS: love beauty gold money lyric nonballad lover father mother
FOUND_IN: Ireland
REFERENCES: (2 citations)
Kennedy 130, "The Greenwood Laddie" (1 text, 1 tune)
Tunney-StoneFiddle, p. 137, "The Greenwood Laddie" (1 text, 1 tune)
Roud #2123
RECORDINGS:
Robert Cinnamond, "The Greenwood Laddie" (on IRRCinnamond02)
Paddy Tunney, "Greenwood Laddie" (on IRPTunney01)
CROSS_REFERENCES:
cf. "The Banks of the Bann (I)" [Laws O2] (lyrics)
NOTES: In 1909 Joyce collected "The Greenwood Lad," but only the tune, and without seeing it I won't cite it as Earliest Date. This is similar in tone to "Banks of the Bann," and even shares a verse, but it's otherwise different enough that I split them without question. - PJS
Kennedy speculates that this might be somehow connected with a Gaelic song, and that the youth's "green-ness" might have political significance. Which strikes me as a rather forced interpretation. - RBW
File: K130
===
NAME: Greenwood Siding, {The): see The Cruel Mother [Child 20] (File: C020)
===
NAME: Greer County: see Starving to Death on a Government Claim (The Lane County Bachelor) (File: R186)
===
NAME: Greer's Grove
DESCRIPTION: Johnny intends to spend the night with Nancy but her cronies beat him and take his money. Next day his mother and neighbors comment on his appearance. He denies being beaten. Fellows, beware of Nancy.
AUTHOR: unknown
EARLIEST_DATE: 1955 (IRRCinnamond02)
KEYWORDS: courting sex fight humorous
FOUND_IN: Ireland
REFERENCES: (0 citations)
ST RcGrrGrv (Full)
Roud #7004
RECORDINGS:
Robert Cinnamond, "Down By Gruyer's Groves" (on IRRCinnamond02)
NOTES: The description is based on John Moulden's transcription from IRRCinnamond02 included in the Traditional Ballad Index Supplement. - BS
File: RcGrrGrv
===
NAME: Gresford Disaster, The
DESCRIPTION: 242 miners and three rescuers died in the Gresford mine explosion. The management is accused of destroying the fireman's records to cover criminal negligence. "Down there in the dark they are lying; they died for nine shillings a day"
AUTHOR: unknown
EARLIEST_DATE: 1952
KEYWORDS: disaster death mining
HISTORICAL_REFERENCES: Sept 22, 1934 - explosion of the Gresford pit mine (in Denbyshire) kills 265 miners and three rescuers
FOUND_IN: Britain
REFERENCES: (3 citations)
MacColl-Shuttle, pp. 11-12, "The Gresford Disaster" (1 text, 1 tune)
PBB 116, "The Gresford Disaster" (1 text)
DT, GRESFORD
Roud #3089
RECORDINGS:
Mrs. A. Cosgrave, "The Gresford Disaster" (on FSB3)
File: PBB116
===
NAME: Grey Cat Kittled in Charlie's Wig, The
DESCRIPTION: "The grey cat's kittled in Charlie's wig (x2), There's one of them living and two of them dead, The grey cat's kittled in Charlie's wig"
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: animal childbirth
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 40, "(The grey cat's kittled in Charlie's wig)" (1 short text)
Roud #13024
File: MSNR040
===
NAME: Grey Cock, The, or, Saw You My Father [Child 248]
DESCRIPTION: Man bids his love to let him in. After some hours of lovemaking, he tells her he must depart when the cock crows (or before). She hopes the cock will not crow soon, but it crows early. She learns that her lover is a ghost, and may never return
AUTHOR: unknown
EARLIEST_DATE: 1769 (Herd)
LONG_DESCRIPTION: Man comes to his lover's window, bidding her open and let him in. They spend the night in lovemaking; toward dawn, he tells her he must leave when the cock crows for day. She prays the cock not to crow too soon, but the cock in fact crows early. She remarks her lover's cold lips and skin, realizing he has returned to her dead. As he leaves, she asks when she will see him again; he replies with impossibilities ("When the fish they fly, love, and the sea runs dry, love/And the rocks they melt in the heat of the sun") -- i.e., at the Judgment Day.
KEYWORDS: love sex farewell death dialog nightvisit paradox supernatural lover ghost
FOUND_IN: Britain(England(South,West),Scotland) US(Ap,SE) Canada(Mar,Newf) Ireland
REFERENCES: (12 citations)
Child 248, "The Grey Cock, or, Saw You My Father" (1 text)
Bronson 248, "The Grey Cock, or, Saw You My Father" (16 versions)
SharpAp 36, "The Grey Cock" (1 text, 1 tune) {Bronson's #6}
BarryEckstormSmyth pp. 310-313, "The Grey Cock" (1 text plus Joyce's version of "The Lover's Ghost")
Leach, pp. 611-612, "The Grey Cock" (2 texts)
Warner 90, "Pretty Crowin' Chicken" (1 text, 1 tune)
Creighton/Senior, pp. 83-85, "The Grey Cock" (2 texts, 2 tunes) {Bronson's #11, #13}
Karpeles-Newfoundland 21, "The Lover's Ghost" (2 texts, 2 tunes)
Vaughan Williams/Lloyd, pp. 52-53, "The Grey Cock, or The Lover's Ghost" (1 text, 1 tune) {Bronson's #16}
Hodgart, p. 148, "The Grey Cock" (1 text)
SHenry H699, pp. 383-384, "The Bonny Bushes Bright" (1 text, 1 tune)
DT 248, GREYCOCK*
ST C248 (Full)
Roud #179
RECORDINGS:
Robert Cinnamond, "Fly Up My Cock" (on IRRCinnamond02)
Cecilia Costello, "The Grey Ghost" (on FSB5 [as "The Grey Cock"], FSBBAL2) {Bronson's #16}
A. L. Lloyd, "The Lover's Ghost" (on Lloyd1) (on Lloyd2, Lloyd3)
Ewan MacColl and Peggy Seeger, "The Grey Cock" (on ENMacCollSeeger02)
CROSS_REFERENCES:
cf. "Night Visiting Song" (motif)
cf. "A Waukrife Minnie" (motif)
cf. "Rise Up Quickly and Let Me In (The Ghostly Lover)" (motif)
cf. "Willie's Fatal Visit" [Child 255] (motif)
NOTES: [Of Bronson's sixteen versions,] only one is of the Night Visiting Song type and one of the I Once Loved a Lass type. - AS
Hugh Shields wrote an article, "The Grey Cock: Dawn Song or Revenant Ballad?" (reprinted in E. B. Lyle, _Ballad Studies_, pp. 67-92) which argues that, in its original form, this was an "alba" or "dawn song" rather than a revenant ballad.
The problem with the hypothesis, as even Shields grudgingly admits, is that this type of song is literally unknown in English (it's associated primarily with the Iberian peninsula, though James J. Wilhelm, _Medieval Song_, p. 107, claims that the oldest Dawn Song is the Provencal "En un vergier sotz folha s'albespi," and Wilhelm prints several other dawn songs from France, and even a few from Germany).
Shields never ever really defines the form, giving only a few footnotes, one pointing to a German article on Chaucer's _Troilus_. Looking at the examples in Wilhelm (there are several more found among the Provencal songs), it appears that the characteristic of the form is two young people, forbidden to meet, still coming together at night and having to part before dawn. Though there are also "religious" alba songs, presumably in praise of the light, and a few other things. All of them, however, are art or minstrel songs, not folk songs.
The former type of alba song, obviously, resembles "The Grey Cock" -- but the motivations are entirely different, and so, generally, is the outcome; in the alba songs, the light simply threatens to reveal the lovers, while it threatens the ghost's very existence in the English ballad. I incline to think the similarity, if there is one, is coincidental -- i.e. "The Grey Cock" may be an alba song, but it is not from the tradition of alba songs. 
I should probably note, though, that the Provencal examples cited come mostly from the twelfth and thirteenth centuries -- i.e. some of them come from the time when England ruled large parts of Provence. Henry II had Provencal troubadours in his entourage (perhaps the most famous of all, Bertran de Born, c. 1140-1214, had a part in the quarrels between Henry and his son Henry the Young King, and wrote a lament for the latter). So the form could have been introduced into England at the time -- if you believe that it could have survived the conversion into English and then have lasted until modern times.
There is a nursery rhyme verse which is probably related to this, though it might also have been influenced by "Lady Isabel and the Elf-Knight" or something similar:
Oh, my pretty cock, oh, my handsome cock,
I pray you, do not crow before day,
And your comb shall be made of the very beaten gold,
And your wings of the silver so gray. (Baring-Gould-MotherGoose #852, p. 320.) - RBW
The nine-verse Costello version [Vaughan Williams/Lloyd] of "The Grey Cock" begins with five verses often found in "Rise Up Quickly and Let Me In (The Ghostly Lover)," including the distinguishing lines
Saying, "I'll be guided without a stumble...."
"....Disturbing me from my long night's rest?"
"It is your own true love, pray don't discover..."
"....For I am wet after my long night's journey,
Besides I'm wet love unto the skin."
followed by the "where is the blushes" verse from "Willy O!", two bribery and betrayal verses from Child 248, and ends with the "when the fish they fly" verse from "I Will Put My Ship In Order"; Ewan MacColl's version of the Costello text adds one more verse from "Willy O!" 
Perhaps a revenant "The Grey Cock" was closer to the P.W. Joyce version and the two closely related Karpeles-Newfoundland texts; that ballad also concludes with the "when the fish they fly" verse. There the distinguishing lines include
"And where is your bed, my dearest love," he said,
"And where are your white Holland sheets?
And where are the maids, oh my darling dear," he said,
"That wait upon you whilst you are asleep?"
"The clay it is me bed, my dearest dear," she said,
"The shroud is my white Holland sheet.
And the worms and creeping things are me servants, dear," she said,
"That wait upon me whilst I am asleep."
(Joyce's text, unlike Karpeles's, reverses the sex of the parties.) Or maybe that is another independent set of ballads.
Child's notes to "The Grey Cock, or, Saw You My Father?" refer to a ballad without a ghost theme ended prematurely by a crowing cock: "The cock is remiss or unfaithful, again, in a little ballad picked up by Burns in Nithsdale, 'A Waukrife Minnie,' Cromek, Select Scottish Songs. You can read the text of the 1789 poem at Burns Country site.
Robert Cinnamond's version on IRRCinnamond02, like Child, Johnson, SHenry and BarryEckstormSmyth, have no ghostly elements. At the end, as in SHenry, the woman is deserted by a man who would just rather not be married. My own inclination, without getting into the "alba" controversy, is to believe that the ghostly versions, like Costello, Vaughan Williams/Lloyd and MacColl, have imported the ghost from entirely different ballads. - BS
File: C248
===
NAME: Grey Goose, The
DESCRIPTION: "Last Monday morning, Lord, Lord, Lord... My daddy went a-hunting... for de grey goose." The goose is found and killed; it takes six weeks to fall, and six weeks to pluck, and six weeks to cook... It cannot be cut, and comes back to life and flies away
AUTHOR: unknown
EARLIEST_DATE: 1933 (recording, Washington "Lightnin'")
KEYWORDS: talltale bird cook hunting
FOUND_IN: US(So)
REFERENCES: (6 citations)
Lomax-FSUSA 5, "The Grey Goose" (1 text, 1 tune)
Lomax-ABFS, pp. 242-243, "De Grey Goose" (1 text, 1 tune)
Botkin-AmFolklr, pp. 907-908, "The Grey Goose" (1 text, 1 tune)
Greenway-AFP, pp. 109-110, "Grey Goose" (1 text)
Silber-FSWB, p. 403, "The Gray Goose" (1 text)
DT, GRAYGOOS
Roud #11684
RECORDINGS:
James "Iron Head" Baker, "The Grey Goose" (AFS 207B, 1933) (AFS 205 A3, 1934; on LC03)
Augustus "Track Horse" Haggerty & group, "The Grey Goose" (AFS 223 A2, 1933) 
Lead Belly, "The Grey Goose" (on GrowOn2)
Pete Seeger, "Gray Goose" (on PeteSeeger05); "Grey Goose" (on PeteSeeger08, PeteSeegerCD02)
Washington "Lightnin'," "The Gray Goose" (AFS 182 A, 1933)
CROSS_REFERENCES:
cf. "The Derby Ram" (theme)
cf. "The Sucking Pig" (theme)
cf. "The Worderful Crocodile" (theme)
cf. "T'Owd Yowe wi' One Horn" (theme)
cf. "Home, Happy Home"
NOTES: Paul Stamler writes, "[This song and 'Home, Happy Home'] are so close that it might be better to call [the latter] an Alternate Title." I have no knowledge of "Home, Happy Home." Anyone know more? - RBW
"Home, Happy Home" was collected, almost certainly from white informants, by Garry Harrison in southern Illinois, probably in the 1970s. - PJS
John Greenway sees this as similar to "Cutty Wren." Once again, I don't see it. - RBW
File: LxU005
===
NAME: Grief Is a Knot
DESCRIPTION: Willie leaves Mary for another girl. Mary goes to her deathbed and sends for Willie who promises to take care of their baby. The baby dies too and is buried with Mary.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: infidelity sex burial death baby lover
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 673-674, "Grief Is a Knot" (1 text, 1 tune)
Roud #9803
File: Pea673
===
NAME: Grizzly Bear (Grizzely Bear)
DESCRIPTION: "Oh that grizzely, grizzely, grizzely bear, Tell me who was that grizzely bear. Oh Jack o' Diamonds was that grizzely bear." The singer describes the grizzely bear (and how his family tries to avoid and/or hunt it)
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: nonballad hunting animal
FOUND_IN: US(So)
REFERENCES: (2 citations)
Courlander-NFM, p. 106, "Grizzly Bear" (1 text)
Silber-FSWB, p. 402, "Grizzly Bear" (1 text)
Roud #16673
RECORDINGS:
Texas state farm prisoners, "Grizzly Bear" (on NPCWork, FMUSA)
NOTES: Courlander suggests the "Grizzly Bear" was a convict whose appearance was so wild that he resembled a bear. As most if not all versions seem to come from prisoners, this is at least possible. But I've never seen a version that makes much sense. - RBW
File: CNFM106A
===
NAME: Grogal McCree: see Gay Girl Marie [Laws M23] (File: LM23)
===
NAME: Ground for the Floor (I)
DESCRIPTION: At day's end, the singer (a shepherd) makes his way home, where he sits content. He praises the cottage, though he has "nothing but ground for my floor." He sleeps well, rising cheerfully to his work and playing his pipe; he has no high ambitions
AUTHOR: unknown
EARLIEST_DATE: 1904 (Sharp)
KEYWORDS: home farming work music nonballad sheep shepherd worker
FOUND_IN: Britain(England(Lond,South))
REFERENCES: (1 citation)
Kennedy 250, "Ground for the Floor" (1 text, 1 tune)
Roud #1269
RECORDINGS:
George Maynard, "The Sun Being Set" (on Maynard1); "Ground for the Floor" (on Voice20)
CROSS_REFERENCES:
cf. "Ground for the Floor (II)" (subject)
File: RcGftF
===
NAME: Ground for the Floor (II)
DESCRIPTION: The singer has "a neat little cottage with ground for the floor" surrounded by brambles and thorns. He is happy with his dog and gun, a three-legged stool, a fire on the ground, bed of straw, and one guinea in the pocket of his only suit.
AUTHOR: unknown
EARLIEST_DATE: before 1813 (broadside, Bodleian Harding B 11(3660))
KEYWORDS: home nonballad
FOUND_IN: 
REFERENCES: (0 citations)
Roud #1269
BROADSIDES:
Bodleian, Harding B 11(3660), "Ground for the Floor" ("I lived in a wood for a number of years"), J. Evans (London), 1780-1812; also Harding B 11(3659), Harding B 16(108b), Harding B 11(1437), Harding B 11(1438), Harding B 11(1439), Firth c.19(212), Harding B 28(81), Harding B 11(321), Harding B 25(781), "Ground for the Floor"
CROSS_REFERENCES:
cf. "Ground for the Floor (I)" (subject)
NOTES: The description is from broadside Bodleian Harding B 11(3660). Roud assigns the same number to this and "Ground for the Floor" ("The sun being set"); while they are about the same general subject and share a single phrase, I don't see how they are related. - BS
File: RcGftFl2
===
NAME: Ground Hog
DESCRIPTION: A family goes ground hog hunting, catches one, cooks and eats it with great enjoyment. Almost anything can happen in the process as verses float in and out.
AUTHOR: unknown (credited on the Norris recording to Harold Gray)
EARLIEST_DATE: 1911
KEYWORDS: hunting food humorous animal family
FOUND_IN: US(Ap,SE,So)
REFERENCES: (14 citations)
Randolph 413, "The Ground-Hog Song" (2 texts, 1 tune)
BrownIII 221, "The Ground Hog" (3 texts plus a fragment and indirect mention of 2 more)
Wyman-Brockway I, p. 30, "The Ground Hog" (1 text, 1 tune)
Warner 123, "Groundhog" (1 text, 1 tune)
Lomax-FSUSA 8, "Ground Hog" (1 text, 1 tune)
Lomax-FSNA 131, "Groundhog" (1 text, 1 tune)
Lomax-ABFS, pp. 271-274, "Groun' Hog" (1 text, 1 tune)
Botkin-AmFolklr, pp. 893-895, "Groun'-Hog" (1 text, 1 tune)
SharpAp 231, "The Ground Hog" (1 text, 1 tune)
MHenry-Appalachians, pp. 5-6, "Ground Hog" (1 text)
JHCox 176, "Ground Hog Song" (1 text)
Pankake-PHCFSB, pp. 56-57, "Groundhot" (1 text, 1 tune)
Silber-FSWB, p. 402, "Groundhog" (1 text)
DT, GRONDHOG*
Roud #3125
RECORDINGS:
Almanac Singers, "Ground Hog" (General 5018B, 1941; on Almanac01, Almanac03, AlmanacCD1)
Seena Helms, "Groundhog" (on HandMeDown2)
Homer & Jethro, "Groundhog" (King 596, 1947)
Vester Jones, "Groundhog" (on GraysonCarroll1)
New Lost City Ramblers, "Groundhog" (on NLCR16)
Land Norris, "Ground Hog" (OKeh 40096, 1924)
Frank Proffitt, "Groundhog" (on Proffitt03)
Jack Reedy & his Walker Mountain String Band, "Ground Hog" (Brunswick 221, 1928; on CrowTold02, LostProv1)
Pete Seeger, "Ground Hog" (on PeteSeeger07, PeteSeeger07b) (on PeteSeeger08, PeteSeegerCD02)
Doc Watson, Arnold Watson & Gaither Carlton, "Ground Hog" (on Watson01)
File: R413
===
NAME: Groundhog: see Ground Hog (File: R413)
===
NAME: Group of Jolly Cowboys, A: see The Wandering Cowboy [Laws B7] (File: LB07)
===
NAME: Groves of Blackpool, The
DESCRIPTION: "Now de war, dearest Nancy, is ended." The Cork City Militia return home to a grand reception and local brew. Their band plays "Boyne Water" and "Croppies Lie Down." It's good to be back among the tanners and glue-boilers "in de Groves of de Pool"
AUTHOR: Richard Alfred Milliken (1767-1816) (source: Moylan)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: rebellion drink music soldier home
FOUND_IN: 
REFERENCES: (2 citations)
Moylan 61, "The Groves of Blackpool" (1 text, 1 tune)
Croker-PopularSongs, pp. 168-173, "The Groves of Blackpool" (1 text)
ALTERNATE_TITLES:
De Groves of de Pool
NOTES: The text mimics the local accent by replacing "th" by "d" with occasional other translations ("because" becomes "bekase," "pretty" becomes "purty," "murder" becomes "murther," "educated" becomes "edicated," ....). 
Moylan: "A song from the loyalist side ... commemorates the activities of the North Cork Militia who became notorious, during the period when Wexford was under martial law, for the enthusiasm and brutality with which they carried out their duties." Moylan quotes Sparling's caracterization (from _Irish Minstrelsy_ p. 504): "In 1798 Milliken was unenviably notorious for 'zeal and efficiency' as a yeoman."
Croker-PopularSongs: "The Cork Militia were especially Orange. They suffered severely in the Rebellion of 1798...." 
Croker believes the last verse - a toast to the tanners and glue-boilers "in de Groves of de Pool" - is the work of John Lander rather than "honest Dick Millikin." - BS
According to the brief biography in Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 791, Milliken (or Millikin, as she spells it) lived and died in Cork; she gives his death date as 1815. He is known almost exclusively for his poem "The Groves of Blarney," which if nothing else had quite a vogue in the broadside press; see its entry. In this index, see also "The River Lee." - RBW
File: Moyl061
===
NAME: Groves of Blarney
DESCRIPTION: "The groves of Blarney they are so charming." The flowers, "grand walks," "the stone" and statues are described. No commander can compare with Lady Jeffers. If the singer were a poet like Homer "in every feature that I'd make it shine"
AUTHOR: probably Richard Alfred Milliken (1767-1816) (see Notes)
EARLIEST_DATE: 1800 (1798-1799 probable date written, printed copies in Cork by 1800, according to Croker-PopularSongs)
KEYWORDS: nonballad lyric
FOUND_IN: 
REFERENCES: (4 citations)
O'Conor, p. 33, "Groves of Blarney" (1 text)
Croker-PopularSongs, pp. 137-144, "The Groves of Blarney" (1 text)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 362-365, "The Groves of Blarney" (1 text)
Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 28-30, "The Groves of Blarney" (1 text)
BROADSIDES:
Bodleian, Harding B 11(4035), "Groves of Blarney" ("The groves of Blarney, they are so charming") , J.O. Bebbington (Manchester), 1855-1858; also Harding B 11(2095), 2806 b.11(161), Harding B 18(223), "Groves of Blarney" 
LOCSinging, sb10145b, "The Groves of Blarney", H. De Marsan (New York), 1864-1878 
CROSS_REFERENCES:
cf. "The Last Rose of Summer" (tune, per Hoagland)
cf. "Castle Hyde" (tune and theme, per Hoagland)
cf. "The Plains of Drishane" (theme: extravagant praise of Cork)
cf. "Castle Hyde" (theme: extravagant praise of Cork)
cf. "The Groves of Glanmire" (theme: extravagant praise of Cork)
NOTES:  _Irish Minstrelsy_ by H. Halliday Sparling (London, 1888), pp. 437-438, 505, "The Groves of Blarney" makes the attribution to Milliken. [_Granger's Index to Poetry_ accepts this identification, but notes at least one version with an additional stanza by Francis Sylvester Mahony, for whom see "Bells of Shandon"; the attribution in _Granger's_  appears to be based on Hoagland. She adds that "Millikin at a party declared he could write a piece of absurdity which would surpass 'Castle Hyde....' The Groves of Blarney was the result...." Other poems by Millikin in this index include "The Groves of Blackpool" and "The River Lee." - RBW].
Croker-PopularSongs, quoting the memoir prefixed to _Poetical Fragments of the late Richard Alfred Millikin_[1823]: "During the Rebellion, several verses were, in the heat of party [Croker: an electioneering dinner], added to this song, particularly those alluding to the mean descent of a certain noble lord [Croker: Lord Domoughmore (then Lord Hutchinson)]; but they were not the production of the original author, who, incapable of scurrility or personal enmity to those with whom he differed in opinion, scorned such puerile malice." Croker makes the added verse "'Tis there's the kitchen hangs many a flitch in ... All blood relations to my Lord Donoughmore"; Croker notes that, in _The Reliques of Father Prout_ [Rev Francis Sylvester Mahony (1804-1866)] that verse is replaced by "There is a stone there, that whoever kisses ...." "may clamber to a lady's chamber, Or become a member of parliament....
The Jeffrey/Jeffers/Jeffares family were Protestants granted lands previously owned by Catholic Irish. In County Cork they took over Blarney Castle (source: The Jeffrey Family site). Kissing the Blarney Stone, on the top story of the castle tower, is supposed to give the gift of eloquence.
Broadside LOCSinging sb10145b: 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: OCon033
===
NAME: Groves of Glanmire, The
DESCRIPTION: The singer "come to this country a stranger" and, in his travels, has found "none to equal Glanmire." He lists the fine groves, the Bride Valley, the salmon fishing, hare hunting, "the finest of oak, lime and larch" and working mills.
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: travel commerce fishing hunting nonballad lyric
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 90-91, "The Groves of Glanmire" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Groves of Blarney" (theme: extravagant praise of Cork) and references there
NOTES: This is more moderate in praise of local places than "Castle Hyde" and "Dear Mallow, Adieu," and fairly close in spirit to "The Town of Passage" (I). On the other hand it is just one more of the family of songs that has spawned so many parodies around Cork. See, for example, "The Groves of Blarney,' "The Plains of Drishane,' "Darling Neddeen,' "The Town of Passage" (II and III) and "The Praise of Kinsale." Or maybe this is just too subtle a parody for me to understand; it does end with a strange line that of all the mills working "there is one making silverspring starch." Silverspring Starch Company is/was in Glanmire (according to an entry on the Limerick City Council site 2/13/2006).
OCanainn: "Glanmire [is] some four miles from Cork city, on the Dublin Road." - BS
File: OCan090
===
NAME: Gruig Hill
DESCRIPTION: The singer goes out to take the air, and sees a beautiful girl who lives near Gruig Hill. He describes her beauty at length. They go to her home; her family greets him kindly. He sets out for his home, hoping to marry her
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: love beauty drink
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H626, p. 465, "Gruig Hill" (1 text, 1 tune)
Roud #18996
File: HHH626
===
NAME: Gude Wallace [Child 157]
DESCRIPTION: Wallace meets a woman washing at a well. She says 15 Englishmen who seek him are at the inn. He says he'd go there if he had any money; she gives him some. He goes, disguised, vanquishes the 15, calls for food, is set upon by 15 more and defeats them too.
AUTHOR: unknown
EARLIEST_DATE: 1768?
KEYWORDS: fight outlaw money food disguise
HISTORICAL_REFERENCES: 1286 - Death of Alexander III of Scotland
1290 - Death of his granddaughter Margaret "Maid of Norway"
1292 - Edward I of England declares John Balliol king of Scotland
1296 - Edward deposes John Balliol
1297 - William Wallace, the Guardian of Scotland, defeats the English at Stirling Bridge
1298 - Edward defeats Wallace at Falkirk. Wallace forced into hiding
1305 - Capture and execution of Wallace (August 23)
1306 - Robert Bruce declares himself king of Scotland
1307 - Death of Edward I
1314 - Battle of Bannockburn. Robert Bruce defeats Edward II of England and regains Scottish independence
FOUND_IN: Britain(Scotland)
REFERENCES: (6 citations)
Child 157, "Gude Wallace" (9 texts, 1 tune) {Bronson's #2}
Bronson 157, "Gude Wallace" (2 versions)
BarryEckstormSmyth pp. 465-466, "Gude Wallace" (notes plus part of Child G and a fragment of Child A)
Flanders-Ancient3, pp. 133-134, "Gude Wallace" (1 fragment, which mentions Wallace but otherwise has little resemblance to the Child ballad; it may be unrelated)
Leach, pp. 433-435, "Gude Wallace" (1 text)
DT, GUDWALL*
Roud #75
NOTES: William Wallace is one of the most famous figures in Scottish history, but surprisingly little is known of him. Prior to the reign of John Balliol, he was invisible; we don't even know his birth date, though many think he was born around 1272 (see Magnus Magnusson, Scotland: The Story of a Nation, Atlantic Monthly Press, 2000, p. 133).
It is only after Balliol was deposed in 1296 that Wallace rose to defend Scotland from Edward I of England's attempts to take over the country. His rebellion apparently started quietly enough: He got into a brawl with some of Edward's soldiers who were at Lanark, and had to flee. A women (possibly his wife) who helped him escape was tortured and killed; Wallace responded by killing a local English officer (see Peter and Fiona Somerset Fry, _The History of Scotland_, 1982; I use the 1995 Barnes & Noble edition; p. 78; Fitzroy MacLean, _A Concise History of Scotland_, Beekman House, 1970, p. 37).
In other times, Wallace might have been called simply an outlaw. But with Scotland an occupied nation, he could call himself a freedom fighter. He declared himself a supporter of John Balliol and raised a rebellion.
The higher nobility was almost universally indifferent. They weren't happy with Edward I, but they had made terms with him, even if at sword point, and weren't willing to risk more fighting. But Wallace was able to gather a band of small landowners and minor knights. In 1297, they met an English army at Stirling Bridge, the last place it was possible to cross the Forth without boats. The English under the Earl of Surrey started to cross the bridge in the presence of Wallace's army (Magnusson, pp. 135-138), and of course he destroyed the portion across the bridge and won a major victory -- E. Thornton Cook, _Their Majesties of Scotland_, John Murray, 1928, p. 91, says the bridge broke under the fleeing English, though Magnusson, p. 139, makes the more reasonable suggestion that Surrey ordered it destroyed.
It was not a complete victory for the Scots; Wallace's chief lieutenant Andrew de Moray was mortally wounded in the battle (Magnusson, p. 139), and many English garrisons held out. But the Scots had shown they could still fight -- an immense pschological boost. As a result, Wallace became a Guardian of Scotland, and obviously respectable (see Rosalind Mitchison, _A History of Scotland_, second edition, Methuen, 1982, p. 43). People even called him "William the Conqueror" (see Colm McNamee, _The Wars of the Bruces: Scotland, England and Ireland, 1306-1328_, Tuckwell Press, 1997).
But Stirling Bridge had been fought while Edward I was away campaigning against France. He came rushing back, assembled an army, and himself led it. And Wallace, the guerilla, tried to fight a set-piece battle at Falkirk in 1298, and was disastrously beaten by Edward (MacLean, p. 38). Edward, no fool, assembled an army of bowmen, cavalry, and infantry, while Wallace had little but spearmen, arranged in schiltrons. Fifteen years later, at Bannockburn, it would be demonstrated that the schiltrons could beat off infantry or cavalry. But Edward I was not the military incompetent his son was. He had, and used, his longbowmen -- the first real use of the weapon that would later bring the English to the brink of victory in the Hundred Years' War. The bowmen broke up the schiltrons, then the cavalry swept up the scattered remnants (Magnusson, pp. 143-144). The Scottish army had ceased to exist. Wallace survived, but from Guardian of Scotland he fell to being a fugitive outlaw; he soon resigned his guardianship and went into hiding (Magnusson, p. 147).
Wallace supposedly went on to try to negotiate with France and the Papacy on behalf of Balliol (Magnusson, pp. 148-149). If so, he was largely ineffective -- indeed, it's hard to imagine them dealing with a man who hadn't even been a knight until so created, perhaps unofficially, after he became a guerilla.
Edward had pretty well pacified Scotland by 1303. Wallace spent the rest of his life on the run, with a price on his head (a hundred pounds, according to Magnusson, p. 152). He betrayed and captured in 1305, subjected to a kangaroo trial in England (the charge was treason, even though he had never taken an oath to Edward I, and the trial, according to Magnusson, p. 155, consisted simply of a recitation of the charges followed by conviction and sentence; Edward I, that alleged paragon of justice, did not so much as allow a statement by the defence), and executed with torture (Fry/Fry, p. 79).
That much is fact -- and it's about all the fact we have. Edward I tried to blot out his memory and leave no relics (hence the treason indictment and the destruction of Wallace's body, according to Magnusson, pp. 157-158), and even the histories sponsored by the Bruces and the Stuarts tried to ignore him (Magnusson, pp. 162-163). Wallace, after all, made Robert Bruce look inconsistent; Bruce's ancestors had competed against John Balliol, and Bruce himself had at times worked with the English.
It was only later that Wallace became a true national hero -- meaning that his legend was created after the facts were almost completely lost. Our Scottish sources, such as Blind Harry's "Wallace," are largely hagiographic, and make Wallace larger than life -- literally; Blind Harry says that he was two and a quarter ells tall, or 83 inches=6'11" or 2.1 meters (Magnusson, p. 133). Scotland's National Wallace Museum has an artifact called (almost certainly falsely) Wallace's Sword; it is 1.7 meters long, or 5'7" (Magunsson, p. 126). Magnusson, pp. 146-147 also notes how many alleged Wallace relics there are around Scotland -- most notably a Wallace Oak, but just as Robin Hood in England gathered wells and churches and trees named after him, so did Wallace in Scotland. This ballad seems to be another example of that; Child notes that the incident is found in Blind Harry's Wallace, though I suspect the ultimate inspiration was the tale of Wallace's wife and how her treatment caused him to become an outlaw.
Wallace's influence is still being felt today; Magnusson, p. 159, notes that when a referendum was held to re-create a Scottish parliament in the late twentieth century, the date chosen for hte referendum was September 11, 1997 -- the seven hundredth anniversary of the Battle of Stirling Bridge. - RBW
File: C157
===
NAME: Guerrilla Boy, The: see The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Guerrilla Man, The: see The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Gui-Annee, La: see Guillannee, La (La Gui-Annee) (File: BMRF584)
===
NAME: Guid Guid Wife, The
DESCRIPTION: "To hae a wife, and rule a wife, Taks a wise wise man." The singer lists the penalties and injuries a man with a bad wife will suffer, and the benefits to a man with a good wife. A man with a good wife "gets gear eneuch"; a bad wife brings "care eneuch"
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: marriage hardtimes warning nonballad husband wife
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 154, "A Guid, Guid Wife" (1 text)
File: Ord154
===
NAME: Guid Nicht an' Joy Be Wi' You A'
DESCRIPTION: As the singer prepares to leave the gathering, he declares, "Guid nicht, an' joy be wi' you a', Since it is sae that I maun gang." He praises those with whom he has been drinking, has a last drink of his own, and starts on the long voyage home
AUTHOR: Words: John Imlah/Music: James B. Allan ?
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: drink home friend nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 373-374, "Guid Nicht an' Joy Be Wi' You A'" (1 text)
Roud #3936
File: Ord373
===
NAME: Guide Me, Oh Thou Great Jehovah
DESCRIPTION: "Guide me, O Thou great Jehovah, Pilgrim though this barren land; I am weak, but Thou art mighty.... Bread of heaven, feed me till I want no more." The singer asks to be guided by the pillar of fire and to be taken safely to Canaan
AUTHOR: Words: William Williams (1717-1791)
EARLIEST_DATE: 1745 (words translated, according to the Methodist Hymnal)
KEYWORDS: religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Ritchie-Southern, p. 48, "Guide Me, Oh Thou Great Jehovah" (1 text, 1 tune)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp. 94-95, "Guide Me, Oh Thou Great Jehovah" (1 text, 1 tune)
Roud #7103
NOTES: There seems to be some confusion about the origin of this hymn. Every source I checked credits at least some of the words to William Williams. Johnson thinks him the original and sole composer; _Granger's Index to Poetry_ supports this. But the hymnals I checked all consider it a translation of the Welsh "Arglwydd arwain trwy'r Anialwch," with Peter Williams (1722-1796) responsible for some of the translation.
That's nothing to the tune, though. Three different books give three different melodies. Johnson lists his as by Thomas Hastings (1784-1872). The Lutheran hymnal I checked claims a tune written by George W. Warren in 1884. A Methodist hymnal sets it to John Hughes's "Cwm Rhonda." All of these tunes are different. So is Jean Ritchie's; hers is unattributed.
The imagery of the song is strongly reminiscent of the Exodus -- e.g. in Exodus 16:4 God promises "bread from heaven" (the manna which the Israelites ate until they settled in Canaan). The Israelites are led by a pillar of fire at night (Ecxodus 13:21, etc.) There are no crystal fountains in Exodus, or anywhere in the Hebrew Bible, but the idea may have been inspired by the various references to water from a rock.
There is one other Exodus-inspired reference in the song, which is, however, an error. The name "Jehovah" is found in the King James translation of Exodus 6:9 as the (personal) name of God.
Unfortunately, that's not the correct name of God. The proper English consonants are not JHVH but YHVH, and the vowels are simply wrong. Jews eventually came to consider it profane to read the name of God (hence the Greek Bible consistently renders the name YHWH by Kyrios, the Lord, and English versions follow suit for the most part; the King James Bible has only half a dozen exceptions, but Exodus 6:9 is one of them).
To remind scripture readers not to pronounce the name of God (which was pretty definitely YAHVEH or YAHWEH), the Jews eventually started writing the consonants YHWH with the vowels of "adonai," the word for "Lord." What this was supposed to mean was, "When you see YHWH, read 'adonai.'" But the translators of the King James Bible took it literally, and applied the vowels of "adonai" to the consonants of "YHWH" and so produced the barbarism "Jehovah." - RBW
File: RitS048
===
NAME: Guignolee, La: see Guillannee, La (La Gui-Annee) (File: BMRF584)
===
NAME: Guillannee, La (La Gui-Annee)
DESCRIPTION: A (new year's) revel song, in which the singers demand pork-chine, or else the daughter of the house. Guillannee is mistletoe. In English this becomes "La Gui-Annee"; the singers declare "We've come to ask for mistletoe on this last day of the old year."
AUTHOR: unknown
EARLIEST_DATE: 1914 (Belden)
KEYWORDS: foreignlanguage nonballad party father children
FOUND_IN: US(MW, So)
REFERENCES: (2 citations)
Belden, pp. 515-516, "La Guignolee (La Gaie-Annee)" (1 text, 1 tune)
Botkin-MRFolklr, p. 584, "La Guillannee" (1 text, 1 tune)
RECORDINGS:
Bloomsdale Singers, "La Guignolee" (KSGM 11279-A, n.d., prob. 1950s)
Prairie Durocher [sic] Singers, "La Guignolee" (KSGM 11279-B, n.d., prob. 1950s)
NOTES: Botkin offers extensive notes on the Guillannee custom. He quotes Carriere: "The name _Guillannee_ is to be explained as an abbrebiation of _gui de l'annee, gui de la nouvelle annee_, New Year's Mistletoe." - RBW
File: BMRF584
===
NAME: Guilty Sea Captain, The: see Captain Glen/The New York Trader (The Guilty Sea Captain A/B) [Laws K22] (File: LK22)
===
NAME: Guinea Negro Song
DESCRIPTION: A slave's complaint of his capture: (lines from various versions): "The Englie man he [s]teal me, And carry me to Birgimy [Virginee]. The American man he [s]teal me, And give me pretty red coatee, And make me fence rail toatee."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: slave work commerce theft clothes
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 472, "Guinea Negro Song" (2 short texts, probably from the same informant)
Roud #11800
NOTES: Brown's notes indicate that this came from an ex-slave to whom this originally happened. White objected that this was chronologically impossible. It isn't, quite -- while the English banned the slave trade in the early nineteenth century, and even the Americans eventually stopped it, an Englishman with no morals might have taken a slave and slipped him through American customs.
But I think White is right and the informant didn't suffer this fate. The dialect is just a little too cutesy. - RBW
File: Br3472
===
NAME: Guise o' Tough, The
DESCRIPTION: "I gaed up to Alford for to get a fee, I fell in wi' Jamie Broon and wi' him I did agree." He eats till all are amazed. He works, finds his plow bad, replaces it, damages the replacement. He lists the other characters in the bothy
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: work farming moniker money food
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 236-237, "The Guise o' Tough" (1 text)
Roud #3800
File: Ord236
===
NAME: Gull Cove
DESCRIPTION: If you commit to fishing Gull Cove and "if the codfish fades away as it often done before, We could lose our year in Gull Cove, where the stormy winds do blow." The song describes a bad year and all the boats that lose the year.
AUTHOR: unknown
EARLIEST_DATE: 1979 (Lehr/Best)
KEYWORDS: fishing hardtimes
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 48, "Gull Cove" (1 text, 1 tune)
RECORDINGS:
Anita Best, "Gull Cove" (on NFABest01)
NOTES: Lehr/Best: Gull Cove is near Branch, St Mary's Bay [at the southwest corner of the Avalon Peninsula]. - BS
File: LeBe048
===
NAME: Gull Decoy, The
DESCRIPTION: The singer reports, "I take no books, nor I read no papers, I have no money to spend or lose." He reads other people's newspapers, sets his dogs on orphans, and has no company but the gulls he whistles to, hence the name "the Gull Decoy."
AUTHOR: Larry Gorman
EARLIEST_DATE: 1947 (Manny/Wilson)
KEYWORDS: hardheartedness dog bird money
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Doerflinger, pp. 255-256, "The Gull Decoy" (1 text, 1 tune)
Ives-DullCare, pp. 85-86,246, "The Gull Decoy" (1 text, 1 tune)
Manny/Wilson 19, "The Gull Decoy" (1 text plus some fragments, 1 tune)
ST Doe255 (Partial)
Roud #9193
CROSS_REFERENCES:
cf. "Mick Riley" (characters)
NOTES: Manny and Wilson state that "This song was made up by Larry Gorman before he left Prince Edward Island in 1873.... Tradition says that the ballad was a satire on Larry's own uncle, and that Larry was 'run off the Island' for it."  It is also said that later Larry was 'run out of Miramichi' for the mostly unprintable _Donahue's Spree_, so he went to Maine. These are only two of the many fables that cluster round the memory of that imp, Larry, the terror and delight of the logging camps for over fifty years." - RBW
Ives-DullCare: There is a discussion alleging that "Gorman was convinced Riley [the subject of the song names himself Patrick Riley] had cheated him out of some wages, but whatever he may have done, that poet dug up all the dirt he could find on him, and (according to some people I've talked to) what he couldn't find he invented.... [We] have enough here to show the kind of character assassination local satire could involve, and few employed it with more zest or skill than Larry Gorman." - BS
File: Doe255
===
NAME: Gum Shellac
DESCRIPTION: Singer cites real and fictitious accomplishments of tinkers with gum shellac: making Pharaoh's coffins; building Birmingham; fighting the Romans, Spanish, Danes, Black and Tans, and Cromwell; making cannons in Hungary; teaching Nero to play.
AUTHOR: "Pops" Johnny Connors (source: Jim Carroll's notes to IRTravellers01)
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: humorous political talltale tinker
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #2508
RECORDINGS:
"Pops" Johnny Connors, "Gum Shellac" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "Gum shellac is a paste formed by chewing bread, a technique used by unscrupulous tinsmiths to supposedly repair leaks in pots and pans. When polished, it gives the appearance of a proper repair but, if the vessel is filled with water, the paste quickly disintegrates, giving the perpetrator of the quick just enough time to escape with his payment." - BS
File: RcGumShe
===
NAME: Gum Tree Canoe, The
DESCRIPTION: "On Tom Big Bee river so bright I was born In a hut made of husks of the tall yellow corn, And there I first met with my Julia so true And I rowed her about in my gum tree canoe." The singer describes his work -- and the happy times courting in the canoe
AUTHOR: S.S. Steele ?
EARLIEST_DATE: 1847 (broadside, LOCSheet sm1847 420770)
KEYWORDS: courting home love river
FOUND_IN: US(SE,So) Australia
REFERENCES: (7 citations)
Randolph 787, "The Gum Tree Canoe" (1 text)
BrownIII 269, "The Gumtree Canoe" (1 short text plus a fragment)
Hugill, p. 473, "The Gumtree Canoe" (1 text, 1 tune)
Fahey-Eureka, pp. 172-173, "The Gumtree Canoe" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 168-170, "The Gumtree Canoe" (1 text)
cf. Gardner/Chickering, p. 481, "My Gum Tree Canoe" (source notes only)
DT, GUMTREE GUMTREE2 TOMBIGBE
Roud #759
BROADSIDES:
LOCSheet, sm1847 420770, "The Gum Tree Canoe," G. P. Reed (Boston), 1847; also sm1885 18094, "The Gum Tree Canoe" (tune) [both attribute words to S.S. Steele and music to A.F. Winnemore]
LOCSinging, as104990, "The Gum Tree Canoe," J. Andrews (New York), 1853-1859; also as104980, as105000, as201240, "The Gum Tree Canoe"
NLScotland, RB.m.143(143), "The Gum-Tree Canoe," Poet's Box (Dundee), c.1890
CROSS_REFERENCES:
cf. "The Indian Hunter" (theme)
cf. "Give Me a Hut" (tune)
ALTERNATE_TITLES:
On Tom Big Bee River
The Tombigbee River
NOTES: The 1847 sheet music credits this to S. S. Steele, an attribution accepted by Patterson/Fahey/Seal -- but we all know that such attributions were less than utterly reliable. It is reported to have been sung by "A.F. WINNEMORE and his band of VIRGINIA SERENADERS." It does seem likely that the song did originate with this group; the earliest outside collection that I know of comes from 1909. - RBW
Broadside LOCSinging as104990: 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: R787
===
NAME: Gum-Tree Canoe, The: see The Gum Tree Canoe (File: R787)
===
NAME: Gumtree Canoe, The: see The Gum Tree Canoe (File: R787)
===
NAME: Gun Canecutter, The
DESCRIPTION: The canecutter is struggling to survive, and "there's no joy for me, I got to cook my own tea, So I think I will marry a slutter." He needs her to help him with his work, so he hopes she'll "look into me eyes, she'll fall for me lies..."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: wife work Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 106-107, "The Gun Canecutter" (1 text, 1 tune)
File: MA106
===
NAME: Gustave Ohr
DESCRIPTION: Gustave Ohr recalls his quiet youth and how he fell in with (George) Mann's evil company. Eventually they attacked a man in a sugar camp. Ohr was taken and condemned to die. He concludes by thanking various legal officers for their kindness
AUTHOR: unknown
EARLIEST_DATE: 1939 (Eddy)
KEYWORDS: execution gallows-confession
HISTORICAL_REFERENCES: 1879 - George Mann and Gustave Ohr attack, rob, and beat to death John Whatmaugh. They are condemned to death later in the year
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 121, "Story of Gustave Ohr" (1 text)
ST E121 (Full)
Roud #4099
CROSS_REFERENCES:
cf. "Charles Guiteau" [Laws E11] (meter) and references there
cf. "Charles Mann" (meter, subject)
NOTES: As "The Story of Gustave Ohr," this song is item dE39 in Laws's Appendix II. - RBW
File: E121
===
NAME: Guy Fawkes
DESCRIPTION: "I'll tell a doleful tragedy; Guy Fawkes, the prince of sinisters, Who once blew up the House of Lords... That is, he would have blown them up... If only they had let him." Fawkes is betrayed, captured, and executed, and now they repeat it every year
AUTHOR: Thomas Hudson (per Moffat, _English Songs of the Georgian Period_)
EARLIEST_DATE: 1914
KEYWORDS: political execution nobility memorial death
HISTORICAL_REFERENCES: 1605 - The botched "Gunpowder Plot"
FOUND_IN: US(MW)
REFERENCES: (2 citations)
LPound-ABS, 37, pp. 84-86, "Guy Fawkes" (1 text)
DT, GUYFAWKE
Roud #4974
CROSS_REFERENCES:
cf. "Bow Wow Wow" (tune) and references there
SAME_TUNE:
Lloyd George, The Prince of Sinisters (The New Guy Fawkes) (Letter to the Editor, London Times, Tuesday, Dec. 7, 1909, p.10)
NOTES: The "Gunpowder Plot" was an attempt by a group of Catholics to regain control of united Britain. The plan was to blow up the British houses of parliament (along with King James I and VI) on November 5, 1605. To this end, several dozen barrels of gunpowder were stashed below the parliament building.
It was in this secret chamber that Guy Fawkes, who was largely responsible for the execution of the plot, was captured on November 4. He and many fellow conspirators were eventually rounded up and hung. Guy Fawkes Day has since been an annual occasion for fireworks and celebrations in England: "Please to remember The fifth of November: Gunpowder Treason and Plot!"
There is, however, some reason to believe that the government was in on the secret all along, and let the plot proceed as far as it did in an attempt to strengthen its shaky position.
This is one of several political pieces set to the tune "Bow Wow Wow" -- a song which hardly exists in its own right, but which makes it very easy to sustain a line of patter. - RBW
File: LPnd084
===
NAME: Guy Reed [Laws C9]
DESCRIPTION: Guy Reed is trying to break up a log jam when he is drowned. His funeral is given a full description; he is buried in his family plot
AUTHOR: Joe Scott (a friend of Reed's)
EARLIEST_DATE: 1948 (Manny/Wilson)
KEYWORDS: logger death drowning
HISTORICAL_REFERENCES: Sept 9, 1897 - Death of Guy Reed of West Byron, Maine
FOUND_IN: US(NE) Canada(Mar)
REFERENCES: (5 citations)
Laws C9, "Guy Reed"
Ives-DullCare, pp. 96-99,246, "Guy Reed" (1 text, 1 tune)
Ives-NewBrunswick, pp. 183-186, "Guy Reed" (1 text, 1 tune)
Manny/Wilson 20, "Guy Reed (The Andrew Grogan Shore)" (1 text, 1 tune)
DT 709, GUYREED
Roud #1968
NOTES: Ives-DullCare: The singer says he bought a printed copy from Joe Scott in or before 1912.
The site of the log jam is the Androscoggin River in Maine. In Manny/Wilson it is corrupted to "Andrew Grogan," which explains the alternate title. - BS
File: LC09
===
NAME: Guysboro Song
DESCRIPTION: The singer loses his parents and sister. He is treated badly by an uncle. He loses a captain's job at Canso: he drinks the freight and drowns 2 boys. On his other ship only 4 of 13 survive. He breaks his good knee in the Indies and decides to retire.
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: drink hardtimes injury wreck orphan sailor
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 119, "Guysboro Song" (1 text, 1 tune)
ST CrNS119 (Partial)
Roud #1824
NOTES: This song is item dD48 in Laws's Appendix II. 
The ballad mentions Guysborough County as the singer's birthplace, and Canso Strait and Ingonish as locales of his "hardships and pain." Guysborough County and Canso are on the south coast of Nova Scotia; Ingonish is on the Cape Breton coast. - BS
File: CrNS119
===
NAME: Gwan Round, Rabbit
DESCRIPTION: A call and response song: "My dog treed a rabbit, My dog treed a rabbit. Now watch that critter sittin' on that log, Now watch that critter how he do that dog."
AUTHOR: unknown
EARLIEST_DATE: 1942
KEYWORDS: animal dog hunting
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Botkin-SoFolklr, p. 707, "Gwan Round, Rabbit" (1 text, 1 tune)
File: BSoF707
===
NAME: Gwine Down Jordan: see probably The Other Bright Shore (File: R611)
===
NAME: Gwine Down to Jordan: see No More, My Lord (File: SBoA312)
===
NAME: Gwine Ride Up in the Chariot: see I Hope I'll Join the Band (Soon in the Morning) (File: R266)
===
NAME: Gwine to Run All Night: see Camptown Races (File: RJ19039)
===
NAME: Gwineter Harness in de Mornin' Soon
DESCRIPTION: "Baby, baby, you don't know; De way you treat me I bound to go. Gwineter harness in de morning soon...." Descriptions of the life of a mule driver, primarily about a difficult job and an equally difficult team
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: work animal hardtimes
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 47-49, "Gwineter Harness in de Mornin' Soon" (1 text, 1 tune)
Roud #15569
File: LxA047
===
NAME: Gypsies, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Gypsy Countess, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Gypsy Daisy: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Gypsy Davy, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Gypsy Girl, The: see The Gypsy Maid (The Gypsy's Wedding Day) [Laws O4] (File: LO04)
===
NAME: Gypsy Laddie, The [Child 200]
DESCRIPTION: A lord comes home to find his lady "gone with the gypsy laddie." He saddles his fastest horse to follow her. He finds her and bids her come home; she will not return, preferring the cold ground and the gypsy's company to her lord's wealth and fine bed
AUTHOR: unknown
EARLIEST_DATE: 1740 (Ramsay)
KEYWORDS: elopement Gypsy marriage abandonment husband wife
FOUND_IN: Britain(Scotland(Aber,Bord,High),England(All)) US(Ap,MA,MW,NE,So,SE,SW) Canada(Mar,Newf,Ont) Ireland
REFERENCES: (53 citations)
Child 200, "The Gypsy Laddie" (12 texts)
Bronson 200, "The Gypsy Laddie" (128 versions+2 in addenda)
BarryEckstormSmyth pp. 269-277, "Gipsy Davy" (4 texts plus 2 fragments and a quoted broadside, 2 tunes) {Bronson's #109, #110}
Flanders-Ancient3, pp. 193-229, "The Gypsy Laddie" (19 texts plus 6 fragments, 8 tunes) {N=Bronson's #107}
Linscott, pp. 207-209, "Gypsy Daisy" (1 text, 1 tune)
Belden, pp. 73-76, "he Gypsy Laddie" (3 texts plus portions of another)
Randolph 27, "The Gypsy Davy" (6 texts plus 2 fragments, 4 tunes) {Randolph's A=Bronson's #100, E=#103, G=#123, H=#40}
Randolph/Cohen, pp. 49-51, "The Gypsy Davy" (1 text, 1 tune -- Randolph's 27G) {Bronson's #123}
Eddy 21, "The Gypsy Laddie" (1 text plus a fragment, 2 tunes) {Bronson's #77, #98}
Davis-Ballads 37, "The Gypsy Laddie" (7 texts plus a fragment, 3 tunes) {Bronson's #6, #91, #33}
Davis-More 33, pp. 253-261, "The Gypsy Laddie" (5 texts, 2 tunes)
BrownII 37, "The Gypsy Laddie" (6 texts plus an excerpt, many of them mixed with "Sixteen Come Sunday"; "D" also partakes of "Devilish Mary")
Chappell-FSRA 16, "Gypsy Davy" (1 fragment)
Hudson 20, pp. 117-119, "The Gypsy Laddie" (2 texts)
Cambiaire, pp. 59-60, "The Gypsy Laddie (Gypsy Davy)" (1 text)
Shellans, pp. 36-37, "The Radical Gypsy David" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 215-225, "The Gypsy Laddie" (7 texts, with local titles "The Three Gypsies," "Black Jack Davy," "Gypsia Song," Oh Come and Go Back My Pretty Fair Miss," "Gypsy Davy," "The Lady's Disgrace," "Gypsy Davy"; 5 tunes on pp. 411-414) {Bronson's #75, #126, #106, #32, #9]
Brewster 19, "The Gypsy Laddie" (1 text)
Creighton/Senior, pp. 71-72, "The Gypsy Laddie" (1 fragment, 1 tune) {Bronson's #10}
Creighton-SNewBrunswick 4, "Gypsie Laddie" (1 text, 1 tune)
Greenleaf/Mansfield 16, "The Dark-Clothed Gypsy" (2 texts, 1 tune) {Bronson's #50}
Peacock, pp. 194-197, "Gypsy Laddie-O" (2 texts, 2 tunes)
Karpeles-Newfoundland 17, "The Gypsy Laddie" (3 texts, 4 tunes)
Flanders/Brown, pp. 220-221, "Gypsy Daisy," "Seven Gypsies in a Row" (1 text plus a fragment)
Leach, pp. 539-543, "The Gypsy Laddie" (4 texts)
Friedman, p. 105, "The Gypsy Laddie (Johnny Faa)" (2 texts)
OBB 148, "The Gypsy Countess" (1 text)
Warner 42, "Gypsy Davy" (1 text, 1 tune)
PBB 18, "The Gypsy Laddie" (1 text)
Tunney-StoneFiddle, p. 110, "The Seven Yellow Gipsies" (1 text, 1 tune)
Sharp-100E 5, "The Wraggle Taggle Gipsies, O!" (1 text, 1 tune)
Niles 52, "The Gypsy Laddie" (1 text, 1 tune)
Ritchie-Southern, p. 80, "The Gypsy Laddie" (1 text, 1 tune) {cf. Bronson's #38, a separate, somewhat different transcription}
SharpAp 33, "The Gypsy Laddie" (5 texts plus 5 fragments, 10 tunes) {Bronson's #35, #21, #17, #26, #20, #97, #33, #104, #36, #34}
Sharp/Karpeles-80E 22, "Gypsy Davy (The Gypsy Laddie" (1 text, 1 tune -- a composite version) {Bronson's #26}
Sandburg, p. 311, "Gypsy Davy" (1 fragment, 1 tune) {Bronson's #99}
SHenry H124, p. 509, "The Brown-Eyed Gypsies" (1 text, 1 tune)
Hammond-Belfast, p. 57, "The Dark-Eyed Gypsy" (1 text, 1 tune)
Asch/Dunson/Raim, p. 108, "Black Jack David" (1 text, 1 tune)
Hodgart, p. 72, "The Gypsy Laddie" (1 text)
JHCox 21, "The Gyspy Laddie" (4 texts, 1 tune) {Bronson's #94}
JHCoxIIA, #10A-C, pp. 40-45, "Gypsy Davy," "The Raggle Taggle Gypsies, O," "The Wraggle Taggle Gypsies, O" (3 texts, 2 tunes) {Bronson's #9, #74}
Ord, pp. 411-412, "The Gypsie Laddie" (1 text, 1 tune) {Bronson's #60}
Fowke/MacMillan 76, "Seven Gypsies on Yon Hill" (1 text, 1 tune)
TBB 6, "The Gipsy Laddie" (1 text)
Abrahams/Foss, pp. 181-184, "Gypsy Davey"; "Gypsy Laddie O"; "Gypsy Laddie" (3 texts, 3 tunes) {Bronson's #83, #81, #27}
Darling-NAS, pp. 75-78, "The Gypsy Laddie"; "Gyps of David"; "Gypsy Davy (Catskill's)"; "The Gypsy Laddie" (3 texts plus a fragment)
Gilbert, p. 35, "The Gypsy Davy" (1 text)
Silber-FSWB, p. 194, "Gypsy Davey";  p. 211, "The Gypsy Rover"; p. 213, "The Wraggle-Taggle Gypsies" (3 texts)
BBI, ZN2567, "There was seven Gipsies all in a gang"
DT 200, GYPDAVY GYPLADD GYPLADD2* GYPLADD3 GYPLADX GYPBLJK* GYPSYRVR* GYPHARBR*  BLCKJACK*  BLCKJCK2 BLKJKDAV GYPLADY*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #83, "The Wraggle Taggle Gipsies" (1 text)
Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, pp. 38-29, "The Wraggle Taggle Gipsies O!" (1 text, 1 tune).
Roud #1
RECORDINGS:
O. J. Abbott, "The Gypsy Daisy" (on Abbott1)
Cliff Carlisle, "Black Jack David" (Decca 5732, 1939)
Carter Family, "Black Jack David" (Conqueror 9574, 1940)
Dillard Chandler, "Black Jack Daisy" (on Chandler01)
Robert Cinnamond, "Raggle Taggle Gypsies-O" (on IRRCinnamond02)
Harry Cox, Jeannie Robertson, Paddy Doran [composite] "The Gypsy Laddie" (on FSB5 [as "The Gypsie Laddie"], FSBBAL2) {cf. Bronson's #42, #45.1}
Mary Jo Davis, "Black Jack Davy" (on FMUSA)
Woody Guthrie, "Gypsy Davy" (AFS, 1941; on LCTreas)
Harry Jackson, "Clayton Boone" (on HJackson1)
Margaret MacArthur, "Gypsy Davy" (on MMacArthur01)
New Lost City Ramblers, "Black Jack David" (on NLCR04); "Black Jack Daisy" (on NLCR14, NLCRCD2)
Maire Aine Ni Dhonnchadha, "The Gypsy-O" (on TradIre01)
Lawrence Older,  "Gypsy Davy" (on LOlder01)
Walter Pardon, "Raggle-Taggle Gypsies" (on Voice06)
Jean Ritchie, "Gypsy Laddie" (on JRitchie01) {Bronson's #38}
Jeannie Robertson, "The Gypsy Laddies" (on Voice17)
Pete Seeger, "Gypsy Davy" (on PeteSeeger16)
Warren Smith, "Black Jack David" (Sun 250, mid-1950s)
BROADSIDES:
Bodleian, Harding B 11(1446), "Gypsy Laddie," W. Stephenson (Gateshead), 1821-1838; also Harding B 11(2903), "Gypsy Loddy"; Harding B 19(45), "The Dark-Eyed Gipsy O"; Harding B 25(731), "Gipsy Loddy"; Firth b.25(220), "The Gipsy Laddy"; Harding B 11(1317), "The Gipsy Laddie, O"; Firth b.26(198), Harding B 15(116b), 2806 c.14(140), "The Gipsy Laddie"; Firth b.25(56), "Gypsie Laddie"
Murray, Mu23-y3:030, "The Gypsy Laddie," unknown, 19C
NLScotland, L.C.Fol.178.A.2(092), "The Gipsy Laddie," unknown, c. 1875
CROSS_REFERENCES:
cf. "The Roving Ploughboy" (theme, lyrics, tune)
ALTERNATE_TITLES:
Black Jack Davy
Clayton Boone
The Gypsy Davy
Johnny Faa
Davy Faa
The Wraggle Taggle Gypsy
The Lady and the Gypsy
Harrison Brady
Gypson Davy
Black-Eyed Davy
The Heartless Lady
Egyptian Davio
It Was Late in the Night
When Johnny Came Home
The Gyps of Davy
The Dark-Clothed Gypsy
NOTES: Hall, notes to Voice17, re "The Gypsy Laddies": "Francis James Child locates the history behind the ballad to the expulsion of the Gypsies from Scotland by Act of Parliament in 1609, and the abduction by Gypsies of Lady Cassilis (who died in 1642), her subsequent return to her home and the hanging of the Gypsies involved. [ref. Child, IV, pp. 63-5.]"
Jeannie Robertson's version on Voice17 follows Child 200C,G in that the Gypsies are hanged in the last verse. - BS
Although the hero of this song is often called "Johnny Faa" or even "Davy Faa," he should not be confused with the hero/villain of "Davy Faa (Remember the Barley Straw)." - RBW
[Silber and Silber mis-identify all their texts] as deriving from "Child 120," which is actually "Robin Hood's Death." - PJS
Also sung by David Hammond, "The Dark-Eyed Gypsy" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959)) Sean O Boyle, notes to David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland": "The tune has been known in the O Boyle family for four generations and has never been published." - BS
File: C200
===
NAME: Gypsy Maid, The (The Gypsy's Wedding Day) [Laws O4]
DESCRIPTION: The gypsy girl, left to fend for herself, meets a young lawyer who asks her to tell his fortune. She tells him that he has courted many fine ladies, but he is to marry a gypsy. He takes her to his home and marries her
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Firth b.26(40))
KEYWORDS: prophecy marriage Gypsy
FOUND_IN: US(Ap,MW,So) Britain(England)
REFERENCES: (7 citations)
Laws O4, "The Gypsy Maid (The Gypsy's Wedding Day)"
Randolph 129, "The Gypsy Maid" (1 text)
Eddy 100, "The Gypsy's Wedding Day" (1 text, 1 tune)
Kennedy 346, "The Little Gipsy Girl" (1 text, 1 tune)
JHCox 100, "The Orphan Gypsy Girl" (1 text)
Rorrer, p. 90, "My Gypsy Girl" (1 text)
DT 469, GYPSGIRL
Roud #229
RECORDINGS:
Horton Barker, "The Gypsy's Wedding Day" (on Barker01)
Charlie Poole and the North Carolina Ramblers, "My Gypsy Girl" (Columbia 15519-D, 1930; on CPoole02)
Jasper Smith, "The Squire and the Gypsy" (on Voice11)
Joseph Taylor, "The Gypsy Girl" (on Voice01)
BROADSIDES:
Bodleian, Firth b.26(40), "The Gipsey Girl" ("My father was king of the gypsies you know"), J. Pitts (London), 1819-1844; also Firth b.28(37) View 2 of 2, "Gipsey Girl"; Harding B 16(101d), "Gipsy Girl"
Murray, Mu23-y1:046, "The Little Gipsy Girl," James Lindsay Jr. (Glasgow), 19C; also Mu23-y1:117, "The Little Gipsy Girl," unknown, 19C; Mu23-y4:028 [the last a very short version probably edited to fit in a corner of a page]
LOCSinging, as201140, "The Gipsey Girl" ("My father was king of the gipsies you know"), H. De Marsan (New York), 1864-1878
NLScotland, L.C.Fol.70(55), "The Little Gipsy Girl," unknown, n.d.
CROSS_REFERENCES:
cf. "The Squire and the Gipsy" (theme)
ALTERNATE_TITLES:
The Gypsy Girl
The Little Gypsy Girl
NOTES: [Sources such as] Charlie Poole have cleaned this one up. Broadside LOCSinging as201140 reads:
He took me to a house, it was a palace I am sure, 
Where ladies were waiting to open the door; 
On a bed of soft feathers, where I pleased him so well, 
In nine months after his fortune I could tell.
Her father keeps the baby, she gets a pension of twenty pounds a year and "no more shall my gipsey girl ever more rove" but when she's in the neighborhood, she says, "your fortunes I will tell."
The Murray broadsides are all of the same version in which "little gypsy girl" meets "two handsome young squires," goes with one of them, and becomes pregnant; they marry.
Broadside LOCSinging as201140: 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
This song may, just possibly, have actually encouraged one actual marriage: "Alberta Slim" (Eric Edwards, 1910-2005), the Canadian country singer, had a sideline of reading tea leaves. His daughter, after his death, reports that her father had met her mother when the mother had her tea leaves read. Slim looked at the leaves (and presumably looked at her even more intently), and told her that she was going to marry him. Which, of course, she did.
I don't know that Alberta Slim knew this song, but he did know quite a selection of English folk songs. - RBW
File: LO04
===
NAME: Gypsy's Warning, The
DESCRIPTION: "Trust him not, oh gentle lady, Though his voice is low and sweet." "Listen to the Gypsy's warning, Gentle lady, trust him not." The Gypsy tells of a girl betrayed; the lady scorns (her). (The sequel may give the man's self-defense and the lady's answer)
AUTHOR: unknown
EARLIEST_DATE: 1864 (sheet music)
KEYWORDS: Gypsy love warning
FOUND_IN: US(MW,So,SW)
REFERENCES: (9 citations)
Randolph 743, "The Gypsy's Warning" (4 texts, 1 tune, the first being the "Gypsy's Warning" proper, the second the "Answer to the Gypsy's Warning," the third being "The Decision in the Gypsy's Warning," and the last an excerpt from a copyrighted piece by Monroe H. Rosenfeld)
Randolph/Cohen, pp. 525-527, "The Gypsy's Warning" (1 text, 1 tune -- Randolph's 743A)
MHenry-Appalachians, pp. 154-155, "The Gypsy's Warning" (1 text)
Brewster 55, "The Gypsy's Warning" (1 text plus mention of 1 more); 56, "Answer to the Gypsy's Warning" (1 text)
JHCox 149, "The Gypsy's Warning" (1 text)
JHCoxIIB, #30, pp. 201-202, "The Gypsy's Warning" (1 fragment, 1 tune)
Spaeth-ReadWeep, pp. 19-21, "Love's Ritornella" (2 texts, 1 tune, with this piece listed as an appendix to the song named)
cf. Gardner/Chickering, p. 479, "The Gypsy's Warning" (source notes only)
DT, GYPWARN*
Roud #1764 plus 3761
RECORDINGS:
Vernon Dalhart, "The Gypsy's Warning"  (Perfect 12330, 1927; Romeo 601, 1928) (Brunswick 122, 1927; Supertone S-2011, 1930)
"Gooby" Jenkins, "The Gypsy's Warning" (Okeh 45069, 1926)
Arthur Smith Trio, "The Gypsy's Warning" (Bluebird B-7893, 1938)
NOTES: This probably originated as three separate pieces, the original being "The Gypsy's Warning" and the sequels being the "Answer to the Gypsy's Warning" (in which the young man begs the girl "Do not heed her warning") and the "Decision in the Gypsy's Warning" (in which the girl decides to heed the warning).
The three can, however, be sung together, and they are obviously dependent. What is more, the versions have sometimes merged (e.g. in the version in Peters). So I am listing them as one song even though I know they are multiple.
The song seems to have been in tradition by 1880; Laura Ingalls Wilder quotes the first part in _By the Shores of Silver Lake_, chapter 22. - RBW
File: R743
===
NAME: Gypsy's Wedding Day, The: see The Gypsy Maid (The Gypsy's Wedding Day) [Laws O4] (File: LO04)
===
NAME: Gyteside Lass, The
DESCRIPTION: "Aw warn'd ye heven't seen me lass -- her nyem aw winnet menshun." He met her "When aw strampt upon her good, an' the gethors com away," but that did not prevent them courting. He tells of his delight that she will continue to spend time with him
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: courting clothes
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 182-183, "The Gyetside Lass"/"Maw Bonny Gyetside Lass" [both titles are used in the page headings] (1 text, 1 tune)
Roud #3177
File: StoR182
===
NAME: H'Emmer Jane, The
DESCRIPTION: "Now 'tis of a young maiden this story I tell, and of her young lover...."  Her love, a ship's captain, sails away and is presumed lost. H'Emmer Jane goes crazy and drowns herself. He finally returns; shown the grave of his beloved, he dies himself.
AUTHOR: unknown
EARLIEST_DATE: 1941 (Fowke/MacMillan)
KEYWORDS: love separation death drowning humorous
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Fowke/MacMillan 50, "The H'Emmer Jane" (1 text, 1 tune)
Blondahl, p. 105, "H'Emmer Jane" (1 text, 1 tune)
Roud #4425
RECORDINGS:
Omar Blondahl, "The H'Emm'r Jane" (on NFOBlondahl03)
CROSS_REFERENCES:
cf. Vilikens and His Dinah (tune, meter and same satirical treatment of story) and references there
ALTERNATE_TITLES:
Emmer Jane
NOTES: Satire on popular broadsides and ballads of the period that told such melodramatic tales in great seriousness. Lyrics are written in imitation of an exaggerated Newfoundland accent, [e.g.] "On a cold stormy mornin' all down by the sea, H'Emmer Jane sot a-waitin', sot a'waitin' for 'e. On a cold stormy mornin' her body were found, so t'was figgered pretty ginerally she'd gone crazy and got drowned."
[The] date from a broadside set by Golden Hind Press, Madison NJ, 1941. States that "Emmer Jane is a fold song from the south shore on Newfoundland here printed for the first time." - SL
The dead captain is recognized because he is carrying H'Emmer Jane's handkercheif. If a [broken] ring is a man's token to be kept by a woman then perhaps the woman's token is her handkercheif. That is true in "Jack Robinson" where Jack reveals himself to his old lover by showing her handkercheif. See also the French ballad "Arthur" [indexed here] where the heroine embroiders Arthur's name on her handkercheif. Maybe the question is: How much credit do we give H"Emmer Jane's author for familiarity with the broadside scene? Is Jane's name a reference to "Crazy Jane" [also indexed here, with allusions to its many parodies]?
H'Emmer Jane's handkercheif is found in the vest-pocket of the Captain's "cold carcass"; in a modern literal (?) reading of "The Suffolk Miracle," the daughter's "holland handkercheif" is found around her dead young man's head [but then there's the counter-example of "The Silvery Tide" in which the murdered Mary is found bound by the murderer's handkercheif].- BS
File: FowM050
===
NAME: Ha, Ha, Ha
DESCRIPTION: Refrain: "Ha, Ha, Ha! Don't you hear me now?/The Black horse calverns are coming...." Verse: "When the war is ended the boys will see their fun/They'll march through the South with their ladies... And I'll raise me some little Union babies"
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
LONG_DESCRIPTION: Refrain: "Ha, Ha, Ha! Don't you hear me now?/The Black horse calverns are coming/The ladies in the town, they think they're mighty gown/The hoopskirts they are a-flowing/It takes 40 yards of alapac to cover up the hoops/and to cover up the happy land of money." Verse: "When the war is ended the boys will see their fun/They'll march through the South with their ladies/I'll march mine through some Southern Union clime/And I'll raise me some little Union babies"
KEYWORDS: army Civilwar clothes nonballad nonsense children lover soldier
HISTORICAL_REFERENCES: 1861-1865 - American Civil War
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
SharpAp 150, "Ha, Ha, Ha" (1 text, 1 tune)
Roud #3638
NOTES: Eat your heart out, Uncle Dave. - PJS
File: ShAp2150
===
NAME: Habitant d'Saint-Barbe
DESCRIPTION: Cumulative, call and response song: "L'habitant d'Saint-Barb' s'en va t'a Montreal" after six verses, building to "Le bout d'la queue du chien d'l'enfant d'la femm' d'l'habitant de Saint-Barbe..."
AUTHOR: unknown
EARLIEST_DATE: 1976 (Fowke/MacMillan)
KEYWORDS: foreignlanguage cumulative nonballad
FOUND_IN: Canada(Que,Mar)
REFERENCES: (1 citation)
Fowke/MacMillan 32, "L'Habitant d'Saint-Barbe" (1 text, 1 tune)
NOTES: Progression of verses is very similar to "The Wild Man of Borneo." - SL
File: FowL32
===
NAME: Hackler from Grouse Hall, The
DESCRIPTION: Paddy Jack, the Hackler, has fallen on hard times since the Sergeant was assigned Grouse Hall. He jails people on false charges, including drinking, for which he jails the Hackler. But soon Home Rule will sack "Old Balfour's pack"
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: prison drink Ireland humorous police
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 39, "The Hackler from Grouse Hall" (1 text, 1 tune)
Roud #3035
CROSS_REFERENCES:
cf. "The Sergeant's Lamentation" (sequel to this ballad)
NOTES: "The hackler was a distiller of high quality Poitin in 19th century Ireland" (source: Hearing before Trademark Trial and Appeal Board, US Patent and Trademark Office, January 6, 2000 in re United Distillers plc "On December 16, 1996 United Distillers plc filed an intent-to-use application to register the mark HACKLER on the Principal Register for 'alcoholic beverages, namely, distilled spirits, except Scotch whisky, and liqueurs.'....) 
Apparently the more common definition is "one that hackles [to chop up or chop off roughly]; esp: a worker who hackles hemp, flax, or broomcorn." (source: _Webster's Third New International Dictionary of the English Language Unabridged_, 1976); its this last definition that OLochlainn follows.
OLochlainn notes to "The Hackler from Grouse Hall" and its answer, "The Sergeant's Lamentation," explain the Sergeant's deeds and the references to people named in both songs and happenings in County Cavan. His source for notes is the singer.
The occurrences appear to be during Arthur Balfour's tour as Chief Secretary of Ireland in the late 1880s [1887-1891; his repressive methods earned him the nickname "Bloody Balfour." He made something of a habit of taking political prisoners -- see Robert Kee, _The Bold Fenian Men_, being Volume III of _The Green Flag_, p. 111 - RBW]. See for example the reference to the 1888 imprisonment of Father McFadden of Donegal in Derry Prison "for an agrarian speech" (source: Chapters of Dublin History site, _Letters and Leaders of my Day_ Chapter XXII "Parnellism and Crime" (1887-8), by T.M. Healy). I'd guess, no doubt naively, that the issue here is moonshining to defeat high alcohol taxation. - BS
The other possibility for the date is 1902-1905, when Balfour was prime minister in succession to his uncle Lord Salisbury. Gladstone's proposals for Irish Home Rule had of course failed, but the issue never really went away, and the Liberals were increasingly in favor of it in the early twentieth century.
Supporting this dating is the fact that, during the Balfour administration, there was a movement for "tariff reform" -- i.e. lowering of duties within the British Empire, which would have made it easier for the Irish to export to England.
Balfour tried to calm the tariff controversy, but succeeded mostly in turning his party purely protectionist, thus making the Liberals even more popular with the Irish, since they were more likely to favor both Home Rule and Free Trade. So the song might well look forward to the 1906 election which shunted the Conservatives from power. - RBW
File: OLoc039
===
NAME: Had a Big Fight in Mexico: see Little Fight in Mexico (File: R549)
===
NAME: Had a Little Fight in Mexico: see Little Fight in Mexico (File: R549)
===
NAME: Had I the Tun Which Bacchus Used
DESCRIPTION: If the singer had Bacchus's wine cask he'd drink all day at no cost. And to avoid drinking alone he'd bring a friend. But since he does not have it, "let's drink like honest men." Let Bacchus have his wine; whisky is more divine.
AUTHOR: Richard Alfred Millikin (1767-1815) (source: Croker-PopularSongs)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS:  drink nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 88-92, "Had I the Tun Which Bacchus Used" (1 text)
NOTES: Bacchus (seemingly a Lydian name) is the God more properly know as Dionysus -- who was of course the god of wine and drunkenness -- and also of orgaistic rites; he was accompanied by the satyrs and Maenads (Baccae). He also had fertility aspects, which explains the idea of the bottomless wine vat.
Richard Alfred Millikin is better known as the (probable) author of "The Groves of Blarney." - RBW
File: CrPS088
===
NAME: Hag's Rant, The
DESCRIPTION: Old Susie spins in the corner and asks for her tollies. We have to eat them dry because the cream turned. Hags have a connection with milk and butter. That old crone "some day at a witch stake will burn." "If only old Ireland was free!"
AUTHOR: unknown
EARLIEST_DATE: 1991 (Tunney-SongsThunder)
KEYWORDS: age magic food witch
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-SongsThunder, pp. 28-29, "The Hag's Rant" (1 text)
NOTES: Tunney-SongsThunder: "tollies" are "potatoes" [though the play on "toll" is interesting - RBW]. Tunney doesn't say so but this may only be a song in Gaelic, which he has translated into "the slave's patter, as you say."
Pure speculation: Potatoes, an old woman, free Ireland: is Suzy just an old lady, or Granuaile or Granua [see notes to "Granuwale" and "The Young Man's Dream"], or both? - BS
File: TST028
===
NAME: Hagg Worm, The: see The Laidley Worm of Spindleston Heughs (File: C034A)
===
NAME: Haggertys and Young Mulvanny, The
DESCRIPTION: The singer wanders on a "pleasant evening"; as the sun illuminates the landscape, he sees a beautiful girl crying for "young Mulvanny Who lost his life on the Kipawa stream." She tells how he and the two Haggerty brothers died in a rafting accident
AUTHOR: unknown
EARLIEST_DATE: 1966 (Fowke)
KEYWORDS: logger river death lumbering
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #39, "The Haggertys and Young Mulvanny" (1 text, 1 tune)
Roud #4559
ALTERNATE_TITLES:
The Kipawa Stream
File: FowL39
===
NAME: Hail to the Oak, the Irish Tree!
DESCRIPTION: "The Irish oak ... the kingly forest tree ... sickens where the slave, To power despotic, homage gives ... Its branching green head long defend The Shamrock, Thistle and the Rose. Hail to the oak, the Irish tree, And British hearts ..."
AUTHOR: W. Kertland? (source: Croker-PopularSongs)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: Ireland nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 115-117, "Hail to the Oak, the Irish Tree!" (1 text)
NOTES: See "The Sprig of Shillelah" for another example of "The Shamrock, Thistle[Scotland] and the Rose[England]" unity theme during and after the Napoleonic wars. Nevertheless, reference to "power despotic" remains. - BS
The unity theme is perhaps best known from its appearance in "The Bonny Bunch of Roses-O" [Laws J5]. I musst admit to finding some irony in the Irish calling the oak their tree at a time when the British made "Heart of Oak" almost an alternative national anthem.  - RBW
File: CrPS115
===
NAME: Hairs on Her Dicky Di Do, The
DESCRIPTION: A quatrain ballad, this describes in graphic detail the pubic hairs of the maid of the mountain, and her sexual adventures.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous
FOUND_IN: Australia Britain(England) Ireland US(SW)
REFERENCES: (1 citation)
Cray, pp. 134-135, "The Hairs on Her Dicky Di Do" (1 text)
RECORDINGS:
Anonymous singer, "Dicky Dido" (on Unexp1)
CROSS_REFERENCES:
cf. "The Ash Grove" (tune)
File: EM134
===
NAME: Hairst o' Rettie, The
DESCRIPTION: "I hae seen the hairst o' Rettie... I've heard for sax and seven weeks The hairsters girn and groan... But a covie Willie Rae... Maks a' the jolly hairster lads Gae singing down the brae." The singer praises Rae's efficient, comfortable organization
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: farming work
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 271-272, "The Hairst o' Rettie" (1 text)
Roud #3512
NOTES: This song is so unusual that it's almost hard to describe (and impossible to keyword). Whoever heard of a bothy song in praise of the owner? - RBW
File: Ord271
===
NAME: Hairst, The
DESCRIPTION: "I see the reapers in the field, for hairst is come." The singer praises "The bonnie yellow waving grain, our precious staff o' bread." He hopes Victoria may long reign over the people, and rejoices, for "The hairst is here again."
AUTHOR: James Davidson
EARLIEST_DATE: reportedly written 1859
KEYWORDS: farming harvest food nonballad
HISTORICAL_REFERENCES: 1837-1901 - reign of Queen Victoria
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 263, "The Hairst" (1 text)
Roud #2167
File: Ord263
===
NAME: Hal-an-Tow
DESCRIPTION: Spring ritual song; "Robin Hood and Little John they both are gone to fair-O"'; other verses similar. Cho.: "Hal-an-tow/Jolly rumble-O/For we are up as soon as any day-O/For to fetch the summer home, the summer and the May-O...."
AUTHOR: unknown
EARLIEST_DATE: 1660 (mentioned by Nicholas Boson of Newlyn; first actual text 1846 (Sandys))
LONG_DESCRIPTION: Spring ritual song; "Robin Hood and Little John they both are gone to fair-O"; "Where are the Spaniards that made so great a boast-O/They shall eat the goose feather and we shall have the roast-O"; "Of all the knights in Christendom St. George he is the right-O." Chorus: "Hal-an-tow/Jolly rumble-O/For we are up as soon as any day-O/For to fetch the summer home, the summer and the May-O/For summer is a comin' in and winter is a-gone."
KEYWORDS: magic ritual dancing nonballad Robinhood
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 92, "Hal-An-Tow" (1 text + Cornish translation, 1 tune)
DT, HALANTO*
Roud #1520
ALTERNATE_TITLES:
Haile an Taw and Jolly Rumbelow
NOTES: A May song and Maypole dance. A version is still performed along with the Helston Furry Dance on May 8th of every year. Kennedy's Cornish words are a revivalist translation from the English. The phrase "Hal-an-tow [taw]" is variously translated as "heave on the rope" and "hoist the roof." - PJS
Both "hal-an(d)-to" and "rumbelo/rumble-o" have provoked scholarly discussion. No decisive answer seems to have been found.The phrases seem to date back at least to the beginning of the fourteenth century, however; E. K. Chambers (_English Literature at the Close of the Middle Ages_, p. 74) quotes, with an astonishing lack of bibliographic detail, one of the "Brut" chronicles concerning the battle of Bannockburn:
Maydenes of Engelande, sare may ye morne,
For tynt [presumably past tense of tine, lose, forfeit] ye have youre lemmans at Bannokseborn,
With hevalogh
What wende [thought] the Kyng of Engleand
To have ygete Scotlande
With rombylogh.
Chambers explains both "hevalogh" and "rumbylogh" as "boating refrains," but does not show any supporting evidence.
The verse about the "Spaniards that made so great a boast-O" presumably refers to the Spanish Armada of 1588. - RBW
File: K092
===
NAME: Halarvisa
DESCRIPTION: Swedish hauling or capstan shanty. No story line to verses, choruses: "Viktoria, Viktoria! Karre-verre-vitt-bom! Hurra sa! Viktoria, Viktoria! Karre-verre-vitt-bom!"
AUTHOR: unknown
EARLIEST_DATE: 1875
KEYWORDS: foreignlanguage shanty worksong
FOUND_IN: 
REFERENCES: (1 citation)
Hugill, pp. 426-427, "Halarvisa" (2 texts-Swedish & English, 1 tune)
CROSS_REFERENCES:
cf. "A Kom Till Mig Pa Lordag Kvall" (similar chorus)
NOTES: Hugill's notes (quoted from Sternvall's _Sang under Segel_ 1935) say this was written down by "Navigation Pelle," 1875) - SL
File: Hugi426
===
NAME: Half Crown, The
DESCRIPTION: De Valera will give a half crown to every newborn. Singer marries a widow and does his "best for the blooming half crown." His wife says he's not trying hard enough but then admits she's 63. "Check your wife's age before going to bed"
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: age sex marriage childbirth money humorous wife
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #16988
RECORDINGS:
Vincie Boyle, "The Half Crown" (on IRClare01)
Andy Cash, "The Half Crown" (on IRTravellers01)
CROSS_REFERENCES:
cf. "Cod Liver Oil" (tune) and references there
NOTES: The tune, verse structure, and some lines derive from "Cod Liver Oil." Compare, for example, these lines from "Cod Liver Oil" [OLochlainn-More 30]
I'm a young married man, and I'm tired of my life,
For lately I married an ailing young wife.
with these from "The Half Crown"
I'm a young married man and I'm tired of life,
Half killed and half crazy from this strap of a wife.
In Andy Cash's version on IRTravellers01 the singer earns his half-crown in spite of his wife's age (though, perhaps, the "young baby scream" makes him wonder if the reward were sufficient).
Notes to IRClare01: "In 1944, despite considerable opposition, the DeValera government introduced a family allowance of two-and-sixpence for every child after the first." The song says that DeValera was concerned because "the population of Ireland was beginning to fall." - BS
Ireland's population was a constant concern of her politicians -- see, e.g., "Daniel O'Connell (I)," plus all the hundreds of emigration songs. The problem did indeed continue into the twentieth century and De Valera's presidency -- Ruth Dudley Edwards, _An Atlas of Irish History_, second edition,Routledge, 1981, shows that the population of Ireland *fell* 4% from 1901 to 1946 (a period when the rest of the world increased its population massively), and fell another 1% from 1946 to 1961. What's more, the population decrease was all concentrated in the Republic of Ireland (8% and 4%, respectively); in Ulster, the population increased in this period.
So De Valera had a point. Except -- paying people to have children only works if there are jobs to support the children, and the Republic of Ireland was an economic basket case for most of De Valera's lifetime, including at the time he proposed this silly idea. If, instead of gimmicks, he has worked on genuine economic development, real free trade (including even with England), and a reasonable policy on science and technology, he could have had the kids and kept them in the country too. As witness the fact that Ireland is doing just fine now that it's gotten away from De Valera type economics -- it's very nearly the fastest-growing country in Europe. - RBW
File: RcTHaCro
===
NAME: Half Door, The
DESCRIPTION: The singer finds a home with "a sweet colleen" behind an open half-door. She invites him to come in. They dance. He proposes but she tells him to come back when she is older"
AUTHOR: unknown
EARLIEST_DATE: 1964 (NFOBlondahl04)
KEYWORDS: courting dancing 
FOUND_IN: Canada(Newf) Ireland
REFERENCES: (0 citations)
Roud #5275
RECORDINGS:
Margaret Barry and Michael Gorman, "The Half-Door" (on Voice15)
Omar Blondahl, "The Half Door" (on NFOBlondahl04)
NOTES: GEST Songs of Newfoundland and Labrador site has this as "Irish traditional" though I haven't yet seen any paper copy. - BS
There are a number of Irish recordings; actual field collections seem to be few. - RBW
File: RcHalDoo
===
NAME: Half Horse and Half Alligator: see The Hunters of Kentucky [Laws A25] (File: LA25)
===
NAME: Half-Hitch, The [Laws N23]
DESCRIPTION: A girl pretends to refuse her fiance. Finally he gives up, promising to marry the first girl he sees. She disguises herself as the ugliest woman possible and makes sure he sees her. He  asks her to marry; she consents. She reveals herself after they wed
AUTHOR: unknown
EARLIEST_DATE: 1919 (Sturgis and Hughes)
KEYWORDS: courting disguise trick marriage
FOUND_IN: US(MA,NE)
REFERENCES: (7 citations)
Bronson (31), 1 version
Laws N23, "The Half-Hitch"
BarryEckstormSmyth pp. 382-389, "The Loathly Bride" (1 text plus a version reprinted from Sturgis)
Flanders/Brown, pp. 236-239, "The Half-Hitch" (1 text)
Flanders/Olney, pp. 33-37, "The Half-Hitch" (1 text, 1 tune) {Bronson's (#1) in the appendix to #31}
Flanders-Ancient1, pp. 265-275, "The Half-Hitch" (2 texts plus a fragment, 1 tune) {Bronson's (#1) in the appendix to #31}
DT 453, HALFHITC
Roud #1887
CROSS_REFERENCES:
cf. "The Marriage of Sir Gawain" [Child 31]
NOTES: This text is associated by some editors (e.g. notably Flanders) with Child 31, "The Marriage of Sir Gawain." It should be noted, however, that the only themes the two have in common are a marriage made for honour rather than love and an ugly woman who turns out to be beautiful (themes also found in "King Henry," Child 32). - RBW
File: LN23
===
NAME: Half-Past Ten
DESCRIPTION: The singer courted "wifie Jean," but her parents always locked the door at half past ten. Eventually she sees to it that the clock stops so she has more time with the young men. Finally her parents agree to the marriage; all live happily thereafter
AUTHOR: Catherine Mackay Bacon
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: love courting marriage trick technology
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ford-Vagabond, pp. 110-112, "Half-Past Ten" (1 text, 1 tune)
Ord, pp. 71-72, "Half-Past Ten" (1 text)
Roud #2856
BROADSIDES:
NLScotland, R.B..m.168(213), "Half-Past Ten," Robert MacIntosh (Glasgow), c. 1850; also L.C.Fol.178.A.2(077), "Half-Past Ten," unknown, c. 1870
File: FVS110
===
NAME: Halifax Explosion, The [Laws G28]
DESCRIPTION: In Halifax harbor, a ship loaded with explosives is rammed by another vessel. The explosion and fire which follow cause terrible damage to the city and its population -- 1200 killed and 2000 wounded
AUTHOR: unknown
EARLIEST_DATE: 1933
KEYWORDS: fire death disaster ship
HISTORICAL_REFERENCES: Dec 6, 1917, 9:05 a.m. - The Halifax Explosion
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Laws G28, "The Halifax Explosion"
Creighton-Maritime, pp. 208-209, "The Halifax Explosion" (1 text, 1 tune)
DT 676, HALIFAXX
Roud #2724
NOTES: The Halifax explosion has been called "the second most devastating blast in history" (behind Hiroshima; it actually did more damage than Nagasaki). As a survivor said, "Halifax was gone." Not surprisingly, it inspired several books. The most recent as of this writing is Laura M. MacDonald, _The Curse of the Narrows_, Walker, 2005, written by a resident of Halifax (or, rather, by a resident of Dartmouth, the city on the other side of Halifax Harbour; apparently Dartmouth residents don't like being treated as part of Halifax). I have also used Joyce Glasner, _The Halifax Explosion: Surviving the Blast that Shook a Nation_, Altitude, 2003.
Glasner is a short, undocumented, rather sensational book (the series title is "Amazing Stories"!), though I've cited it where is seems useful. MacDonald's long account is properly footnoted and agrees with the short accounts I've read in other sources (e.g. the story of the _Mont Blanc_ in Lincoln P. Paine's _Ships of the World_). What follows is mostly condensed from MacDonald, though I've tried to tell the story in more linear fashion (MacDonald spends much time talking about what people on shore were thinking; if I hadn't read the outline in Paine, I would have found her account very difficult to understand. As it is, reading MacDonald  felt like I was watching a television drama where she took a commercial break every few pages).
To briefly sum up, the Halifax Explosion took place when the French munitions freighter _Mont Blanc_ and the Norwegian _Imo_ collided in Halifax harbor. The _Mont Blanc_ was scheduled to make a run to Britain with a large load of explosives when the _Imo_, also bound to sea and sloppily steered, collided with it. The impact was not particularly damaging in itself, but it struck sparks, starting a fire on the French ship. The captain, rather than fight the fires, ordered the crew to abandon ship. Twenty minutes later, burning and floating aimlessly, it ran up against a pier. The ship exploded, causing much damage and also starting a great wave which added to the damage.
If it weren't so tragic, the story of the _Mont Blanc_ would be almost comic. Why in the world was such a lousy ship used for such an important purpose? The cargo consisted mostly of explosives (though no one not on the ship knew this, because -- this being wartime -- the standard red explosives flag was not shown; Glasner, p. 35), along with a large amount of gasoline-related fuels (MacDonald, p. 16). Originally launched in 1899 (see Paine), she had been refitted to hold her cargo (e.g. the nails in her hold had been replaced by copper to avoid striking sparks; MacDonald, p. 17).
All this in a ship with an inexperienced crew and a captain who was new to his ship (he had only reached the rank of captain in 1916; Glasner, p. 15) and had little English (MacDonald, pp. 15-16). In a crisis, he would not know how to deal with his ship. It probably didn't help that he had never been to Halifax before, either (Glasner, p. 26).
The real problem was her speed. The best the _Mont Blanc_ could manage was about eight knots, and over a long stretch, she would probably not be able to exceed seven and a half. In fact, Glasner, p. 14, says that with her current loading she could barely make seven knots. By 1917, submarines were doing great damage, and the British were convoying their ships. The _Mont Blanc_ was too slow to sail direct from New York to Britain. She would have to go to Halifax to join one of the slow convoys there -- and even that might be pushing her abilities (MacDonald, p. 18). The later description "Large Slow Target" would have been a brilliant description of the _Mont Blanc_.
And Halifax was by this time the major shipment point from Canada to Britain. Fears of submarines had caused the harbor to be made more secure. There were anti-submarine nets at the entrance which were closed at sunset. When the _Mont Blanc_ arrived, the gates were shut for the day; she had to spend the night outside (Glasner, pp. 14, 16; MacDonald, p. 16), and then join what we might call the morning rush hour.
The other ship involved was also trapped by the submarine precautions. The _Imo_ had been launched as the White Star Lines ship _Runic_, but had been sold and was now a Norwegian tramp steamer used among other things to ferry food to civilians in Belgium. Her crew had recently spent a lot more time sitting around than sailing, and were probably very disappointed when they failed to make past the submarine barriers before they closed for the day (MacDonald, p. 20); they had had to wait for a shipment of coal (Glasner, p. 27).
The shape of the bay contributed to the problem. Halifax is an excellent port, with a large inner bay (the Bedford Basin) capable of holding many ships. But the basin is reached by "the Narrows" -- a long channel only about a third of a mile wide -- good for security, since it's easy to guard and control (Glasner, pp. 16-17) but a definite traffic bottleneck. Two ships can pass each other in the Narrows, but only if they stay on their proper courses. Ships going in and out have to be steered by pilots experienced in entering the channel. (Many harbors of course require such pilots, but few need them as much as Halifax).
The _Imo_, in its haste, broke the rules. As she left the Bedford Basin, she encountered the _Clara_. The standard for ships at Halifax was to pass "port to port" -- that is, as we might say it, to "keep on the right side of the road." But, because of where the ships were located, it was quicker to pass "starboard to starboard." The _Imo_ ended up on the wrong side of the channel (MacDonald, p. 30). And she then noticed another ship, the _Stella Maris_, pulling two scows near the south bank (MacDonald, p. 32-34). And there was some haze over the Narrows (MacDonald, p. 31). Despite this, the _Imo_ did not slow down; a witness reported, "She is going as fast as any ship I ever saw in the harbor" (MacDonald, p. 33). According to Glasner, p. 27, she was moving at seven knots, two knots faster than the harbor speed limit, though it's not clear how this was determined.
The pilot of the _Mont Blanc_, Francis Mackey, apparently spotted the _Imo_ first, though all he could see in the fog was her masts. He ordered the _Mont Blanc_ to edge toward the starboard (northeast) bank. He sent whistle signals to the _Imo_ (MacDonald, p. 38).
Unfortunately, there was a mixup in the whistle signals. Mackey gathered that the _Imo_, already far out of her lane, intended to stay there. He couldn't head closer to the shore on the starboard side; he was as close as he dared to take the heavily-laden ship. He steered her to port and let the ship stop (MacDonald, pp. 39-40).
The _Imo_ once again reacted improperly. Instead of steering around the _Mont Blanc_, she ordered her engines to reverse. Which, because she had no cargo, was a largely useless order; her screw was too high to have much power, and she was slow to answer the helm (MacDonald, p. 40). The captain and pilot on the _Mont Blanc_ tried to put their ship in reverse. It was too late. The _Imo_ crashed into her starboard side (MacDonald, p. 41).
Only then, far too late, did the _Imo_ manage to actually start moving backward. She backed out of the _Mont Blanc_, causing further damage. And, in the process, she did something which started a spark (Glasner, p. 29, thinks the grinding of metal on metal that did it). Whatever it was, it was the caused the petroleum on the _Mont Blanc's_ deck to catch fire. An oil fire, the kind that cannot be put out just with water -- even if the _Mont Blanc_ had had hoses able to reach the spot, which it didn't (MacDonald, p. 43). It appeared there was nothing the crew could do. The ship couldn't even be scuttled; the seacocks were rusted shut (Glasner, p. 30; MacDonald, p. 48). They abandoned ship -- and headed for the Dartmouth shore, so they didn't even give the city authorities a warning..
It's not quite certain what they did before abandoning. Did they change course? Start up the engines? The witnesses disagree. Whatever they did, the ship for some reason drifted across the Narrows to bump into a pier on the Halifax shore (MacDonald, p. 42).
Various ships came around to try to pull the ship back into mid-channel, or put out her fires (Glasner, pp. 32-39, lists some of the attempts). It was useless. She was too big to move and burning too hard to control the fire (MacDonald, pp. 50-51). Gradually the barrels of benzol and monochlorobenzol cooked off. Eventually, they set off the high explosive in the hold (at 9:04:35 a.m., according to later seismic measurements; MacDonald, p. 181, etc.).
It was quite a haul. 200 tons of TNT. Ten tons of guncotton (nitrocellulose: cotton fibers treated with nitric acid. Horribly touchy when dry. Safe enough when wet, but how could it stay wet when surrounded by benzol fires?) Worst of all, 2300 tons of picric acid, some wet, some dry.
Picric Acid -- (NO2)3C6H2OH -- is a "very poisonous, yellow, crystalline, intensely bitter acid used in explosive" (so the _American Heritage Dictionary of Science_). It was the primary component of lyddite ("picric acid... mixed with 10% nitrobenzene and 3% Vaseline," according to the _Penguin Dictionary of Science_). Lyddite was used by the British as a shell burster (i.e. it's what made shells blow up when they hit something), and picric acid was the active ingredient; when dry, it explodes upon being subjected to pressure (e.g. being hit by a hammer, or of course colliding with an enemy ship or trench). It would also burn explosively if heated.
Although less familiar than TNT, because it is so much touchier, picric acid actually releases more energy when it explodes.
Picric acid was dangerous on other grounds. According to Floyd L. Darrow, _The Story of Chemistry_, Chautauqua Press, 1928, p. 250, it also could be made into poison gas: "Chloropicrin, made from picric acid by the action of chlorine, was another [gas used in World War I]. It was mixed in a shell or bomb with tin chloride, which forms dense white clouds of vapor capable of penetrating the gas masks and carrying with it the volatile chloropicrin. Highly poisonous in itself, chloropicrin induces nausea and vomiting, thereby causing the victim to remove his mask and rendering him an easy prey to other lethal gases."
(If you're wondering why, given its dangers, picric acid was being made in Canada and shipped to Britain, rather than manufacturing in Britain, the basic answer is "nitrates." Picric acid, like every other major explosive used in the early twentieth century, required saltpeter or an equivalent nitrate source -- and the main source of nitrates was the west coast of Latin America. It was much easier to get them to Canada than to Britain in the days of submarine warfare. For more on this history of nitrates, see the notes to "Chamber Lye" and "Tommy's Gone to Hilo.")
MacDonald, p. 61, says that there were 2925 tons of explosives, total, on the _Mont Blanc_. The temperature of the explosion is thought to have been in the 5000C/9000F range (MacDonald, p. 62). In the era of conventional bombs, the largest ever used was about 10 tons. 2925 tons of mostly picric acid is in the nuclear weapons range -- at the very low end of the range (less than Hiroshima or Nagasaki by an order of about five), but unlike anything the world had ever seen in 1917, except for volcanic eruptions and meteor strikes.
The explosion was heard over 200 miles away, on Cape Breton and Prince Edward Island (Glasner, p. 81; MacDonald, p. 63). The _Mont Blanc's_ anchor was thrown more than two miles, and other parts of the ship went three miles (MacDonald, p. 67).
People died in many ways. Possibly as many as 150 were simply vaporized and never found. More were killed by the pressure wave -- pulverized to death. Others died by being thrown into walls or other objections. Flying glass killed and maimed many more. All buildings within half a mile of the blast were destroyed (MacDonald, p. 64). The blast was so strong that it spawned secondary tornadoes (MacDonald, p. 66). It also caused a 20-foot-high wave to scour the Halifax basin, at some places reaching six blocks inland (MacDonald, map in frontispiece).
There were secondary effects -- fires, even the collapse of a magazine at a military base. It didn't explode, but it did burn a bit, putting out enough smoke to cause a secondary panic (Glasner, pp. 61-65).
Relief efforts were at first quite disorganized. The mayor of Halifax was away, leaving the Deputy Mayor in charge (Glasner, p. 55; MacDonald, p. 93). The fire chief had been killed (MacDonald, p. 94), as had many of the firefighters, and the city's one fire engine ruined (Glasner, p. 120). Many doctors were killed or hurt and unable to treat patients (MacDonald, p. 112). The hospitals ranged from damaged to almost completely unusable (MacDonald, p. 113). Medical supplies soon ran low, and the only way to sterilize equipment was to put it in boiling water (MacDonald, p. 118). Doctors operated on patients without anesthesia, and sewed up their wounds with ordinary cotton thread (Glasner, p. 94).
It was hard to bring in help from outside. The railroads had been damaged, or were blocked by ruined trains, and many telegraph lines were down. Only one rail line, in fact, was fully serviceable, and it was a new line, not yet up and running (MacDonald, p. 111).
The temperature that night was well below freezing (MacDonald, p. 143), and there followed a fierce blizzard, causing additional deaths (MacDonald, p. 145) and adding to the strain on the survivors and making it that much harder to bring in help.
The casualties could never be perfectly counted. MacDonald's Appendix D, p. 291, lists 1611 official dead as of 1918; p. 293 lists 1201 bodies as buried, with 242 of them unidentified and 410 bodies missing -- but she reckons the known dead as of 2004 as 1952. She lists (p. 66) 6000 people as injured and 9000 as homeless. Others reverse those figures. Glasner, p. 41, says 1900 were dead and 9000 wounded, while on p. 118 she says 2000 were dead, 9000 injured, and 20,000 homeless -- which, if correct, means that more than half the city's population of roughly 50,000 was dead, wounded, or homeless. Very many of the injured lost their eyes to flying glass; 16 people lost both eyes, 249 lost one eye, and over 5500 had some sort of eye injury; 41 ended up totally blind (MacDonald, pp. 159, 234). The number of bodies was so large that, even when identifications had been made in the field, the information was often lost (MacDonald, p. 162).
Because the task was so great and the clues so few, very many bodies had to be buried before they were identified. Many of these, and some of the identified bodies from poor households, were buried in the same graveyard as the bodies brought in after the _Titanic_ disaster (MacDonald, pp. 244-245). Coffins were improvised in all sizes, with parts of bodies in some and multiple corpses in others (MacDonald, p. 248).
There were hundreds of orphans: some 70 children who lost both parents, and 200 who lost one or the other parent. Of the latter, about 110 had lost their mothers and had no father at home (usually because he was serving in the war); MacDonald, p. 232.
It is estimated that 2000 buildings were destroyed and 10,000 damaged, leaving 25,000 people with damaged homes.
In one way, recovery was surprisingly swift. The explosion took place on Tuesday. By the following Monday, the authorities were saying they did not need more medical people (a number of temporary hospitals were up and running), and most mail and gas service was restored (MacDonald, pp. 219-220). But it took several weeks to end food rationing, and families were given a food allowance even after that (MacDonald, p. 229). And rebuilding took far longer -- indeed, most permanent rebuilding could not begin until spring when the ground thawed (MacDonald, p. 237). Even today, anyone digging near the harbor will soon find many artifacts of the explosion (MacDonald, p. 276).
The damage was estimated at $35 million -- Canadian dollars, but 1917 Canadian dollars. MacDonald, p. 68, applied conversion factors to make this $420 million in 2004 U. S. dollars. I suspect even that is low. That's strict inflation, but buildings were proportionally cheaper back then (e.g. a house could be had for $4000). I suspect that it would cost several billion to build replacements in today's world.
Even as the burials were going on, an investigation was underway. It was not supposed to be a criminal proceeding, but the man in charge was a judge, Arthur Drysdale, and a witness said, "The setting was almost Dickensian" (MacDonald, p. 252). It was a difficult situation, with the public howling for blood, and there was also the problem that, while the pilot and master of the _Mont Blanc_ had survived, those on the _Imo_ were both dead (Glasner, p. 43, has a photo of the ship blown ashore; her masts survived but her upper works were "demolished"). It was difficult to reconstruct what the crew of the _Imo_ was thinking. MacDonald speculates that perhaps they failed to hear some of the whistle signals, but even seems insufficient.
MacDonald gives a detailed account of the proceedings (pp. 252-272), which ended with the blame being assigned almost entirely to pilot Mackay and master Le Medec of the _Mont Blanc_, plus the harbor Chief Examining Officer Frederick Evans Wyatt, responsible for procedures in the harbor.
We can't really know what happened. But, reading MacDonald, it appears to me that there were many mistakes, and the _Imo_ made all of them but the final one, when Mackay turned the _Mont Blanc_ hard to port to try to escape the coming collision and thereby caused it. Even there, he seems to have thought that was what the _Imo_ was calling for. It is clear that MacDonald considered Mackay a scapegoat, and Paine too is open to the possibility. Glasner, p. 121, makes it explicit: "A scapegoat was required, but Captain Haakon From [commander of the _Imo_] and [pilot] William Hayes were both dead. As a result, blame was placed squarely on the shoulders of the captain and pilot of the _Mont Blanc_ and Commander Wyatt.... Wyatt, Le Medec, and Francis Mackay were all placed under arrest and charged with manslaughter. Eventually, however, all charges were dropped."
The _Imo_, amazingly, was salvaged after the explosion, renamed, and put back in service -- but managed to wreck itself in the Falklands in 1921 (MacDonald, p. 282).
This song has all the features of a broadside prepared shortly after the explosion; I wouldn't be surprised if the author intended it to help the people raising money for relief. It includes the following accurate details:
"It was on the sixth of December, nineteen hundred and seventeen,
That Halifax suffered disaster, the worst she'd ever seen;
It was five minutes after nine, those still alive can tell"
The time of the explosion was December 6, 1917, 9:05 [a.m.].
"She carried a deck load of benzoil and shells for overseas,
In her hold a new explosive, they call it TNT."
Benzoil, or benzol, is the liquid fuel that caused the initial fire. The cargo was not shells, but shell bursters; close enough. The TNT, as we see above, was a relatively small part of the cargo (and not new; trinitrotoluene had been around for decades. But the Germans had used it first; it was a newer product to the British). But TNT was more famous than picric acid, even though less dangerous.
"Children were gone to their lessons, their mothers were busy at home,
While fathers worked on at the factories little dreaming they'd soon be alone."
Most of MacDonald's and Glasner's books are devoted to documenting where people were -- and, yes, it was an ordinary work day.
"The relief ship had rammed the monster tearing a hole in her side,
And eased out in the stream again and drifted on with the tide."
Obviously accurate from the account given above.
"Houses were crushed like paper, people were killed like flies,
The coroner's record tells us the toll was twelve hundred lives."
This would seem to imply the song was written very soon after the explosion, before the various missing could be tallied; 1200 is close to the number of actual bodies.
"Two thousand were maimed and wounded, hundreds more lost their sight
And God knows how many children were alone in the world that night."
This again implies composition soon after the event, since the number of wounded is low and the number of blinded slightly higher than the total who in the end were completely blinded.
"And then the following morning as if to hurt them twice
There came a storm from the ocean, a blizzard of snow and ice."
This obviously refers to the snowstorm that so hampered the relief efforts.
The major Canadian author Hugh MacLennan, who was a boy in Halifax at the time of the explosion, went on to make it the subject of his noteworthy first novel, _Barometer Rising_, published in 1941 (see Craig Brown, editor, _The Illustrated History of Canada_, Key Porter, 1987-2000, p. 417). - RBW
File: LG28
===
NAME: Hall's Lumber Crew
DESCRIPTION: The singer is hired for Hall's lumber crew; the various characters on the crew are described
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering work moniker humorous logger
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 69, "Hall's Lumber Crew" (1 text)
Roud #8841
CROSS_REFERENCES:
cf. "Peaslee's Lumber Crew" (structure)
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. Sometimes, as with this song and "Peaslee's Lumber Crew", it's clear the singer is plugging names and descriptions into a generic structure, although in this case he's added a bit of narrative. - PJS
File: Be069
===
NAME: Hallelujah
DESCRIPTION: "The election now is over, Now, men, you all know well, The Democrats done the best they could But the Republicans gave them -- Hallelujah (chorus)." Each verse leads you to expect a word, then zips in the chorus instead
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Pope's Arkansas Mountaineers)
KEYWORDS: humorous nonballad political lie Hell wordplay
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 421, "Old Lyda Zip Coon" (1 text)
Roud #7632
RECORDINGS:
Pope's Arkansas Mountaineers, "George Washington" (Victor 21469, 1928)
CROSS_REFERENCES:
cf. "Johnny Fell Down in the Bucket" (technique)
cf. "Hopalong Peter" (technique)
cf. "Teasing Songs" (technique)
cf. "Old Zip Coon (II)" (technique)
NOTES: Like "Johnny Fell Down in the Bucket," this is one of those "hidden word" songs -- the verse leads you to expect the last word, which is usually not fit for polite company. But instead of saying the word, it breaks off into the chorus (which in this case starts with "Hallelujah," though the rest may vary). - RBW
File: R421
===
NAME: Hallelujah, Bum Again: see Hallelujah, I'm a Bum (I) (File: LxA026)
===
NAME: Hallelujah, I'm a Bum (I)
DESCRIPTION: The bum explains that he cannot work when there are no jobs available, but then reveals his pleasure in a rambling life. He describes riding the rails, meeting women, begging, and -- sometimes -- troubles with the law.
AUTHOR: unknown
EARLIEST_DATE: 1909 (IWW Little Red Songbook)
KEYWORDS: begging humorous hobo train work
FOUND_IN: US(So)
REFERENCES: (8 citations)
Sandburg, pp. 184-185, "Hallelujah, I'm a Bum!" (1 text, 1 tune)
MHenry-Appalachians, pp. 109-111, "Hallelujah, I'm a Bum" (1 text, said to be "copied from a broadside")
Lomax-ABFS, pp. 26-28, "Hallelujah, Bum Again" (1 text, 1 tune)
Botkin-AmFolklr, pp. 882-884, "Hallelujah, Bum Again" (1 text, 1 tune)
Ohrlin-HBT 13, "Hallelujah, I'm a Bum" (1 text, 1 tune)
Greenway-AFP, pp. 197-202, ("Hallelujah, I'm a Bum") (partial texts illustrating the history of the song)
Silber-FSWB, p. 207, "Hallelujah, I'm A Bum" (1 text)
DT, HALLEBUM HALLEBU2
Roud #7992
RECORDINGS:
John Bennett, "Hallelujah I'm a Bum" (Madison 1642, 1927)
Harry Kirk [probably a pseudonym], "Hallelujah! I'm a Bum" (Edison 52364, 1928)
Harry "Mac" McClintock, "Hallelujah, I'm A Bum" (Victor 21343, 1928) (Decca 5640, 1939) (on McClintock01)
Frank Marvin, "The Bum Song" (Romeo 719/Cameo 8296 [as Lazy Larry], 1928)
Frank Luther, "Hallelujah, I'm a Bum" (Brunswick 254, 1928; Supertone S-2056, 1931)
Pete Seeger, "Hallelujah I'm a Bum" (on PeteSeeger32)
Hobo Jack Turner [pseud. Ernest Hare] "Hallelujah! I'm a Bum" (Harmony 705-H/Diva 2705-G/Velvet Tone 1705-V, 1928)
Weary Willie [pseud. for Jerry Ellis/Jack Golding] (Perfect 12461/Pathe 32382, 1928)
CROSS_REFERENCES:
cf. "Hallelujah, I'm a Bum (II)"
SAME_TUNE:
Here We Rest (Greenway-AFP, p. 145)
Vernon Dalhart, "The Bum Song No. 2" (CYL: Edison [BA] 5653, n.d.) 
Harry "Mac" McClintock, "The Bum Song, No. 2" (Victor 21704, 1928) (Decca 5689, 1939)
Carson Robison Trio, "Bum Song No. 5" (Pathe 32477, 1929; Perfect 12571, 1930)
NOTES: Sung to the hymn tune "Revive Us Again." - PJS
I've seen this credited to Harry "Haywire Mac" McClintock, but George Milburn offers evidence that the song is older; Sandburg also claims it was sung in 1897. McClintock was responsible for popularizing it, and the publishers seem to have thought his name would increase sales.
Greenway offers a detailed discussion of the history of the song (including Milburn's evidence), coming to the conclusion that McClintock really was the author.
Topical texts on this basic pattern are common; a recent one by Barbara Dane and Irwin Silber (p. 310 in the Folksinger's Wordbook) is about the activities of Richard Nixon. - RBW
File: LxA026
===
NAME: Hallelujah, I'm a Bum (II)
DESCRIPTION: A quatrain ballad, this tells the bawdy adventures of a bum who begs food from housewives.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy begging humorous hobo sex
FOUND_IN: US(MW,SW)
REFERENCES: (1 citation)
Cray, pp. 200-202, "Hallelujah I'm a Bum" (1 text, 1 tune)
Roud #7992
CROSS_REFERENCES:
cf. "Hallelujah, I'm a Bum (I)"
NOTES: This bawdy subset of McClintock's Wobbly song is sung to the hymn tune "Revive Us Again." - EC
File: EM200
===
NAME: Hamburg, Du Schone Stadt (Hamburg, You Lovely Town)
DESCRIPTION: German shanty. Sailor meets a girl who initially resists his advances, then takes his two dollars and tells him to wait while she runs up to her room. When he follows her up, he finds four men who beat and rob him. Choruses of "Oh, du mein ja, mein je!"
AUTHOR: unknown
EARLIEST_DATE: 1936 (Baltzer, _Knurrhahn_)
KEYWORDS: foreignlanguage shanty whore robbery Germany
FOUND_IN: Germany
REFERENCES: (1 citation)
Hugill, pp. 564-566, "Hamburg, Du Schone Stadt" (2 texts-German & English, 1 tune)
File: Hugi564
===
NAME: Hamburger Fair, The: see Animal Fair (File: San348)
===
NAME: Hamfat Man, The
DESCRIPTION: The ham fat man falls in love with Sara Ann, a girl in the market who sells him "polony sausages." But every day she wants a new dress, and after he goes broke she goes off to Bathhurst. The moral: "Never trust a girl that lives in Sydney town."
AUTHOR: unknown
EARLIEST_DATE: 1984
KEYWORDS: courting food money separation
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 94-95, "The Hamfat Man" (1 text, 1 tune)
Gilbert, p. 5, "Ham Fat Man" (1 fragmentary text, which does not contain any of the above plot, and is almost certainly bawdy, but which appears from its pattern to be the same piece)
NOTES: Don't ask me why the title of the song (in Fahey, anyway) is "The Hamfat Man" while all the references in the text are to a "Ham fat man." - RBW
File: FaE094
===
NAME: Hamlet Wreck, The
DESCRIPTION: "See the women and children going on the train, Fare-you-well, my husband, if I never see you again." The train runs late, and collides with a local (?). The rest of the song amplifies the repeated line, "So many have lost their lives"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Durham Morning Herald)
KEYWORDS: train wreck death disaster
HISTORICAL_REFERENCES: July 27, 1911 - The Hamlet Wreck
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownII 290, "The Hamlet Wreck" (1 text)
Cohen-LSRail, p. 273, "The Hamlet Wreck" (notes only)
Roud #6634
NOTES: The notes in Brown say that the passenger train involved in this wreck was a special carrying some 900 members of St. Joseph's African Methodist Episcopal Church on an annual outing (from Durham to Charlotte). The collision occurred near the town of Hamlet, and at least 8 people killed and 88 injured.
The piece apparently was first printed as a broadside credited to Franklin Williams and William Firkins, but Brown left a note expressing strong doubts about the attribution. I must say, though, it looks like a composed song to me -- and not one which circulated much in oral tradition. Had it been created orally, there would have been more personal stories included. - RBW
File: BrII290
===
NAME: Hammer Man
DESCRIPTION: "Drivin' steel, drivin' steel, Drivin' steel, boys, Is hard work, I know...." "Treat me right... I am bound to stay all day; Treat me wrong, I am bound to run away." "Boss man... See the boss man comin' down the line."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: work nonballad worksong
FOUND_IN: 
REFERENCES: (1 citation)
Sandburg, p. 139, "Hammer Man" (1 text, 1 tune)
File: San139
===
NAME: Hammer Ring
DESCRIPTION: "Oh, my hammer, hammer ring (x2), Ringin' on de buildin, hammer ring (x2)." Doncha hear dat hammer... She ringin' like jedgment." "Oh, Lawd, dat hammer."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: chaingang work
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 61-62, "The Hammer Song" (1 text, tune referenced)
RECORDINGS:
Jesse Bradley and group of prisoners, "Hammer, Ring" (AFS 219 A2; on LC8)
Texas state farm prisoners, "Let Your Hammer Ring" (on NPCWork)
CROSS_REFERENCES:
cf. "Take This Hammer"
cf. "Don't You Hear My Hammer Ringing"
NOTES: Not to be confused, obviously, with the Modern Folk "Hammer Song" ("If I Had a Hammer"). - RBW
File: LxA061
===
NAME: Hand Me Down My Walkin' Cane
DESCRIPTION: Known mostly by the first verse: "Hand me down my walkin' cane (x3), I'm gonna catch the midnight train, All my sins been taken away, taken away." Remaining verses involve traveling, prison, food, where the singer wants to be buried, etc.
AUTHOR: unknown
EARLIEST_DATE: 1926 (recordings, Kelly Harrell, Gid Tanner, Henry Whitter & Fiddler Joe)
KEYWORDS: rambling food prison death burial floatingverses
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Silber-FSWB, p. 53, "Hand Me Down My Walkin' Cane" (1 text)
BrownIII 363, "Hand Me Down My Walking Cane" (1 text plus mention of 1 more)
DT, WALKCANE
Roud #11733
RECORDINGS:
Boswell Sisters, "Hand Me Down My Walkin' Cane" (Brunswick 6335, 1932)
Vernon Dalhart, "Hand Me Down My Walkin' Cane" (Durium [UK] 9-3, 1933)
Durium Dance Band w. Carson Robison & his Pioneers, "Hand Me Down My Walkin' Cane" (Durium [UK] EN-27, 1932)
Sid Harkreader w. Grady Moore, "Hand Me Down My Walking Cane" (Paramount 3022, 1927; Broadway 8055 [as "Harkins and Moran"], c. 1930)
Kelly Harrell, "Hand Me Down My Walking Cane" (Victor 20103, 1926; Montgomery Ward M-4330, 1933; on KHarrell02)
Sim Harris, "Hand Me Down My Walking Cane" (Oriole 916, 1927)
Lester McFarland & Robert Gardner, "Hand Me Down My Walking Cane" (Brunswick 107/Vocalion 5028, 1927)
Claude Moye, "Hand Me Down My Walking Cane" (Champion 15688 [as Asparagus Joe]/Supertone 9363 [as Pie Plant Pete], 1929)
North Carolina Hawaiians, "Hand Me Down My Walking Cane" (OKeh 45297, 1929; rec. 1928)
Carson Robison w. his Pleasant Valley Boys, "Hand Me Down My Walkin' Cane" (MGM 12266, 1956)
Carson Robison [Trio], "Hand Me Down My Walking Cane" (Crown 3027, c. 1930)
Short Creek Trio, "Hand Me Down My Walking Cane" (Gennett 6272/Challenge 398 [as Logan County Trio], 1927)
Ernest V. Stoneman and the Dixie Mountaineers, "Hand Me Down My Walking Cane" (Edison 51938, 1927) (CYL: Edison [BA] 5297, 1927)
Ernest V. Stoneman, "Hand Me Down My Walking Cane" (Banner 1993, 1927/Domino 3964/Regal 8324/Oriole 916 [as by Sim Harris]/Homestead 16490 [as by Harris], c. 1929)
Gid Tanner & his Skillet Lickers, "Hand Me Down My Walking Cane" (Columbia 15091-D, 1926)
Gordon Tanner, Smokey Joe Miller & Uncle John Patterson, "Hand Me Down My Walking Cane" (on DownYonder)
Henry Whitter & Fiddler Joe [Samuels], "Hand Me Down My Walking Cane" (OKen 45061, 1926)
CROSS_REFERENCES:
cf. "All My Sins Been Taken Away"
cf. "Heaven and Hell" (floating lyrics)
cf. "Mary Wore Three Links of Chain" (floating lyrics)
cf. "Free at Last" (floating lyrics)
cf. "Dawsonville Jail" (lyrics)
SAME_TUNE:
Ballad of Blue Bell Jail (Greenway-AFP, p. 143)
NOTES: It is possible (perhaps even likely) that the song filed as "All My Sins Been Taken Away" is a worn-down version of this piece, but it is known in enough versions that I finally split them. - RBW
File: FSWB053
===
NAME: Hand O'er Hand (I)
DESCRIPTION: "Hand, Hand, Hand o'er hand, Divil run away with a west country man." Other verses, if any, probably float.
AUTHOR: unknown
EARLIEST_DATE: 1932 (Bone)
KEYWORDS: shanty
FOUND_IN: 
REFERENCES: (1 citation)
Bone, p. 42, "Hand O'er Hand" (1 short text, 1 tune)
File: BoCB042
===
NAME: Hand O'er Hand (II): see So Handy (File: Doe012)
===
NAME: Handsome Cabin Boy, The [Laws N13]
DESCRIPTION: A disguised girl signs aboard ship as a cabin boy. The ship's captain discovers her secret and, even though his wife is aboard, gets her pregnant. One night the "boy's" cries awaken the crew, who learn she is in labor. All are thoroughly astonished
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: cross-dressing ship pregnancy
FOUND_IN: US(MW) Britain(England,Scotland) Canada(Newf)
REFERENCES: (7 citations)
Laws N13, "The Handsome Cabin Boy"
Ord, p. 160, "The Handsome Cabin Boy" (1 text)
Gardner/Chickering 163, "The Handsome Cabin Boy" (1 text, 1 tune)
Peacock, pp. 280-281, "The Handsome Cabin Boy" (1 text, 1 tune)
Darling-NAS, pp. 123-125, "The Handsome Cabin Boy" (1 text)
Silber-FSWB, p. 192, "The Handsome Cabin Boy" (1 text)
DT 445, CABINBOY*
Roud #239
RECORDINGS:
Bob Hart, "The Female Cabin Boy" (on Voice12)
BROADSIDES:
Murray, Mu23-y1:035, "The Female Cabin Boy," James Lindsay Jr. (Glasgow), 19C
File: LN13
===
NAME: Handsome Collier Lad, The: see The Collier Lad (Lament for John Sneddon/Siddon) (File: HHH110)
===
NAME: Handsome Harry (The Sailor and the Ghost B): see The Sailor and the Ghost [Laws P34A/B] (File: LP34)
===
NAME: Handsome John
DESCRIPTION: "A lady lived near Portland square, She keep a waiting maid so fair Who loved the footman as her life Expecting for to be his wife."  The lady loves the footman and beats the maid. The maid runs away and the lady marries handsome John
AUTHOR: unknown
EARLIEST_DATE: 1928 (Greenleaf/Mansfield)
KEYWORDS: infidelity love marriage promise injury
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 38, "Handsome John" (1 text)
Roud #6363
NOTES: Why do I have this feeling the marriage turned out to be not very happy? - RBW
File: GrMa038
===
NAME: Handsome Molly
DESCRIPTION: The singer sings the praises of handsome Molly, noting that "Sailing round the ocean, sailing round the sea, I'll think of handsome Molly wherever she may be." She proves less than faithful, but he loves her still
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: love courting sailor separation abandonment
FOUND_IN: US
REFERENCES: (4 citations)
BrownII 82, "The Lover's Lament" (4 texts plus a fragment, "E," that is probably "Handsome Molly"; the others are true "Farewell Ballymoney (Loving Hannah; Lovely Molly)" texts)
SharpAp 180, "The Irish Girl" (1 text plus 2 fragments, 3 tunes, with the "A" text going here and the "B" and "C" fragments tentatively filed under "The Irish Girl")
Silber-FSWB, p. 148, "Handsome Molly" (1 text)
DT, HNDSMMOL
Roud #454
RECORDINGS:
[G. B.] Grayson & [Henry] Whitter, "Handsome Molly" (Gennett 6304/Champion 15629, 1927) (Victor 21189, 1928; rec. 1927; on GraysonWhitter01, LostProv1)
Mike Seeger, "Handsome Molly" (on MSeeger01)
Glenn Neaves, "Handsome Molly" (on GraysonCarroll1)
Doc Watson & Gaither Carlton, "Handsome Molly" (on Ashley02, WatsonAshley01)
CROSS_REFERENCES:
cf. "Farewell Ballymoney (Loving Hannah; Lovely Molly)"
NOTES: It is my firm belief that this is a version of the "Farewell Ballymoney/Loving Hannah" family of songs (with which it shares several verses and the whole plot, as well as melodic similarities). In this I actually agree with Roud.
Paul Stamler, however, observes that "The plotline is similar, but I'd be inclined to split off 'Molly' and class the 'went to church on Sunday' verse as a floater. Look at it this way -- if you ask old-time musicians to play 'Handsome Molly' about 95% can do so, but if you ask them to play 'Farewell Ballymoney' at least 95% will go, 'Hah?'"
I still think I'm right, but it is certainly true that "Molly" has achieved independent circulation (though all the versions I hear seem to come ultimately from the Grayson & Whitter recording), and so we list it as a separate song. - RBW
The SharpAp version shows that the song, with lyrics very close to those sung by Whitter, was circulating some nine years before he made his very-influential recording. Whitter, it should be noted, came from the same area in Virginia where the SharpAp version was collected. - PJS
File: FSWB148
===
NAME: Handsome Sally
DESCRIPTION: A young man loves Sally, a servant, whose mistress also wants the lad. The mistress has Sally drowned
AUTHOR: unknown
EARLIEST_DATE: 1916 (Cecil Sharp collection); +1909 (Joyce, _Old Irish Folk Music and Songs_)
KEYWORDS: homicide drowning
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
SharpAp 120, "Handsome Sally" (1 text, 1 tune)
Roud #2370
NOTES: This in several regards resembled "The Lady and the Farmer's Son" [Laws O40]. Paul Stamler indeed filed them under the same heading. But Laws and Roud separate them, and I can hardly argue with that weight of authority. - RBW
File: ShAp2120
===
NAME: Handsome Young Airman, The: see The Dying Aviator (File: MA142)
===
NAME: Handsome Young Farmer, The: see Teasing Songs (File: EM256)
===
NAME: Handsome Young Sailor, The: see The Soldier Maid (File: DTsoldma)
===
NAME: Handy Bandy Barque, The: see The Campanero (File: Doe084)
===
NAME: Handy, Me Boys: see So Handy (File: Doe012)
===
NAME: Hang Me, Oh Hang Me (Been All Around This World)
DESCRIPTION: Man about to be hanged laments his life. Says, "Hang me, oh hang me, and I'll be dead and gone/It's not the hangin' that I mind, it's layin' in the grave [or jail] so long." In some versions he describes his life as a gambler.
AUTHOR: unknown
EARLIEST_DATE: 1917 (Belden)
KEYWORDS: execution punishment death gambling gallows-confession lament
FOUND_IN: US(MW,So)
REFERENCES: (9 citations)
Belden, pp. 472-473, "The Gambler" (1 text)
Randolph 146, "My Father Was a Gambler" (2 texts, 2 tunes); 348, "Since I Left Arkansas" (1 text, 1 tune)
Randolph/Cohen, pp. 173-175, "My Father Was a Gambler" (1 text, 1 tune -- Randolph's 146A)
Friedman, p. 232, "The Gambler" (1 text)
Fife-Cowboy/West 92, "I've Been All Around This World" (1 text, 1 tune)
LPound-ABS, 57, pp. 130-131, "The Gambler" (1 text)
Lomax-FSNA 298, "John Henry-I"; 299, (1 text, 1 tune, containing a large portion of "Been All Around This World" or a relative)
Spaeth-WeepMore, pp. 129-130, "I've Been All Around the World" (1 text, 1 tune)
DT, GAMBLR2
Roud #3416
RECORDINGS:
Justus Begley, "I've Been All Around This World" (AFS, 1937; on KMM)
Grandpa Jones, "I've Been All Around This World" (King 524, 1946)
Art Thieme, "Cape Girardeau" (on Thieme02)
CROSS_REFERENCES:
cf. "The Roving Gambler (The Gambling Man)" [Laws H4] (floating lyrics)
cf. "Don't Let Your Watch Run Down" (floating lyrics)
cf. "The Horse Trader's Song" (tune, floating lyrics)
ALTERNATE_TITLES:
Cape Girardeau
I've Been All Around This World
The Hobo's Lament
The Hobo Blues
NOTES: Laws regards Belden's and Randolph's versions of this as a ballad, "The Gambler," which he lists as dE43.  But the text seems much more diffuse than Laws's small and highly specific subset. - RBW
File: R146
===
NAME: Hang on the Bell
DESCRIPTION: "The scene is in a jailhouse; if the curfew rings tonight The guy in number 13 cell will go out like a light." To prevent the bell from ringing, the convict's daughter Nellie ties herself to the bell, and keeps it silent until a pardon arrives
AUTHOR: T. Connor, C. Erard, R. Parker (according to Joe Hickerson)
EARLIEST_DATE: before 1950 (recording, Beatrice Kay)
KEYWORDS: prison execution humorous reprieve father children derivative
FOUND_IN: 
REFERENCES: (1 citation)
DT, HANGBELL
NOTES: This is often listed as a parody of Rosa Hartwick Thorpe's 1867 poem "Curfew Must Not Ring Tonight." "Parody" may be a rather strong word; there is no stylistic influence at all. (The first lines of the Thorpe poem are "Slowly England's sun was setting o'er the hilltops far away, Filling all the land with beauty at the close of one sad day, And the last rays kissed the forehead of a man and maiden fair," or, in other publications, "England's sun was slowly setting...." The rest is equally nauseating.)
Despite its lack of quality, this thing was popular enough to earn nine citations in _Granger's Index of Poetry_.
The one thing that survived from the Thorpe original to this song is the absurdist plot of the girl silencing the curfew bell.
This byblow is not widely published, and there are few if any early recordings, but Joe Hickerson traced enough oral transmission that I have, with some misgivings, included it in the Index. Mostly, perhaps, to examine the relationship between the original poem and the derived song. - RBW
File: DThangbe
===
NAME: Hange-ed I Shall Be: see The Wexford (Oxford, Knoxville, Noel) Girl [Laws P35] (File: LP35)
===
NAME: Hanging Johnny
DESCRIPTION: Shanty. Characteristic line: "Away, away... Hang, boys, hang!" The singer reports, "They call me Hanging Johnny... Oh they say I hang for money. They say I hung my daddy... We'll... hang together... And we'll hang for better weather."
AUTHOR: unknown
EARLIEST_DATE: 1917
KEYWORDS: shanty ship sailor
FOUND_IN: US(MA) Canada(Mar) Britain(England)
REFERENCES: (10 citations)
Doerflinger, p. 31, "Hanging Johnny" (1 text, 1 tune)
Colcord, pp. 72-73,"Hanging Johnny" (1 text, 1 tune)
Harlow, pp. 47-48,"Hanging Johnny" (1 text, 1 tune)
Hugill, pp. 284-285,"Hanging Johnny" (1 text, 1 tune) [AbEd, pp. 208-209]
Sharp-EFC, LI, p. 56, "Hanging Johnny" (1 text, 1 tune)
Shay-SeaSongs, p. 54, "Hanging Johnny" (1 text, 1 tune)
Smith/Hatt, p. 26, "Hangman Johnnie" (1 text)
Silber-FSWB, p. 87, "Hanging Johnny" (1 text)
DT, HANGJOHN
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). Hanging Johnny" is in Part 2, 7/21/1917.
Roud #2625
RECORDINGS:
Bob Roberts, "Hanging Johnny" (on LastDays)
Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Hanging Johnny" (AFS 4231 A1, 1939; in AMMEM/Cowell)
W[illiam] H. Smith, "Hangman Johnny" (on NovaScotia1)
NOTES: The "hanging" in this song does not refer to execution, but to a sailor who held a rope lashed to other sailors. If this "hanger" let them go in a bad sea, they would be washed overboard and lost. - RBW
File: Doe031
===
NAME: Hanging of Charlie Birger
DESCRIPTION: Charlie Birger is feared throughout the Midwest; after the shooting of Joe Adams, Birger's henchman Thomasson turns state's evidence and Birger is sentenced to hang. Despite appeals and an unsuccessful suicide attempt, he is hanged on April 19, 1928.
AUTHOR: Carson Robison (or, possibly, Andrew Jenkins)
EARLIEST_DATE: 1928 (recording, Vernon Dalhart)
LONG_DESCRIPTION: Charlie Birger, bandit, is feared throughout the Midwest; after the shooting of Joe Adams and a public outcry, Birger's henchman Thomasson turns state's evidence and Birger is sentenced to hang. Despite appeals and an unsuccessful suicide attempt, he is hanged on April 19, 1928. The singer draws lessons in morality from this story
KEYWORDS: accusation betrayal crime execution homicide punishment death suicide outlaw
HISTORICAL_REFERENCES: April 19, 1928 - hanging of Charlie Birger
FOUND_IN: US
REFERENCES: (2 citations)
Burt, pp. 214-215, "(The Death of Charlie Burger)" (1 text)
DT, CBIRGER
RECORDINGS:
Vernon Dalhart, "The Hanging of Charlie Birger" (OKeh 45215, 1928) (Edison 11002, 1929 [as "The Hanging of Charles Birger"])
Frank Luther, "The Hanging of Charlie Birger" (Supertone 9183, 1938)
Art Thieme, "The Hanging of Charlie Birger" (on Thieme02)
NOTES: Birger's gang, and the rival Shelton Bros. gang, made Williamson Co. in southern Illinois a battleground in the mid-1920s, fighting over the rights to the regional bootlegging trade. The first bomb ever dropped on United States soil was a load of dynamite the Sheltons dropped on Birger's hangout from an airplane. The song accurately tells what happened after that. - PJS
File: DTcbirge
===
NAME: Hanging Out the Linen Clothes: see Driving Away at the Smoothing Iron (File: ShH82)
===
NAME: Hangman Johnnie: see Hanging Johnny (File: Doe031)
===
NAME: Hangman, Hangman: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hangman, Slack on the Line: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hangman, Slack Up Your Rope: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hangman's Song, The: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hangman's Tree, The: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hangtown Gals
DESCRIPTION: "Hangtown girls are plump and rosy, Hair in ringlets, mighty cozy... Touch them and they'll sting like hornets. "Hangtown girls are lovely creatures, Think they'll marry Mormon preachers." They are often seen grinning and exposing their linens
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: courting nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Arnett, p. 97, "Hangtown Gals" (1 text, 1 tune)
Silber-FSWB, p. 192, "Hangtown Girls" (1 text)
CROSS_REFERENCES:
cf. "Buffalo Gals" (tune)
File: Arn097
===
NAME: Hannah Healy, the Pride of Howth
DESCRIPTION: The singer is love sick for Hannah. Each morning courters swarm around her but none "dare entreat her or supplicate her." The singer is giving up; he'll "raise my mind from all female kind so Adieu, sweet Hannah, the pride of Howth!"
AUTHOR: unknown
EARLIEST_DATE: c.1840 (From a Waterford chap-book, according to Sparling)
KEYWORDS: love beauty nonballad
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 93, "Hannah Healy, the Pride of Howth" (1 text, 1 tune)
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 329-330, 512, "Hannah Healy, the Pride of Howth"
Roud #9773
NOTES: The Howth peninsula is about seven miles northeast of Dublin. - BS
File: OLcM093
===
NAME: Hannah McKay (The Pride of Artikelly)
DESCRIPTION: The singer bids farewell to Ireland and Magilligan, wondering how he can leave such a beautiful, friendly place. Even more painful is parting with Hannah McKay. He will think of her all the way through his voyage.
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: emigration separation farewell
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H656, p. 187, "Hannah M'Kay/The Pride of Artikelly" (1 text, 1 tune)
Roud #13543
File: HHH656
===
NAME: Hannamaria
DESCRIPTION: Hannamaria used to live in singer's town; she weighed 590 pounds. After supper a bunch of fellows get drunk and fight; singer is knocked ten feet into the air, but, "I fell down 'cause Hannamaria." Singer is going home with her; he warns others not to
AUTHOR: unknown
EARLIEST_DATE: 1963 (recording, Poplin Family)
KEYWORDS: sex warning fight drink humorous talltale lover
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Poplin Family, "Hannamaria" (on Poplin01)
CROSS_REFERENCES:
cf. "Hopalong Peter" (theme)
NOTES: Very confused story line. The singer picked it up from her father, though, so it has entered tradition in a small way. I suspect minstrel origins. - PJS
And there appears to be another recording, LC 4083 A2, sung by Crockett Ward, though I haven't been able to verify that it is the same song. - RBW
File: RcHanMar
===
NAME: Hanstead Boys: see Cape Cod Girls (File: LoF023)
===
NAME: Hantoon, The
DESCRIPTION: Wexford barque Hantoon is off the coast of Portugal "when this cruel British monster on us came bearing down." Captain Neill tried "to save his ship and crew, But those cursed, heartless tyrants had cut our barque in two." Four of eleven are lost.
AUTHOR: William Martin, Slippery Green, Wexford
EARLIEST_DATE: 1937 (Ranson)
KEYWORDS: drowning sea ship wreck sailor
HISTORICAL_REFERENCES: Dec 27, 1881 - The Hantoon wreck
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 46-47, "The Hantoon" (1 text, 1 tune)
Roud #7351
CROSS_REFERENCES:
cf. "The Fethard Life-Boat Crew (I)" (tune)
NOTES: December 27, 1881: "'The Hantoon' ... was run down ... on the homeward voyage from Galatz"; four of the crew of eleven were lost. Galatz is "one hundred miles up the Danube" [p. 53]. (source: Ranson) - BS
File: Ran046
===
NAME: Hap and Row
DESCRIPTION: "Hap and row, hap and row, Hap and row the feetie o't; I never knew I had a bairn Until I heard the greetie o't." Life with the baby is described: A cinder from the cooking fire burns its feet; Sandy's mother wraps them in her cap
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: baby clothes food
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 157, "(Hap and row, hap and row)" (1 text)
Roud #7252
NOTES: This is presumably the original which Burns converted into "The Reel of Stumpie." I suspect there are cross-fertilized versions, so some care should be taken in looking at each. - RBW
File: MSNR157
===
NAME: Happy 'Tis, Thou Blind, for Thee: see Callino Casturame (Colleen Og a Store; Cailin O Chois tSiure; Happy 'Tis, Thou Blind, for Thee) (File: HHH491)
===
NAME: Happy Coon, The
DESCRIPTION: "I've seen in my time some mighty funny things, But the funniest of all I know Is a colored individual." The "very queer old coon" never speaks, is knock-kneed and pigeon-toed, but whistles all the time -- even when his wife dies or he is hit with a brick
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: abuse disability music
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 424, "The Happy Coon" (1 text)
Roud #11766
File: Br3424
===
NAME: Happy Family, The: see The Irish Family (File: K275)
===
NAME: Happy Green Shades of Duneane, The
DESCRIPTION: The singer asks the muses to help him praise Duneane. It is the land of his fathers. But now he must leave; he bids farewell to friends and says there is nothing like living among them. He hopes someday to return.
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: emigration separation homesickness
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H653, p. 211, "The Happy Green Shades of Duneane" (1 text, 1 tune)
File: HHH653
===
NAME: Happy Land of Canaan, The
DESCRIPTION: "Down in Harper's Ferry Section there was an insurrection, John Brown thought the niggers would sustain him. But old Governor Wise put his specs upon his eyes For to send him to the happy land of Canaan." The rebels defy the abolitionist northerners
AUTHOR: unknown
EARLIEST_DATE: 1916 (Belden)
KEYWORDS: Civilwar rebellion death war slavery
HISTORICAL_REFERENCES: October 16-18, 1859 - John Brown and 20 others (15 of them, including Brown's three sons, are white) capture the arsenal at Harper's Ferry, Virginia, hoping to gather the weapons needed for a slave rebellion. Forces led by Robert E. Lee soon attack the rebels; only Brown and four others live to be captured and placed on trial
Dec 2, 1859 - Hanging of John Brown at Charlestown, Virginia
FOUND_IN: US(Ap,So)
REFERENCES: (3 citations)
Belden, pp. 363-364, "The Happy Land of Canaan" (1 text)
Randolph 226, "The Happy Land of Canaan" (3 texts (one Unionist), 1 tune)
Thomas-Makin', p. 81, (no title) (1 fragment, perhaps of this piece or perhaps another "Happy Land of Canaan" variant, but it uses that line and dates from the slavery era)
Roud #7705
CROSS_REFERENCES:
cf. "Bull Run (War Song)" (floating lyrics)
NOTES: The "Governor Wise" in the first stanza of both Randolph's and Belden's texts is Henry A. Wise (1806-1876), Governor of Virginia 1856-1860 and later a Confederate Brigadier. As ex-governor, he was strongly pro-secession, and worked hard to push his state and his successor in that direction. - RBW
File: R226
===
NAME: Happy Land, The: see There Is a Happy Land (File: DTtiahl)
===
NAME: Happy Marriage, The
DESCRIPTION: "How blest has my life been, what joys have I known, since wedlock's soft bondage made Jessie my own." The singer looks fondly back on life and children. Though his wife is growing old, he finds happiness at home and tells others they should do the same.
AUTHOR: unknown
EARLIEST_DATE: 1853 (Scots Musical Museum)
KEYWORDS: love husband wife marriage children age
FOUND_IN: Ireland Britain
REFERENCES: (1 citation)
SHenry H753, p. 501, "The Happy Pair" (1 text, 1 tune)
ST HHH753 (Full)
Roud #9464
ALTERNATE_TITLES:
The Contented Wife and Answer
File: HHH753
===
NAME: Happy or Lonesome
DESCRIPTION: "Come back to me in my dreaming, come back to me once more.... When the spring roses are blooming, I'll come back to you." "Absence makes my heart fonder, Is it the same for you? Are you still happy, I wonder, or are you lonesome too?"
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Burnett & Rutherford)
KEYWORDS: love separation
FOUND_IN: US
REFERENCES: (0 citations)
ST RcHOL (Full)
Roud #11518
RECORDINGS:
Burnett & Rutherford, "Are You Happy or Lonesome" (Columbia 15187-D, 1927; on BurnRuth01)
The Carter Family, "Happy or Lonesome" (Bluebird 5650=Victor ???, 1934)
Steve Ledford, "Happy or Lonesome" (Bluebird 7742, 1938)
SAME_TUNE:
"My Sweetheart in Tennessee" (recorded by Burnett & Rutherford, Columbia 15187-D, 1927; on BurnRuth01)
NOTES: Charles K. Wolfe calls this a parlor song which gained favor with old-time musicians, but does not list the author.
The Burnett and Rutherford recording is the earliest mention I can find of the piece. Curiously, the duo recorded only two songs in that session: "Happy or Lonesome" and "My Sweetheart in Tennessee" -- with nearly-identical tunes. One suspects the latter of being something Burnett just fixed up to have something to put on the flip side of the disk. - RBW
File: RcHOL
===
NAME: Happy Pair, The: see The Happy Marriage (File: HHH753)
===
NAME: Happy Shamrock Shore, The: see The Shamrock Shore (I) (File: HHH069)
===
NAME: Happy Stranger, The: see Poor Stranger, The (Two Strangers in the Mountains Alone) (File: R059)
===
NAME: Happy Wanderer, The
DESCRIPTION: "I love to go a-wandering along the mountain track, And as I go, I love to sing, my knapsack on my back." The singer extols the joys of hiking and hopes to continue to do so
AUTHOR: unknown
EARLIEST_DATE: 1975
KEYWORDS: rambling nonballad travel
FOUND_IN: US
REFERENCES: (1 citation)
DT, HAPWANDR*
SAME_TUNE:
I Love to Go A-Gorging (Pankake-PHCFSB, p. 32)
NOTES: A genuine folk song, or just something they inflict upon kids at camp? Don't ask me. I learned it in elementary school, rather less than voluntarily. - RBW
File: DThapwan
===
NAME: Happy, Frisky Jim
DESCRIPTION: Assorted nonsense about Jim's family and neighbors: "I'm my daddy's only son, Gay and lively, full of fun, Brother's twice as old as me, So we're twins, you plainly see." Jim's girl, whose "mouth is like a big bull calf," also figures prominently
AUTHOR: unknown
EARLIEST_DATE: 1930 (Randolph)
KEYWORDS: humorous nonsense family twins
FOUND_IN: US(MA,MW,So)
REFERENCES: (2 citations)
Randolph 431, "Frisky Jim" (2 texts)
FSCatskills 153, "Happy, Frisky Jim" (1 traditional text plus a sheet music version, 1 tune)
ST R431 (Partial)
Roud #7610
NOTES: Although the statement about the brothers being twins sounds like nonsense, there is a time when it is true -- at the time when the younger brother is exactly as old as the interval between the births of the older and younger. Of course, this requires a baby less than an hour old to be talking....
Although the sheet music version in Cazden et al is apparently from the nineteenth century, it doesn't appear to me to be the original; it looks as if it has had minstrel verses grafted onto a traditional (non-racist) core. - RBW
File: R431
===
NAME: Harbour Grace
DESCRIPTION: "Harbour Grace is a very nice place And so is the Bay of Islands, So we give three cheers for Carbonear When the boys comes home from swilin'." Disconnected verses about George and Lizer, going to town and sea, and Mackety Bay
AUTHOR: unknown
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: courting hunting sea humorous nonballad
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (2 citations)
Smith/Hatt, p. 35, "Harbour Grace" (1 text)
Creighton-Maritime, p. 180, "Harbour Grace"; p. 207, "Harbour Grace" (2 text, 2 tune)
Roud #2723
RECORDINGS:
Omar Blondahl, "Harbour Grace" (on NFOBlondahl04)
Berton Young, "Harbour Grace Diddling" (on MRHCreighton)
NOTES: A song in the style of Weevily Wheat but clearly not related. Smith/Hamm: "this is a Newfoundland song. It is a dance tune, used by fiddlers." Of the places mentioned in the song, Harbour Grace and Carbonear are on the west shore of Conception Bay on the Avalon Peninsula and Bay of Islands is on the west coast of Newfoundland just south of what is now Gros Morne National Park.
MRHCreighton and Creighton-Maritime, p. 180, is an example of Newfoundland "chin" or "cheek" music and Nova Scotia diddling [the book and LP are of the same performance]. Peacock explains "'Chin' or 'mouth' music is a vocal imitation of instrumental music and is used for dancing when a fiddle or accordion is not handy. Some singers ... become so proficient that they are often called upon even when instruments are available." - BS
File: RcHarGrI
===
NAME: Harbour Le Cou
DESCRIPTION: "As I rowed ashore from my schooner close by, A girl on the beach I chanced to espy" who lives in Harbour Le Cou. The sailor courts and wins girl until they meet his "old comrade" who sends "regards to your missus and wee kiddies two"
AUTHOR: unknown
EARLIEST_DATE: 1951 (Fowke/MacMillan)
LONG_DESCRIPTION: A sailor takes up with a girl in Harbour Le Cou, but has his amorous plans thwarted by a ship-mate who inquires (within hearing of the girl) about the health of the sailor's wife and children. The girl tears into the sailor and he flees, warning others to beware not only of pretty girls but also of old comrades.
KEYWORDS: courting infidelity seduction separation humorous children husband sailor
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (5 citations)
Peacock, pp. 198-199, "Harbour Le Cou" (1 text, 1 tune)
Doyle3, p. 26, "Harbour Le Cou" (1 text, 1 tune)
Fowke/MacMillan 56, "Harbour Le Cou" (1 text, 1 tune)
Blondahl, pp. 108-109, "Harbour Le Cou" (1 text, 1 tune)
DT, HARBLCOU*
Roud #7297
CROSS_REFERENCES:
cf. "One Morning in May (To Hear the Nightingale Sing) [Laws P14]" (theme)
NOTES: Harbour Le Cou is a fishing village on the southwest coast of Newfoundland near Port aus Basques. - SL
File: Doyl3026
===
NAME: Hard of Hearing: see The Deaf Woman's Courtship (File: R353)
===
NAME: Hard Time in Old Virginnie
DESCRIPTION: Chorus: "Hard Time in Old Virginnie." Verses: "Summer comin' again." "Comin' in the rainbow." "Comin' in the cloud." "My old missus promise me" "When she die she set me free." "She love so long" "Till her head got bald."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: hardtimes freedom slave nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, p. 116, (no title) (1 text)
CROSS_REFERENCES:
cf. "Raise a Ruckus" (floating lyrics)
cf. "Old Marse John" (floating lyrics)
NOTES: Described by Courlander as a pestle song for pounding rice. - RBW
File: CNFM116A
===
NAME: Hard Times (II): see The Rigs of the Times (File: K237)
===
NAME: Hard Times (III): see The Cryderville Jail (File: LxU090)
===
NAME: Hard Times (IV): see Old Bee Makes the Honey Comb, etc. (File: Br3479)
===
NAME: Hard Times and Old Bill
DESCRIPTION: "Old Ailey Bill came home from court" and stops at a bar (?) "to have some sport. And it's hard times and poor old Bill." Will McNealey hides under a bed, sees what happens, steals a frying pan, sells it, and beats his wife
AUTHOR: unknown
EARLIEST_DATE: 1931 (collected by Henry from C. L. Franklin)
KEYWORDS: abuse escape husband wife commerce
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 11, "Hard TImes and Old Bill" (1 text)
NOTES: For the life of me, I can't tell what this is about. I suspect that it is based on a real incident, but that several verses have been lost from Henry's seemingly unique text. - RBW
File: MHAp011.
===
NAME: Hard Times at New Little River: see The Cryderville Jail (File: LxU090)
===
NAME: Hard Times Come Again No More
DESCRIPTION: "Let us pause in life's pleasures and count its many tears While we all sup sorrow with the poor." The singer describes sad people suffering from poverty, and begs, "Hard times, come again no more."
AUTHOR: Stephen C. Foster
EARLIEST_DATE: 1859
KEYWORDS: poverty hardtimes
FOUND_IN: US
REFERENCES: (1 citation)
DT, HRDTIMES*
Roud #2659
RECORDINGS:
Edison Quartette, "Hard Times Come Again No More" (CYL: Edison 9120, 1905)
L. M. Hilton, "Hard Times Come Again No More [Mormon version]" (on Hilton01)
SAME_TUNE:
Hard Crackers, Come Again No More (cf. Spaeth, _A History of Popular Music in America_, p. 116)
NOTES: It is perhaps more a comment on the folk revival than on this song to note that it is easily the most popular Foster song with revival singers. It wasn't especially popular at the time, and Spaeth (_A History of Popular Music in America_, p. 116) regards it as an "adequate potboiler." - RBW
File: DThrdtim
===
NAME: Hard Times in Mount Holly Jail: see The Cryderville Jail (File: LxU090)
===
NAME: Hard Times in the Mill (I)
DESCRIPTION: Complaints of life in the mills (e.g. "Worked in a cotton mill all my life, Ain't got nothin' but a barlow knife"). The wages are poor, the bosses hard, and the conditions brutal. Chorus: "Hard times in (this old mill), Hard times (everywhere)."
AUTHOR: unknown
EARLIEST_DATE: 1956 (recording, Pete Seeger)
KEYWORDS: work hardtimes factory technology boss miller
FOUND_IN: US
REFERENCES: (1 citation)
Scott-BoA, pp. 274-275, "Hard Times in the Mill" (1 text, 1 tune)
RECORDINGS:
Pete Seeger, "Hard Times in the Mill" (on PeteSeeger13)
CROSS_REFERENCES:
cf. "Winnsboro Cotton Mill Blues" (floating lyrics)
cf. "Hard Times in the Mill (II)"
cf. "Pickle My Bones in Alcohol" (floating lyrics)
ALTERNATE_TITLES:
Hard Times in This Old Mill
Cotton Mill Blues
NOTES: This is obviously very similar to "Hard Times in the Mill (II)" -- but since the versions I've seen have different metrical patterns, and have no words in common except "hard times in," I tentatively classify them separately.
This version is recognized by longer lines in the verse (see sample above) and the non-repeating chorus. - RBW
I'm not sure I'd split these two songs. The verses tend to be floaters (e.g., the "Barlow knife" one, which shows up in fiddle tunes), and the metrical differences aren't that big. I guess I'd want to see all the verses. There's a 1962 recording by Hedy West with the Barlow knife verse in it. - PJS
It's the usual problem of the ordinary versus the extreme versions. Sigh. - RBW
File: SBoA274
===
NAME: Hard Times in the Mill (II)
DESCRIPTION: About bad conditions in the mills (e.g. "Ev'ry morning at half past five, You got to get up dead or alive"). The food is poor, money tight, "the boss is cussin' and the spinners cryin'." Chorus: "Hard times in the mill, my love, hard times in the mill."
AUTHOR: Possibly Dorsey Dixon
EARLIEST_DATE: 
KEYWORDS: work hardtimes factory technology boss miller
FOUND_IN: US
REFERENCES: (3 citations)
Arnett, p. 145, "Hard Times in the Mill" (1 text, 1 tune)
Greenway-AFP, p. 142, "Hard Times in the Mill" (1 text)
Darling-NAS, pp. 369-370, "Hard Times in the Mill" (1 text)
RECORDINGS:
Seena Helms, "Hard Times"  (on HandMeDown2)
CROSS_REFERENCES:
cf. "Hard Times in the Mill (I)"
NOTES: This is obviously very similar to "Hard Times in the Mill (I)" -- but since the versions I've seen have different metrical patterns, and have no words in common except "hard times in," I tentatively classify them separately.
This version is recognized by shorter lines in the verse (see sample above) and the repeating chorus. - RBW
I'm not sure I'd split these two songs. The verses tend to be floaters (e.g., the "Barlow knife" one, which shows up in fiddle tunes), and the metrical differences aren't that big. I guess I'd want to see all the verses. There's a 1962 recording by Hedy West with the Barlow knife verse in it. - PJS
It's the usual problem of the ordinary versus the extreme versions. Sigh. - RBW
File: Arn145
===
NAME: Hard Times of Old England, The
DESCRIPTION: Singer tells that the trade has gone; if you go to a shop without money, you can't buy. If you ask for a job, there is none; tradesmen walk the street looking for work; soldiers and sailors have come home to starve. He hopes the hard times will not last.
AUTHOR: unknown
EARLIEST_DATE: 1955 (recorded from Ron Copper)
KEYWORDS: poverty commerce unemployment work hardtimes starvation England worker
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 224, "The Hard Times of Old England" (1 text, 1 tune)
DT, HRDTMENG*
Roud #1206
CROSS_REFERENCES:
cf. "Rigs of the Time" (subject)
NOTES: Kennedy seems to think that this song arose in the recession following a war, since sailors and soldiers were returning home to find no work. But the British military did not institute a true draft until World War I; the size of the military stayed relatively constant. And economic trouble was constant in the late eighteenth and early nineteenth century; the population was growing faster than the system could expand. So this could be just a song of falling standards of living. - RBW
File: K224
===
NAME: Hard to Be a Nigger
DESCRIPTION: "Well, it makes no difference How you make out your time. White man sho' to bring a Nigger out behind. Ain't it hard (x3) to be a nigger?" "Nigger makes do cotton, White folks get de money." The singer complains about unequal pay and unequal justice
AUTHOR: unknown
EARLIEST_DATE: 1934 (Lomax)
KEYWORDS: discrimination Black(s) hardtimes nonballad work
FOUND_IN: US
REFERENCES: (3 citations)
Lomax-ABFS, pp. 233-234, "Hard to Be a Nigger" (1 text)
BrownIII 473 "White Folks Go to College" (1 fragment, at least tangentially related to this song); also 480, "Hard Times" (1 text, massively composite: Chorus from "Lynchburg Town" and verses from "Old Bee Makes the Honey Comb" and the "White Folks Go to College" version of "Hard to Be a Nigger")
Scarborough-NegroFS, pp. 227-228, "Ain't It Hard to Be a Nigger" (1 text plus a possible fragment)
Roud #15555
File: LxA233
===
NAME: Hard Traveling
DESCRIPTION: "I been doin' some hard travelin', I thought you knowed." The singer describes the hard times he's met on his travels: "Workin' in a hard rock tunnel," "Workin' that Pittsburgh steel," facing the lonely task of following Highway 66
AUTHOR: Woody Guthrie
EARLIEST_DATE: 1940 (recording, Woody Guthrie & Almanac Singers)
KEYWORDS: work nonballad loneliness hardtimes rambling train prison farming work worker hobo
FOUND_IN: US
REFERENCES: (4 citations)
Lomax-FSNA 226, "Hard Travellin'" (1 text, 1 tune)
PSeeger-AFB, p. 89, "Hard Traveling" (1 text, 1 tune)
Silber-FSWB, p. 59, "Hard Traveling" (1 text)
DT, HARDTRAV*
Roud #13926
RECORDINGS:
Pete Seeger, "Hard Travelling" (on PeteSeeger18)
File: LoF226
===
NAME: Hard Travellin: see Hard Traveling" (File: LoF226)
===
NAME: Hard Trials
DESCRIPTION: "The foxes have holes in the ground... And everything has a hiding place, but we poor sinners have none. Now ain't them hard trials?..." Unrelated verses, often floating, about religious life, fidelity to denominations, the Devil, justice, death
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: religious death Devil floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 600-602, "Hard Trials" (1 text, 1 tune, composite)
Roud #7554
CROSS_REFERENCES:
cf. "Methodist Pie" (floating verses)
cf. "Lonesome Valley" (floating verses)
NOTES: It's not clear, from the Lomax notes, whether this song actually exists on its own. Of their eight stanzas, they themselves admit to importing four. Three of the others float. The chorus is commonplace. So I am tempted to regard this as simply a Lomax assembly job. - RBW
File: LxA600
===
NAME: Hard Up and Broken Down
DESCRIPTION: "Once I had money plenty and friends too, by the score... But now I'm poor and lonely... No one seems to know me now because I'm broken down." He has wasted his fortune, and now his old friends ignore him
AUTHOR: unknown
EARLIEST_DATE: 1931 (Randolph)
KEYWORDS: poverty money
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 838, "Hard Up and Broken Down" (1 text)
Roud #7446
CROSS_REFERENCES:
cf. "Buddy, Can You Spare a Dime" (theme)
cf. "Nobody Knows You When You're Down and Out" (theme)
NOTES: Randolph speculates that this is the "ruin of some English music-hall ditty." The literary reference ("As the immortal Shakespeare says, all this world's a stage" -- As You Like It, II.vii.139b) makes this a strong possibility. - RBW
File: R838
===
NAME: Hard-Working Miner, The: see Only a Miner (The Hard-Working Miner) [Laws G33] (File: LG33)
===
NAME: Hard, Ain't It Hard: see (references under) Tavern in the Town (File: ShH94)
===
NAME: Hard, Hard Times: see The Rigs of the Times (File: K237)
===
NAME: Hardest Bloody Job I Ever Had, The: see Ard Tack (File: PFS266)
===
NAME: Harding's Defeat
DESCRIPTION: Fragment: "Come all you good people the truth I'll relate/Concerning of Harding's most cruel defeat/Concerning bad conduct was used, they say/That caused us to be defeated on that very day"
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: army battle fight war
FOUND_IN: US(SE)
REFERENCES: (1 citation)
SharpAp 204, "Harding's Defeat" (1 fragment, 1 tune)
Roud #3603
NOTES: Making even an educated guess about the subject of this song is difficult, given that we have only one stanza. The collection date obviously precludes World War I and all later wars, as well as references to Warren G. Harding. I'd say the Spanish-American War is also out, because the informant would have remembered more.
The Civil War is an obvious possibility, but this is a Southern song, and there were no Confederate generals named Harding. There were a couple of Union general officers, but neither suffered an obvious defeat.
There is the confusing case of the American ship _Defence_ in the Revolutionary War. Samuel W. Bryant's_The Sea and the States_, p. 83, mentions an American ship _Defence_, commanded by a Captain Harding -- but Bryant describes only a victory won by this ship. The Revolutionary War also featured a privateer _Defence_ which suffered was sunk in 1779. Privateers of course had notoriously bad discipline. But if the data in Lincoln P. Paine's _Ships of the World_ is correct, these two ships named _Defence_ cannot have been the same vessel.
I'm stumped. My guess is that "Harding" is an error for some other name. Hardee, maybe -- confederate Lt. General William J. Hardee was a competent officer whose ineffective forces made it impossible to interfere with Sheman's March to the Sea. Alternately, there is John Hardin, 1753-1792, a Virginian who moved to Kentucky and was heavily involved in Indian fighting until killed in 1792. This may be the best bet. - RBW
File: ShAp2204
===
NAME: Hardly Think I Will: see Common Bill (File: R119)
===
NAME: Hardy Sons of Dan, The
DESCRIPTION: "For to score a goal there was none so bold, As the hardy Sons of Dan," named for Dan O'Connell. They won the Belturbet Tournament in 1889 and their second team won another tournament at Derrylin.
AUTHOR: unknown
EARLIEST_DATE: 1980 (IRHardySons)
KEYWORDS: sports
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #17895
RECORDINGS:
Red Mick McDermott, "The Hardy Sons of Dan" (on IRHardySons)
NOTES: Notes to IRHardySons: "Drumlane, or Droim Leathan, is just a few miles south of Belturbet, in Co. Cavan. The 'Drumlane Sons of O'Connell' formed in 1886, and faded out of existence, probably in the inter-war years. They re-formed in 1966, and its present ground, O'Connell Park, opened in 1986. The GAA (Gaelic Athletic Association) was founded in Thurles, Co Tipperary, on the 1st November 1884, and Drumlane joined in 1888."
For background on Dan O'Connell see the notes to "Daniel O'Connell" (II). - BS
File: RcHaSoDa
===
NAME: Hare of Kilgrain, The
DESCRIPTION: The hunter goes out in pursuit of sport. The hare tells its story of how the dogs pursued it. It leads them on a long chase, and proclaims that it did humans no harm, but at last the hounds catch and kill their innocent prey
AUTHOR: James Sloan ?
EARLIEST_DATE: 1924 (Sam Henry collection; reportedly written c. 1770)
KEYWORDS: animal death hunting
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H12, p. 31, "The Hare of Kilgrain" (1 text, 1 tune)
Roud #2883
CROSS_REFERENCES:
cf. "The Innocent Hare" (theme: fatal hare hunt) 
cf. "The Granemore Hare" (theme: fatal hare hunt) 
cf. "The White Hare" (theme: fatal hare hunt)
NOTES: The Henry text appears to be composite; the first two verses are in praise of the hunt and Richard Hunter at its head. The perspective then shifts to the hare, forced to flee and run and at last die.
Nimrod was "a mighty hunter before the Lord" (Genesis 10:8-10). - RBW
File: HHH012
===
NAME: Hare's Dream, The
DESCRIPTION: "On the twenty-seventh of January," the hare is awakened from its dream as the hounds come hunting. The trapped hare complains that the hunters let the fox go free while taking the hare; "All the harm e'er I done was crop the heads o' green kale."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: animal hunting food dog
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H172, pp. 31-32, "The Hare's Dream" (1 text, 1 tune)
Roud #3574
CROSS_REFERENCES:
cf. "Bold Reynard the Fox (Tallyho! Hark! Away!)" (lyrics, theme)
cf. "The Innocent Hare" (theme: fatal hare hunt) 
cf. "The Hare of Kilgrain" (theme: fatal hare hunt) 
cf. "The Granemore Hare" (theme: fatal hare hunt) 
cf. "The White Hare" (theme: fatal hare hunt)
cf. "Donagh Hill" (form, hunting theme)
NOTES: For the complex relationship between this song and "Bold Reynard the Fox (Tallyho! Hark! Away!)," see the notes to that song.
There is a broadside, NLScotland, Ry.III.a.6(020) "Hare's Dream," unknown, n.d. It is not related; the "Hare" in this case is an Irish-born criminal apprehended in Scotland who dreams of what happened after his crimes. - RBW
File: HHH032A
===
NAME: Hares in the Old Plantations: see Gamekeepers Lie Sleeping (File: K249)
===
NAME: Hares on the Mountain
DESCRIPTION: The singer avers that if young women ran like hares on the mountain, if he was a young man he'd go hunting. Likewise if they sang like birds in the bushes he'd beat the bushes, etc. ad (possible) nauseum
AUTHOR: unknown
EARLIEST_DATE: 1836 (Samuel Lover's novel _Rory O'More_ . See NOTES)
KEYWORDS: sex lyric nonballad animal bird
FOUND_IN: Britain(England(South)) Ireland US(NE)
REFERENCES: (6 citations)
Bronson (44), "The Twa Magicians" -- the appendix includes 11 versions (#2-#12) which are this song
Sharp-100E 63, "Hares on the Mountains"; 64, "O Sally, My Dear" (2 texts, 2 tunes) {Bronson's #2, #12}
Kennedy 169, "Blackbirds and Thrushes" (1 text, 1 tune)
OLochlainn-More 50, "Blackbirds and Thrushes" (1 text, 1 tune)
Silber-FSWB, p. 173, "Sally My Dear" (1 text)
DT, HARESMTN* SALLYDR*
Roud #329
RECORDINGS:
Dickie Lashbrook, "Blackbirds and Thrushes" (on FSB2CD)
Pete Seeger, "Sally My Dear" (on PeteSeeger06, PeteSeegerCD01) (on PeteSeeger14)
CROSS_REFERENCES:
cf. "Roll Your Leg Over" (form, theme)
cf. "Creeping and Crawling" (tune)
cf. "The Twa Magicians" [Child 44]
NOTES: It has been theorized that this song descends from "The Twa Magicians" [Child 44] (so, for instance, Bronson, who prints this piece as an appendix to that ballad). Frankly, I don't see it. More likely is the connection with "Creeping and Crawling (The Knife in the Window)," with which it shares a tune. But even they have separate plots. - RBW
OLochlainn-More: "Sometimes attributed to Samuel Lover (1797-1865) as he printed it in his novel _Rory O More,_ but is probably an older ballad rewritten. He was a versatile genius, poet, artist, novelist, folk-lorist and antiquarian." See my speculation on Lover for "Widow Machree (II)." - BS
File: ShH63
===
NAME: Hark from the Tomb
DESCRIPTION: "Hark from the tomb a doleful sound, My ears attend the cry, Ye living man, come view the ground Where you must shortly lie." "Grant us the power of quickening grace To fit our souls to fly, Then when we drop this dying flesh We'll rise above the sky"
AUTHOR: unknown
EARLIEST_DATE: 1836 (Methodist Hymnal)
KEYWORDS: religious nonballad death
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 638, "Hark from the Tomb" (1 short text, 1 tune)
Roud #7563
NOTES: Sometimes credited, seemingly on inadequate evidence, to John or Charles Wesley. In the Sacred Harp, where it bears the tune "Plenary," the words are said to be by Isaac Watts, with the tune by A. Clark. The Missouri Harmony uses the tunes "Funeral Thought" and "New Durham." - RBW
File: R638
===
NAME: Hark! The Herald Angels Sing
DESCRIPTION: "Hark! The herald angels sing, Glory (be) to the new-born King." In praise of the baby Jesus, the "incarnate deity, pleased as man with man to dwell." The song offers both praise and thanks for the coming of Jesus
AUTHOR: Words: Charles Wesley (1707-1788) (adapted by George Whitefield) / Music: Felix Mendelssohn (1808-1847)
EARLIEST_DATE: 1739 ("Hymns and Sacred Poems")
KEYWORDS: Christmas nonballad religious
FOUND_IN: 
REFERENCES: (5 citations)
Silber-FSWB, p. 381, "Hark! The Herald Angels Sing" (1 text)
Fuld-WFM, pp. 269-270, "Hark! The Herald Angels Sing"
DT, HRALDANG*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp. 46-47, "Hard, the Herald Angels Sing" (1 text, 1 tune)
 Ian Bradley, _The Penguin Book of Carols_ (1999), #32, "Hard, the Herald Angels Sing" (1 text); cf. #31, "Hark, How All the Welkin Rings" (1 text)
Roud #8337
SAME_TUNE:
Uncle Joe and Aunty Mabel (File: EM374)
Beecham's Pills (Pankake-PHCFSB, p. 37)
NOTES: In the Sacred Harp, this is given the tune "Cookham." It's not the standard Mendelssohn melody.
The original Charles Wesley text might come as a surprise; the title line is "Hark how all the welkin rings, 'Glory to the king of kings,'" then turns to more familiar lines. This text can be found, e.g., in the _Penguin Book of Carols_.
The "welkin" is the firmament or the dome of heaven; George Whitefield apparently changed it (and made sundry lesser changes) not because the word was archaic because it didn't fit his theology; Wesley was of course Arminian (meaning that human beings actually had some role in gaining, or at least accepting, salvation), but Whitefield was pure Calvinist, meaning that he believed in salvation by God's caprice, with no amount of human action having anything to do with it. (As you can probably tell, I am not a Calvinist.)
It was a fellow by the name of W. H. Cummings, who had performed under Mendelssohn's direction, who mated the Wesley/Whitefield words with the Mendelssohn melody, publishing the result in 1856. Only then did the song become popular. - RBW
File: FSWB381C
===
NAME: Harlaw: see The Battle of Harlaw [Child 163] (File: C163)
===
NAME: Harm Link: see The Young Man Who Wouldn't Hoe Corn [Laws H13] (File: LH13)
===
NAME: Harmless Young Jim
DESCRIPTION: Jim says to a girl, "My name it is harmless Young Jim" and offers to "take you to the bakery and buy you a bun." She resists. He persists. They marry and have a son. "I'm sure I'd been better to leave her alone"
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: courting marriage sex childbirth bawdy wordplay food
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 282-283, "Harmless Young Jim" (1 text, 1 tune)
Roud #9968
CROSS_REFERENCES:
cf. "Blackberry Grove" (innuendoes)
cf. "Buttercup Joe" (innuendoes)
File: Pea282
===
NAME: Harness up Yo' Hosses
DESCRIPTION: "Harness up yo' hosses, Hey, o hey! Harness up yo' hosses, We'll teach you how ter drive 'em, Hey, oh hey! We'll fight fur Uncle Sam."
AUTHOR: unknown
EARLIEST_DATE: 1914 (Brown)
KEYWORDS: horse work fight Civilwar
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 373, "Harness up Yo' Hosses" (1 fragment)
Roud #11748
NOTES: Brown's text is too short for certainty, but it seems reasonable to assume that this refers to the American Civil War and the way "contrabands" (escaped or captured slaves) were treated: The Federals quickly began to use them as teamsters, and by the middle of the war was enlisting them as soldiers as well. - RBW
File: Br3373
===
NAME: Harp of Erin (I), The: see Erin, My Country (The Harp of Erin) (File: HHH478)
===
NAME: Harp of Old Erin, The
DESCRIPTION: "The Harp of Old Erin will be heard once again, And will twine with the Shamrock in every green glen, And the round tower and wolfdog in sunshine will be With Home Rule for Ireland and Ireland free"
AUTHOR: unknown
EARLIEST_DATE: 1929 (OLochlainn)
KEYWORDS: Ireland patriotic political
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn, p. 231, "The Harp of Old Erin" (1 fragment)
NOTES: The current description is all of the OLochlainn fragment. - BS
File: OLoc231
===
NAME: Harp on the Willow, The
DESCRIPTION: "Come brethren and sisters, and hear me relate, And I will inform you of my present state." The singer trusted Jesus, but now feels rejected, "My harp on the willow seems to be hung." The singer begs to be restored to the former state of grace
AUTHOR: unknown
EARLIEST_DATE: 1940 (Randolph)
KEYWORDS: religious request harp
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 655, "The Harp on the Willow" (1 text)
Roud #7576
NOTES: This song contains assorted allusions to Psalm 137 (e.g. the harp on the willow, Psalm 137:2), but they seem almost incidental to the plot -- the piece just uses them as the coin of the realm, rather than actively adopting the psalm. - RBW
File: R655
===
NAME: Harp or Lion
DESCRIPTION: The singer sees in the news that Irishmen "despise their country's story, All they love is England's glory, Ha-ha-ha!" Shame on O Neill, Emmet, Tone and Ninety-eight. We should replace "our old green banner" with "the mangy British lion! Ha-ha-hah!"
AUTHOR: T.D. Sullivan (1827-1914) (source: OLochlainn-More)
EARLIEST_DATE: 1899 (_Songs and Poems_ by T.D.S., according to OLochlainn-more)
KEYWORDS: England Ireland humorous nonballad patriotic
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 47, "Harp or Lion" (1 text, 1 tune)
Roud #9763
NOTES: Sullivan is the author of a number of Irish patriotic poems, of which "God Save Ireland" is probably the best-known. - RBW
File: OLcM047
===
NAME: Harp That Once Through Tara's Halls, The
DESCRIPTION: "The harp that once through Tara's halls The soul of music shed Now hangs as mute on Tara's walls As tho' that soul were fled." Tara's glory is fled, and the only sign that freedom still exists "Is when some heart, indignant, breaks."
AUTHOR: Thomas Moore
EARLIEST_DATE: 1851 (broadside, LOCSheet sm1851 490660)
KEYWORDS: harp music freedom nonballad
FOUND_IN: 
REFERENCES: (5 citations)
O'Conor, p. 10, "Harp That Once" (1 text)
Silber-FSWB, p. 320, "The Harp That Once Thro' Tara's Halls" (1 text)
DT, TARAHARP*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 381, "The Harp That Once Through Tara's Halls" (1 text)
Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 32-33, "The Harp That Once Through Tara's Halls"  (1 text)
Roud #13392
BROADSIDES:
Bodleian, Firth b.28(8a/b) View 8 of 8, "The Harp That Once Throug Tara's Halls," R. March and Co. (London), 1877-1884; also Harding B 11(1155), "The Harp that Once Tara's Halls"; Firth b.26(381), "The Harp That Once in Tara's Halls"; Firth c.26(121), "The Harp That Once Through Tara's Hall"; Firth b.27(457/458) View 2 of 4, "The Harp of Tara's Hall"
LOCSheet, sm1851 490660, "The Harp That Once Thro' Tara's Halls," William Hall and S (New York), 1851; also sm1851 680650, "The Harp That Once Thro' Tara's Halls"; sm1851 491690, sm1879 02685, "The Harp That Once Through Tara's Hall" (tune)
LOCSinging, as105190, "The Harp That Once Thro' Tara's Halls," Thos. G. Doyle (Baltimore), 19C
NLScotland, RB.m.143(144), "The Harp That Once Through Tara's  Halls," Poet's Box (Glasgow), 1875
CROSS_REFERENCES:
cf. "The Highland Maid" (tune)
SAME_TUNE:
The Highland Maid (File: Ord297)
Old Ireland I Adore (File: OCon113)
ALTERNATE_TITLES:
Tara's Harp
NOTES: This is one of the classic poems of Irish melancholy; Granger's Index to Poetry cites no fewer than fifteen anthologies. Ironically, it seems rare in tradition.
Tara, according to legend at least, was the seat of the ancient Irish high kings. - RBW
File: FSWB320C
===
NAME: Harpkin: see The Fause Knight Upon the Road [Child 3] (File: C003)
===
NAME: Harrison Campaign Song
DESCRIPTION: "A farmer there was, who lived at North Bend"; he regretfully leaves his log cabin to go to Washington. Coming to the White House, he sets everyone astir. When they prove unable to dislodge them, he warns them to get hard cider by March fourth
AUTHOR: unknown
EARLIEST_DATE: 1912 (Belden)
KEYWORDS: political
HISTORICAL_REFERENCES: Dec 2, 1840 - William Henry Harrison defeats Martin Van Buren
Mar 4, 1841 - Harrison (the first Whig to be elected President) is inaugurated. He gives a rambling inaugural address in a rainstorm and catches cold
April 4, 1841 - Harrison dies of pneumonia, making him the first president to fail to complete his term. After some hesitation, Vice President John Tyler is allowed to succeed as President
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 335, "Harrison Campaign Song" (1 text)
Roud #7840
CROSS_REFERENCES:
cf. "Tippecanoe and Tyler Too" (subject)
cf. "Old Tippecanoe" (subject)
cf. "Tippecanoe" (subject)
NOTES: For details on the (thoroughly dirty) 1840 Presidential campaign, and the purely false picture it drew of William Henry Harrison, see the notes to "Old Tippecanoe."
It should perhaps be pointed out that, at the time this song was sung, new Presidents were still inaugurated on March 4.
The way this song is written might make it appear that Van Buren undertook some sort of cabinet shake-up during the 1840 campaign. He didn't; three of his six cabinet secretaries stayed the whole administration, and while two offices turned over in 1840, one of those was Postmaster, held by Amos F. Kendall, the advisor Van Buren "could not spare;" he assuredly was not driven out. - RBW
File: Beld335
===
NAME: Harrison Town
DESCRIPTION: The singer (warns against bad company which led him to break the law). He now has been captured and faces prison. He hopes that his horse, which served him so well, will be well cared for. (He promises to live a reformed life with his girl when released)
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: outlaw crime punishment prison horse
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 162, "Harrison Town" (2 texts, 1 tune)
Randolph/Cohen, pp. 155-156, "Harrison Town" (1 text, 1 tune -- Randolph's 162A)
Roud #4095
CROSS_REFERENCES:
cf. "The Boston Burglar" [Laws L16] (theme)
NOTES: This song is item dE34 in Laws's Appendix II. Randolph's second text shows some signs of influence from "The Boston Burglar" or something similar, but these may be later additions; the first text shows none. - RBW
File: R162
===
NAME: Harrowing Time
DESCRIPTION: A bothy ballad describing spring harrowing. "Cauld winter it is now awa', And spring has come again."
AUTHOR: unknown
EARLIEST_DATE: 1909 (Buchan)
KEYWORDS: farming work
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
DBuchan 70, "Harrowing Time" (1 text, 1 tune in appendix)
Ord, pp. 256-257, "Harrowing Time" (1 text)
Roud #5587
CROSS_REFERENCES:
cf. "Drumdelgie" (tune)
File: DBuch70
===
NAME: Harry Bail: see Harry Bale (Dale, Bail, Bell) [Laws C13] (File: LC13)
===
NAME: Harry Bale (Dale, Bail, Bell) [Laws C13]
DESCRIPTION: The orphan Harry Bahel is at work in a sawmill when he is dragged onto the saw. He dies the next day and is buried as his siblings grieve
AUTHOR: Charles Bahel?
EARLIEST_DATE: 1918 (Belden)
KEYWORDS: orphan death burial technology lumbering grief
HISTORICAL_REFERENCES: April 1879 - Death of Harry Bahel, at age 19, in Arcadia Township, Lapeer County, Michigan
FOUND_IN: US(MW,So) Canada(Mar,Ont)
REFERENCES: (8 citations)
Laws C13, "Harry Bale (Dale, Bail, Bell)"
Belden, pp. 418-419, "Harry Bale" (1 text, in which the hero is called "Harry Dale")
Fowke-Lumbering #33, "Harry Bale" (2 texts, 2 tunes)
Manny/Wilson 80, "The Little Shingle Mill (The Death of Harry Vail)" (1 text, 1 tune)
Rickaby 27, "Harry Bail" (1 text)
Gardner/Chickering 113, "Harry Bail" (1 text plus 2 excerpts and mention of 1 more, 1 tune)
Beck 61, "Harry Bail" (1 text, 1 tune)
DT 700, HARYBALE
Roud #2217
CROSS_REFERENCES:
cf. "Jack Haggerty (The Flat River Girl)" [Laws C25]
NOTES: Two of Gardner and Chickering's informants, John B. Redhead and William Rabidue, both of whom worked in lumber mills in the general vicinity, credit this to Harry Bahel's brother Charlie (Rabidue, who supplied Gardner and Chickering's main text, also mentions a Johnny Coffey). There does not seem to be any actual proof of this. - RBW
File: LC13
===
NAME: Harry Dunn (The Hanging Limb) [Laws C14]
DESCRIPTION: Harry Dunn has gone to work in the woods of Michigan despite his mother's advice. One day he dreams that there is trouble at home. On that very day he is killed by a falling branch. His parents are shocked to death when his body arrives
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: logger dream family mother death lumbering
FOUND_IN: US(MW) Canada(Newf,Mar,Ont)
REFERENCES: (11 citations)
Laws C14, "Harry Dunn (The Hanging Limb)"
Rickaby 26, "The Hanging Limb" (2 texts)
Gardner/Chickering 114, "Harry Dunn" (1 text)
Doerflinger, pp. 221-223, "Harry Dunne" (2 texts, 1 tune)
Greenleaf/Mansfield 162, "Harry Dunn" (1 text)
Peacock, pp. 763-765, "The Woods of Michigan" (1 text, 2 tunes)
Dibblee/Dibblee, pp. 36-37, "Harry Dunn" (1 text, 1 tune)
Beck 59, "Harry Dunn" (2 texts, one called "Harry Dunne"; 1 tune)
Fowke-Lumbering #34, "Harry Dunn" (2 texts, 2 tunes)
Creighton-NovaScotia 130, "Lumbering Boy" (1 text, 1 tune)
DT 767, HARRDUNN
Roud #639
RECORDINGS:
Martin Sullivan, "Harry Dunn" (on Lumber01)
CROSS_REFERENCES:
cf. "Boy Killed by a Falling Tree in Hartford" (plot)
cf. "Chance McGear" (plot)
cf. "The Substitute (plot)
cf. "Whitney's Camp" (tune, plot)
cf. "Erin's Green Shore" (tune)
File: LC14
===
NAME: Harry Dunne: see Harry Dunn (The Hanging Limb) [Laws C14] (File: LC14)
===
NAME: Harry Flood's Election Song
DESCRIPTION: "Ye lovers of trade and every handicraft" strike up the band for Harry Flood. "Our freedom's declared, we'll chase dull sorrows, All cares we'll banish to feast and banquet." Listeners are urged to toast Harry Flood
AUTHOR: unknown
EARLIEST_DATE: before 1771 (OLochlainn-More)
KEYWORDS: Ireland nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 86, "Harry Flood's Election Song" (1 text, 1 tune)
Roud #9770
NOTES: OLochlainn-More: "This fragment of an election song for the famous Henry Flood (1732-1791) undoubtedly dates back at least to 1770." - BS
It is interesting to speculate on just when Flood or his supporters would have used this song. He did not run for office very often; when he first entered the Irish parliament, there was no upper limit on how long a parliament could sit.
He first became a member of parliament in 1759, sponsored by a landowner interest. A fine orator, he argued vigorously for reforms and increased rights for the Irish (at least for Protestants).
In 1775, though, Flood was induced to join the establishment as vice-treasurer, and he was no longer in position to oppose the existing order. He left the government in 1781, eventually purchasing a seat in the British parliament. (His gifts as a speaker and lawyer had made him rich), but he was no longer particularly important as a reformer; his causes were taken over by Henry Grattan (for whom see "Ireland's Glory"). - RBW
File: OLcM086
===
NAME: Harry Hayward Song, The
DESCRIPTION: "Minneapolis was excited, And for many miles around, For a terrible crime committed." "Kit" goes riding, and is found shot and beaten to death. The rest of the song thunders at the criminal
AUTHOR: unknown
EARLIEST_DATE: 1924 (Minneapolis Journal)
KEYWORDS: homicide
HISTORICAL_REFERENCES: December 1895 - Execution of Harry Hayward for the murder of Kitty Ging
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Burt, p. 96-99, "(The Harry Hayward Song)" (1 text, 1 tune)
ADDITIONAL: Walter N. Trenerry, Murder in Minnesota (Minnesota Historical Society Press, 1985), pp. 154-155, (no title) (1 text)
NOTES: I'm not sure I've ever seen a murder ballad with fewer facts mixed in with more moralizing. The version printed by Burt has only a partial name of the victim, no name for the murderer, no real background, no date, and no aftermath.
And not much poetry, either.
Burt states that Harry Hayward was (and so would remain as of 2007), the last man legally hanged (as opposed to lynched) in Minnesota. It appears, however, that this statement is false; according to Walter B. Trenerry's _Murder in Minnesota_ (Minnesota Historical Society Press, 1962, 1985), pp. 223-227, there were ten executions between that time and the repeal of the death penalty in 1911, and all are described as hangings.
The crime itself, however, gets little historical attention; it's not mentioned in Theodore C. Blegen's magisterial _Minnesota: A History of the State_, nor in Norman K. Risjord's _A Popular History of Minnesota_, nor in William E. Lass's _Minnesota: A History_. As of when I indexed the song, there wasn't even any mention of it on the Minnesota Historical Society's web site that I could find.
The Historical Society did of course publish Trenerry's book, which has a chapter on the crime; all of what follows is taken from that source. In 1894, Harry Hayward and Katherine "Kitty" Ging were both 29 years old and unmarried. Hayward was "a professional gambler, a ne'er-do-well, and an associate of petty crooks." He also dealt in counterfeit money, which apparently allowed him to keep gambling after he would otherwise have been bankrupt. He had never really held a steady job; his family was sufficiently well-off that his father gave him a building, which he sold to finance his gambling.
It appears that Kitty Ging, perhaps tempted by promises of marriage, gave him both money and her body. (The former seems certain. The forensics of 1894 would of course have been unable to prove that Hayward was the one responsible for her not being a virgin. Trenerry's language is very decorous, but it does not sound as if she was pregnant.)
On December 3, 1894, Ging's body was found near Lake Calhoun in south-central Minneapolis. She had been shot in the head, and the body was then dumped from a cart and run over. This shortly after Hayward had induced her to open life insurance policies for which he was to be the beneficiary.
Hayward himself did not commit the murder, though he helped identify the body (and set up a constant moan about the money she allegedly owed him). Rather, he had induced a not-too-bright employee of his father's, Clause A. Blixt, to do the deed (getting him thoroughly drunk to help him along). The purpose of this was to allow Hayward to establish an alibi, which he did by going out with another woman.
But Hayward didn't keep quiet enough. He had talked to his brother Adry about killing Ging, and eventually the brother went to the police. Investigations led to Blixt, and enough evidence came out to lead to Harry. Hayward and Blixt were charged with murder on December 13. Hayward's attorney tried to get Adry Hayward's testimony excluded on the grounds that he was insane (Trenerry admits that Adry doesn't seem to have been too bright), but the judge allowed it, and that plus miscellaneous other evidence was enough for conviction. On March 8, 1895, the case went to the jury, They returned a verdict of first degree murder after less than three hours (including time for lunch). There was an appeal, but it was denied, and Hayward went to the gallows on December 11, 1895. He gave a confession shortly before his death.
Blixt was also convicted of murder, and sentenced to life imprisonment; he went insane some time before his death. (Sort of makes you wonder about the hotel where Adry and Harry Hayward lived and Blixt worked, doesn't it?)
It's hard to believe this feeble piece of poetry could be traditional, but Trenerry's text, from the 1924 _Minneapolis Journal_, differs substantially from Burt's in the later stanzas. I doubt we can find out much more; the _Minneapolis Journal_ ceased publication before I was born.
Burt does not mention the fact, but the tune appears to be "The Fatal Wedding," which was published and became very popular just a few year before the Ging murder. - RBW
File: Burt096
===
NAME: Harry Lumsdale's Courtship
DESCRIPTION: "First when Harry cam' to Clatt," he asks bonnie Jean, "wilt thou go Up to Auchindoir we' me?" Jean and her mother hesitate. Harry decides to turn to Betty Brown. After he leaves, Jeannie says, "O for him back again!"
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting mother rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 427-429, "Harry Lumsdale's Courtshhip" (1 text)
Roud #6186
NOTES: Ord describes this as the original for Burns's "My Harry Was a Gallant Gay" (aka "Highland Harry.") This strikes me as unlikely. The common material is a single verse, near the end of Ord's text and clearly not integral to it; it seems more likely that "Highland Harry" is a genuine traditional song and that Ord's obscure poem has picked up its chorus. - RBW
File: Ord427
===
NAME: Harry Newell: see Katie Cruel (The Leeboy's Lassie; I Know Where I'm Going) (File: SBoA050)
===
NAME: Harry Orchard
DESCRIPTION: "Harry Orchard is in prison, The reason you all know; He killed Frank Steunenberg...." "He set his bomb out carefully." "Harry blamed the Wobblies." "The chiefs were brought to Denver... Bill Haywood and George Pettybone Were brought to Idyho."
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: homicide execution punishment IWW trial execution
HISTORICAL_REFERENCES: 1896-1900 - Frank R. Steunenberg's term as governor of Idaho
Dec 30, 1905 - Steunenberg killed by a bomb blast at his home. Harry Orchard, his accused murderer, would spend the rest of his life in prison.
1906-1907 - Trials of the IWW officials for complicity in Steunenberg's murder
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 93-95, "(The Song of Harry Orchard)" (1 text)
NOTES: Frank Steunenberg, during his term as governor of Idaho, had made difficulties for the Western Federation of Miners. His murder was thought to be in retaliation for that. Suspicion eventually fell on Harry Orchard (Tom Hogan).
The Pinkertons brought in James McParland/McPharland (I've seen both spellings, and am unable to verify which is correct), already famous for cracking the Molly Maguires (and, incidentally, the model for "Birdy Edwards" in the Sherlock Holmes story "The Valley of Fear") to work on Orchard.
Orchard finally implicated Charles H. Moyer, William "Big Bill" Haywood, and George Pettibone of the Industrial Workers of the World as being responsible for the planning of the crime. Clarence Darrow, however, was able to secure their acquittal. Orchard alone was punished, being sentenced to life imprisonment. Although eventually eligible for parole, he elected to spend the rest of his life (nearly fifty years) in prison, dying in 1954 at age 88.
Of the three IWW officials, Haywood (1869-1928) is perhaps the most likely to have been involved; he was originally an officer of the Western Federation of Miners, and later presided over the founding of the IWW. He was convicted of sedition in 1918, and fled to the Soviet Union in 1921.
This is item dE48 in Laws's Appendix II. - RBW
File: Burt093
===
NAME: Harry Saunders: see Prince Robert [Child 87] (File: C087)
===
NAME: Harry the Tailor
DESCRIPTION: Harry seeks a wife. He tickles Dolly, the dairymaid. She shoves him into the well. The farmer hauls him out. He accused the farmer of knocking him in; the farmer throws buttermilk at him. He tells his mother "If this is your courtin', the devil take all"
AUTHOR: unknown
EARLIEST_DATE: 1908 (Vaughn Williams)
KEYWORDS: courting accusation abuse farming humorous mother
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 131, "Harry the Tailor" (1 text, 1 tune)
DT, HRRYTAIL*
Roud #1465
CROSS_REFERENCES:
cf. "The Friar in the Well" [Child 276] (plot)
File: K131
===
NAME: Hartford Wreck, The
DESCRIPTION: A train is wrecked on near Hartford, Vermont. Passenger Joseph Maigret is fatally injured and discusses his fate with his son.
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders collection)
KEYWORDS: train wreck father death
HISTORICAL_REFERENCES: Feb 4, 1887 - The Hartford Wreck
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Cohen-LSRail, p. 272, "The Hartford Wreck" (notes only)
Roud #4136
NOTES: This is item dg36 in Laws's Appendix II. - RBW
File: LSRa272C
===
NAME: Harvard Student, The (The Pullman Train)
DESCRIPTION: As the train pulls into a village, a girl gets on and openly sits next to the "tall and stout and swell" (Harvard student). He gets "soot" in his eye; she offers to remove it. They enter a tunnel, and after kissing sounds her earring is found in his beard
AUTHOR: Louis Shreve Osborne?
EARLIEST_DATE: 1871 (Harvard Advocate)
KEYWORDS: courting train humorous
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 391, "The Harvard Student" (1 text, 1 tune)
Randolph/Cohen, pp. 218-320, "The Harvard Student" (1 text, 1 tune -- Randolph's 391)
Spaeth-ReadWeep, pp. 109-110, "The Eastern Train" (1 text, 1 tune)
Cohen-LSRail, pp. 50-52, "In the Tunnel" (1 text)
Roud #7617
ALTERNATE_TITLES:
The Pullman Train
Riding Down from Bangor
NOTES: According to Cohen, the 1871 printing in the _Harvard Advocate_ is credited to "S. O. L." It was printed under the title "In the Tunnel." He speculates that "S. O. L." might be a distortion of the initials of poet Louis S. Osborne, who attended Harvard at the time.
His speculation has external support. Having read Cohen's comments, I went looking for works of Louis Shreve Osborne's. I found exactly one in _Granger's Index to Poetry_, that being "Riding Down from Bangor," in Hazel Felleman's _The Best Loved Poems of the American People_, p. 515. Which proves to be this very poem. But it may be that Felleman followed the same line of logic; her attributions are not very reliable. I think, on the whole, we have to list this as a "probable" case of authorship. - RBW
File: R391
===
NAME: Harvest Home Song (I)
DESCRIPTION: Singer toasts the master of the house, his health and prosperity, and the mistress; listeners are urged to drink up. Cho: "So drink, boys, drink! And see that you do not spill/For if you do, you shall drink two, for that is our master's will"
AUTHOR: unknown
EARLIEST_DATE: 1890 ("Sussex Songs," John & Lucy Broadwood)
KEYWORDS: farming harvest ritual drink party nonballad worker
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
DT, MILLDEE3*
Roud #310
RECORDINGS:
Tony Wales, "The Woodcutter" (on TWales1)
NOTES: This was sung as part of a harvest-supper ritual; each person's cup would be filled as the song was sung around the table. Variants salute other rural occupations, such as woodcutting (cf. the Wales recording). This can be distinguished from other harvest-home songs by the "Drink, boys, drink" chorus. - PJS
File: RcHaHS1
===
NAME: Harvest Home, The
DESCRIPTION: "Come, ye jolly lads and lasses, Ranting round in pleasure's ring... Blythe and merry we hae been, Blythe and merry let us be." The workers are not gathered to gain "warldly gear" but to celebrate now that the harvest is over
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: work music party
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 272-273, "The Harvest Home" (1 text)
Roud #5595
File: Ord272
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NAME: Harvey Duff
DESCRIPTION: "Harvey Duff, keep the step, Oh, what's up with you"
AUTHOR: unknown
EARLIEST_DATE: c.1881 (Zimmermann)
KEYWORDS: nonballad police
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann 78, "Harvey Duff" (2 fragments, 1 tune)
NOTES: The tune seems to me to be close to "The Worms Crawl In."
Zimmermann: "The name became a popular cry to abuse traitors after the success of Dion Boucicault's melodrama _The Shaughraun_, first produced in 1875. The hero of the play was a Fenian, and the villain an informer -- Harvey Duff, 'a police agent in disguise of a peasant'," quoting _The Dolmen Boucicault_. "For a time, to call somebody Harvey Duff was like calling him a traitor -- cf. the name Quisling in the mid twentieth century. The constables had grounds for considering the expression offensive when it was systematically applied to them.... The name Harvey Duff survived as synonymous with policeman in the street rhymes of Dublin children."
Zimmermann discusses the arrests in 1881 of children, one six years old, for whistling the tune. He has other reports of people attacked or arrested by police for whistling "Harvey Duff" and of animals reportedly famous for their ability to mimic the tune.
"The arrests for whistling in Newcastle became a national controversy and 'Harvey Duff'" was whistled at every crossroads and every Land League gathering in the country." (source: "Hugh Murray Gunn" and Harvey Duff" quoting _Freeman's Journal_, February 12, 1881 at Gaelscoil O Doghair site. 
As for words, and one fragment is included as the description, Zimmermann says "it is likely that many occasional squibs were set to this short air -- and soon forgotten." - BS
File: Zimm078
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NAME: Harvey Logan [Laws E21]
DESCRIPTION: Harvey Logan, pool player, gambler, and brawler, comes to the attention of the police after a gaming fight. Arrested following a gun battle, be escapes from Knoxville by taking the jailer hostage and riding off on the sheriff's horse
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Byrd Moore)
KEYWORDS: gambling prison escape
HISTORICAL_REFERENCES: June 8, 1904 - Death of Harvey Logan
FOUND_IN: US(Ap,SE)
REFERENCES: (3 citations)
Laws E21, "Harvey Logan"
Darling-NAS, pp. 195-196, "Harvey Logan" (1 text)
DT 790, HARVLOGN
Roud #2250
RECORDINGS:
Dock Boggs, "Harvey Logan" (on Boggs1, BoggsCD1)
Byrd Moore, "Harvey Logan" (Gennett 6549, 1928)
NOTES: According to Bill O'Neal, _Encyclopedia of Western Gunfighters_, Harvey Logan was born in 1865 in Tama, Iowa, and he and three brothers were orphaned early and raised by an aunt. At age 19, he headed west with two younger brothers. They opened a ranch in 1888, with what O'Neal describes as stolen cattle. They reportedly worked as hired guns for a time, and Harvey, said to be very dour and a heavy drinker, apparently killed an important local in 1894.
In 1895, Harvey's brother Johnny was killed, and Harvey became even more brutal, killing three sheriffs around the west and joining the gang of "Butch" Cassidy. (There is a photo of Logan with Butch Cassidy, the Sundance Kid, and two others on p. 190 of O'Neal.)
The west became so hot for him that he moved back east to Knoxville, Tennessee, where in 1901 he was involved in a shootout with police. He killed three, but was wounded; he was captured a short distance away. Convicted, he escaped the Knoxville jail by taking the wrapping wire from a broom and using it to capture a guard. He fled to Colorado, where he was killed in 1904. - RBW
File: LE21
===
NAME: Haselbury Girl, The (The Maid of Tottenham, The Aylesbury Girl)
DESCRIPTION: A girl on the way to market meets a rakish young man, who proceeds to tie up her garter, which costs her her maidenhead. In many versions, she asks his name, and he refuses to answer.
AUTHOR: unknown
EARLIEST_DATE: 1656 (printed in Choyce Drollery: Songs and Sonnets... Never Before Printed [London])
KEYWORDS: bawdy sex clothes courting
FOUND_IN: US(SE,So) Britain(England(Lond,South))
REFERENCES: (4 citations)
Kennedy 176, "The Haselbury Girl" (1 text, 1 tune)
Chappell-FSRA 49, "Jackie Rover" (1 text)
Randolph-Legman I, pp. 162-168, "The Maid of Tottenham" (3 texts, 2 tunes)
DT, HASLBURY* MAIDTOTN* UPSNDOWN
Roud #364
RECORDINGS:
Pop Maynard, "The Aylesbury Girl" (on Voice15)
CROSS_REFERENCES:
cf. "The Knight and the Shepherd's Daughter" [Child 110]
cf. ""The Next Market Day""
ALTERNATE_TITLES:
To Market, To Market
Tottingham Fair
The Salisbury Girl
The Ups and Downs
Jack the Rover
NOTES: Legman's notes in Randolph-Legman I, p. 167, terms this "a carefree reduction" of "The Knight and the Shepherd's Daughter" (Child 110). The evidence is thin. - EC
File: K176
===
NAME: Hash o' Bennygak (Hash o' Benagoak)
DESCRIPTION: Bothy ballad. Humorous description of characters working on a farm. Singer says if you want to find him, he'll be on a herring boat
AUTHOR: unknown
EARLIEST_DATE: 1962 (collected from Maggie McPhee)
KEYWORDS: farming work humorous moniker nonballad worker
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
MacSeegTrav 106, "The Hash o' Bennygak" (1 text, 1 tune)
Roud #1527
File: McCST106
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